The emerging epistemic community of ecosemioticians and the multidisciplinary field of inquiry known as ecosemiotics offer a radical and relevant approach to so-called global environmental crisis. There are no environmental fixes within the dominant code, since that code overdetermines the future, thereby perpetuating ecologically untenable cultural forms. The possibility of a sustainability transition (the attempt to overcome destitution and avoid ecocatastrophe) becomes real when mediated by and through ecosemiotics. In short, reflexive awareness of humankind's linguisticality is a necessary condition for (...) transforming ecologically maladaptive cultural forms. As a multidisciplinary, interdisciplinary research program integrating the human and natural sciences, ecosemiotic inquiry closes the gap between biophysical ecology and human ecology. A provisional outline of a pragmatic theory of ecoserniotics attempts to describe the processes by which adaptive cultural changes might be facilitated and points toward substantive content areas that constitute sites for further research. Ecosemiotic inquiry frames cultural codes as these shape and reproduce the ongoing stream of individual and societal choices that shape distinctively human existence in a larger context of biophysical realities that drive natural selection. However, while ecosemiotics is a necessary condition for the sustainability transition, it is not a sufficient condition. (shrink)

The authors' commentary on Bruno Latour's "Technology is society made durable" provides the reader with an opportunity to become acquainted with actor-network theory.

Unentwegt werden neue technische Produkte gestaltet. Doch was macht die technische Gestaltung aus? Wie lässt sich ihr Gegenstand - (noch) nicht existierende Artefakte - adäquat auf den Begriff bringen? Michael Kuhn begreift technische Ideen vor ihrer Realisierung als Fiktionen. Er bietet eine fiktionstheoretische Rekonstruktion der Gestaltungstätigkeit und entwickelt hieraus eine Ethik der Gestaltung. Der stark interdisziplinäre Zugang zwischen Technikphilosophie und Ingenieurwissenschaften liefert neue Erkenntnisse für beide Fachrichtungen und stellt wertvolle Grundlagen bereit.

Mise en abyme is a term from literary theory denoting a work that doubles itself within itself, for example a story placed within a story or a play within a play. Proliferating in experimental fiction in midcentury France, this technique had a strong impact on contemporary literary theory, but also, as this book project argues, on post-Heideggerian and post-structuralist philosophy. The Little Crystalline Seed focuses on how three of these thinkers invoke the concept of mise en abyme in order to (...) establish ontologies that deviate from that of Heidegger. Iddo Dickmann demonstrates how the concept served in modeling Derrida's logic of supplementarity, Blanchot's philosophy of "ambiguity" and mechanism of Désouvrement, and Deleuze's philosophy of difference, time and repetition. Exploring the interpretative and generative potential of the mise en abyme for continental thought, Dickmann illustrates points of resonance between various philosophical topics such as aesthetics, ethics, time, logic, mirroring, play, and signification. (shrink)

Narrative theories of personal identity have traditionally taken literary characters as models to better understand how our identities are constituted through the narratives of our lives. However, there have been several recent criticisms of these comparisons, showing that philosophers of personal identity paid no attention to the nature of literary characters, and consequently, these philosopher’s comparisons were under-motivated. In the present article, I rely on a cognitive framework to define literary characters. From that point of view, I assert that it (...) is fruitful to compare ourselves with literary characters to understand the role that the narratives told by others about ourselves play in the constitution of our own personal identities. (shrink)

Considering the war context and the emergence of the avant-garde in the early twentieth century, I base on this work the reasons why the presence of the concept of nivola, attributed by Miguel de Unamuno to refer to the literary technique used in his novel Mist (1914), provokes a possible confrontation between universes composed of elements of reality and the virtual. In that sense, it will be appropriate to explain the procedure that originates that collision of established plans. For this, (...) I will resort to literary categories that support the theories of fiction, according to the perception of Thomas Pavel and Marie-Laure Ryan. (shrink)

This book offers a theoretical investigation into the general problem of reality as a multiplicity of ‘finite provinces of meaning’, as developed in the work of Alfred Schutz. A critical introduction to Schutz’s sociology of multiple realities as well as a sympathetic re-reading and reconstruction of his project, Experiencing Multiple Realities traces the genesis and implications of this concept in Schutz’s writings before presenting an analysis of various ways in which it can shed light on major sociological problems, such as (...) social action, social time, social space, identity, or narrativity. (shrink)

When we engage with a work of fiction we gain knowledge about what is fictionally true in that work. Our grasp of what is true in a fiction is central to our engagement with representational works of art, and to our assessments of their merits. Of course, it is sometimes difficult to determine what is fictional – it is a good question whether the main character of American Psycho is genuinely psychotic or merely delusional, for instance. (And even in this (...) case, our ignorance itself is crucial to how we engage with the story and assess its qualities.) But in the vast majority of cases, we have no difficulty distinguishing what is fictionally true from what is not. Every attentive reader of Bleak House knows that it is fictional that Esther is Lady Dedlock’s daughter, but not fictional that Ada is the daughter of John Jarndyce. Moreover, we do not think that our judgements about what is fictional are based on guesswork. We have a folk theory of fictional truth, in the sense that we have a relatively stable framework upon which we rely when we engage with fiction, and we face the challenge of characterizing that theory systematically. (shrink)

This essay continues my investigation of `syntactic semantics': the theory that, pace Searle's Chinese-Room Argument, syntax does suffice for semantics (in particular, for the semantics needed for a computational cognitive theory of natural-language understanding). Here, I argue that syntactic semantics (which is internal and first-person) is what has been called a conceptual-role semantics: The meaning of any expression is the role that it plays in the complete system of expressions. Such a `narrow', conceptual-role semantics is the appropriate sort of semantics (...) to account (from an `internal', or first-person perspective) for how a cognitive agent understands language. Some have argued for the primacy of external, or `wide', semantics, while others have argued for a two-factor analysis. But, although two factors can be specified–-one internal and first-person, the other only specifiable in an external, third-person way–-only the internal, first-person one is needed for understanding how someone understands. A truth-conditional semantics can still be provided, but only from a third-person perspective. (shrink)

This essay examines some of the arguments in David Deutsch's book The Fabric of Reality , chief among them its case for the so-called many-universe interpretation of quantum mechanics (QM), presented as the only physically and logically consistent solution to the QM paradoxes of wave/particle dualism, remote simultaneous interaction, the observer-induced 'collapse of the wave-packet', etc. The hypothesis assumes that all possible outcomes are realized in every such momentary 'collapse', since the observer splits off into so many parallel, coexisting, but (...) epistemically non-interaccessible 'worlds' whose subsequent branchings constitute the lifeline-or experiential world-series- for each of those proliferating centres of consciousness. Although Deutsch concedes that his 'multiverse' theory is counter-intuitive, he none the less takes it to be borne out beyond question by the sheer observational/predictive success of QM and the conceptual dilemmas that supposedly arise with alternative (single-universe) accounts. Moreover, he claims the theory resolves a range of longstanding philosophical problems, notably those of mind/body dualism, the various traditional paradoxes of time, and the freewill/determinism issue. The essay suggests on the contrary, that Deutsch unwittingly transposes into the framework of presentday quantum debate speculative themes from the history of rationalist metaphysics, often with bizarre or philosophically dubious results, and that he rules out at least one promising rival account, namely Bohm's 'hidden variables' theory. It goes on to consider reasons for resistance to that theory among proponents of the 'orthodox' (Copenhagen) doctrine, and for the strong anti-realist, at times even irrationalist bias that has characterized much of this discussion since Bohr's debates with Einstein about quantum non-locality, observer-intervention, and the limits of precise measurement. Finally, the contrast is pointed out between Deutsch's ontologically extravagant use of the many-worlds hypothesis (akin to certain ideas advanced by speculative metaphysicians from Leibniz down) and those realist modes of counterfactual reasoning- e.g. in Kripke and the early Putnam- which deploy similar arguments to very different causal-explanatory ends. (shrink)

David Lewis claims that his theory of modality successfully reduces modal items to nonmodal items. This essay will clarify this claim and argue that it is true. This is largely an exercise within ‘Ludovician Polycosmology’: I hope to show that a certain intuitive resistance to the reduction and a set of related objections misunderstand the nature of the Ludovician project. But these results are of broad interest since they show that would-be reductionists have more formidable argumentative resources than is often (...) thought. Lewis’s reduction depends on a set of methodological commitments each of which is fairly plausible or at least currently popular, and none of which is particular to modality. The choice of which of these commitments to reject I leave to the discerning antireductionist. The essay proceeds as follows: §1 discusses reduction generally and one or two relevant puzzles; §2 discusses Lewis’s reduction in particular; the longest section, §3 replies to four objections. (shrink)

Are virtual objects real? I will claim that the question sets us up for the wrong type of conclusion: Chalmers (2017) argues that a virtual calculator (like other entities) is a real calculator when it is “organizationally invariant” with its non-virtual counterpart—when it performs calculation. However, virtual reality and games are defined by the fact that they always selectively implement their source material. Even the most detailed virtual car will still have an infinite range of details which are missing (gas, (...) engines, pistons, fuel, chemical reactions, molecules, atoms). This means that even the most detailed virtual object will still have fictional aspects. Rather than argue that virtual objects are, or aren’t, real, it is preferable to think of overlaps and continuities between the fictional and the real, where even the most painstakingly detailed virtual reality implementation of a non-virtual object is still art: a human process of selection and interpretation. Virtual reality should therefore not be philosophically understood just as a technological implementation on a trajectory to perfection, but as a cultural artifact which derives its value in part from its simplification and difference from its source material. (shrink)

Koopman’s book revolves around the notion of transition, which he proposes is one of the central ideas of the pragmatist tradition but one which had not previously been fully articulated yet nevertheless shapes the pragmatist attitude in philosophy. Transition, according to Koopman, denotes “those temporal structures and historical shapes in virtue of which we get from here to there”. One of the consequences of transitionalism is the understanding of critique and inquiry as historical pro...

The philosopher David Lewis is credited by many social scientists, including mainstream economists, with having founded the modern (game-theoretical) approach to conventions, viewed as solutions to recurrent coordination problems. Yet it is generally ignored that he revised his approach, soon after the publication of his well-known book. I suggest that this revision has deep implications (probably not perceived by Lewis himself) on the analytical links between coordination, uncertainty and rationality. Thinking anew about these issues leads me to map out an (...) alternative social scientific research programme. The traditional ontological equipment of methodological individualism should be reinforced in order to admit the existence of an “intersubjective” world beside the two familiar worlds: the “objective” world of observable things, and the “subjective” world of expectations and individual beliefs. In particular, language becomes necessary to understand coordination via conventions, rather than the other way round. That has led a group of institutionalist economists and pragmatist sociologists to develop an enlarged model of rationality, no longer isolated from questions of coordination and values. This model is the basis for the “Economics of Conventions”. (shrink)

Narrative fictions have surely become the single most widespread source of entertainment in the world. In their free time, humans read novels and comics, watch movies and TV series, and play video games: they consume stories that they know to be false. Such behaviors are expanding at lightning speed in modern societies. Yet, the question of the origin of fictions has been an evolutionary puzzle for decades: Are fictions biological adaptations, or the by-products of cognitive mechanisms that evolved for another (...) purpose? The absence of any consensus in cognitive science has made it difficult to explain how narrative fictions evolve culturally. We argue that current conflicting hypotheses are partly wrong, and partly right: narrative fictions areby-productsof the human mind, because they obviously co-opt some pre-existing cognitive preferences and mechanisms, such as our interest for social information, and our abilities to do mindreading and to imagine counterfactuals. But humans reap some fitness benefits from producing and consuming such appealing cultural items, making fictionsadaptive. To reconcile these two views, we put forward the hypothesis that narrative fictions are best seen asentertainment technologiesthat is, as items crafted by some people for the proximate goal to grab the attention of other people, and with the ultimate goal to fulfill other evolutionary-relevant functions that become easier once other people’s attention is caught. This hypothesis explains why fictions are filled with exaggerated and entertaining stimuli, why they fit so well the changing preferences of the audience they target, and why producers constantly make their fictions more attractive as time goes by, in a cumulative manner. (shrink)

This project continues our interdisciplinary research into computational and cognitive aspects of narrative comprehension. Our ultimate goal is the development of a computational theory of how humans understand narrative texts. The theory will be informed by joint research from the viewpoints of linguistics, cognitive psychology, the study of language acquisition, literary theory, geography, philosophy, and artificial intelligence. The linguists, literary theorists, and geographers in our group are developing theories of narrative language and spatial understanding that are being tested by the (...) cognitive psychologists and language researchers in our group, and a computational model of a reader of narrative text is being developed by the AI researchers, based in part on these theories and results and in part on research on knowledge representation and reasoning. This proposal describes the knowledge-representation and natural-language-processing issues involved in the computational implementation of the theory; discusses a contrast between communicative and narrative uses of language and of the relation of the narrative text to the story world it describes; investigates linguistic, literary, and hermeneutic dimensions of our research; presents a computational investigation of subjective sentences and reference in narrative; studies children’s acquisition of the ability to take third-person perspective in their own storytelling; describes the psychological validation of various linguistic devices; and examines how readers develop an understanding of the geographical space of a story. This report is a longer version of a project description submitted to NSF. This document, produced in May 2007, is a L ATEX version of Technical Report 89-07 (Buffalo: SUNY Buffalo Department of Computer Science, August 1989), with slightly.. (shrink)

Possible and narrative worlds are traditionally the most influential tools for explaining our understanding of fiction. One obvious implication of this is considering fiction as a matter of pretence. The theory I offer claims that it is a mistake to take truth as a substantial notion. This view rejects possible worlds and pretence as decisive features in dealing with fiction. Minimalist theory of fiction offers a solution that gives a way to combine a philosophical theory of meaning and views of (...) literary theory. Narrative worlds approach saves its usefulness since its focus is more in the psychological process of reading. Minimalist theory of fiction is based on the minimal theory of truth and the use theory of meaning. The idea of language games as a practice of constructing contextual meanings is also decisive. A sentence is not true because it corresponds to a fact but because it is used in a right way in certain circumstances. The rejection of the possible worlds approach is thus based on the idea that understanding fiction is essentially about recognizing the constant interplay between different texts and contexts. Better understanding makes different interpretations possible. (shrink)