Tullmann et Buckwalter (2014) ont récemment soutenu que le paradoxe de la fiction tenait plus de l’illusion que de la réalité. D’après eux, les théories contemporaines des émotions ne fourniraient aucune raison d’adopter une interprétation du terme « existence » qui rende les prémisses du paradoxe incompatibles entre elles. Notre discussion a pour but de contester cette manière de dissoudre le paradoxe de la fiction en montrant qu’il ne prend pas sa source dans les théories (...) contemporaines des émotions. Bien plutôt, son origine se situe dans ce que Radford (1975) décrit comme une incohérence dans nos réactions émotionnelles aux évènements fictionnels et non fictionnels. Malgré ce désaccord, nous concédons à Tullmann et Buckwalter qu’une solution satisfaisante au paradoxe de la fiction doit s’appuyer sur les théories des émotions. Ainsi, en guise de conclusion, nous expliquons comment il convient de comprendre l’incohérence en question et comment les théories des émotions pourraient contribuer à la résolution du paradoxe de la fiction. (shrink)

Definida como beleza lógica e forma do paradoxo, a ironia romântica de Friedrich Schlegel (1772-1829) assimila a antiga ironia socrática e a reinterpreta, inserindo-a como elemento central de sua teorização crítico-literária. O presente artigo analisa a ironia romântica, buscando situar sua alteração e abrangência no final do século XVIII, quando o conceito passa a significar metacrítica, reflexão filosófica, ruptura ficcional, distância estética e forma de exposição da arte literária. Defined as logical beauty and form of paradox, Friedrich Schlegel's (1772-1829) romantic (...) irony incorporates ancient Socratic irony and reinterprets it, inserting it as a nuclear element of his theorization on literary criticism. The current paper analyses the concept of romantic irony seeking to situate its alterations at the end of 18th century, when it changed its meaning for metacritics, philosophical reflexion, fictional rupture, aesthetical distance and form of art exposition. (shrink)

Le fameux paradoxe de la fiction (Radford 1975) a suscité maintes interprétations. L’une des distinctions importantes qui affleure bien souvent au sein de cette littérature, pour se voir presque aussitôt négligée, est celle entre les deux questions suivantes : « comment les émotions peuvent-elles être suscitées par des œuvres de fiction ? » et « les émotions suscitées par de telles œuvres peuvent-elles être rationnelles ? » Dans ce qui suit, je me concentrerai exclusivement sur la seconde (...) de ces questions et chercherai à montrer que la plupart de nos réponse affectives à la fiction ne sont pas irrationnelles. Ma discussion se structure de la manière suivante. La première section esquisse la nature du lien entre émotions et valeurs et introduit une conception selon laquelle les émotions sont des attitudes évaluatives. Au cours de la deuxième section, nous nous tournerons vers le problème de la rationalité des émotions pour mettre l’accent sur deux de ses aspects – celui qui regarde le rapport entre une émotion et sa base cognitive, d’un côté, et, de l’autre, celui entre l’émotion elle-même et les jugements et comportements auxquels elle peut donner lieu. La troisième section applique ces considérations à propos de la rationalité affective aux émotions suscitées par la fiction, dont je distingue trois types principaux : les émotions esthétiques, les émotions-blob et les émotions-pour. Une quatrième et dernière section explore quelques conséquences des conclusions auxquelles m’auront amené ce qui précède. (shrink)

This piece explores the origins of science fiction in philosophical speculation about the size of the universe, the existence of other solar systems and other galaxies, and the possibility of alien life. Science fiction helps us to grapple with the dizzying possibilities that a vast universe affords, by allowing our imagination to fill in the details.

Heidegger tries to explain our emotional life applying three schemes: causal explanation, mental internalisation of emotions and metaphorical expression. None of the three schemes explains emotion though. Either because the causal nexus does not always occur or because objects and people in the external world are carriers of emotional agents or because language is already on a metaphorical level. Moreover, how is it possible that there are presently emotions constituting our life without our being aware of their existence? From the (...) analysis of boredom in its three varieties (“bored by X”, “get oneself bored”, and “it is boring”) we will get to the depth where emotions lie, trying to rouse them and to keep them awake. Although it surfaces with the force and energy of the present, every emotion has its past and future constitution. How can we understand the future of a present emotion along with its past? (shrink)

In Fact, Fiction and Forecast, Nelson Goodman claims that the problem of justifying induction is not something over and above the problem of describing valid induction. Such claim, besides suggesting his commitment to the collapse of the distinction between the context of description and the context of justification, seems to open the possibility that the new riddle of induction could be addressed empirically. Discoveries about psychological preferences for projecting certain classes of objects could function as a criterion for determining (...) which predicates are after all projectible. In this paper, I argue that Goodman's claim must be construed within his project for constructional definitions, which is methodologically oriented by reflective equilibrium. The description of inductive practice is committed to the articulation of the extension of the class selected by the predicate ‘valid induction’. The mutual adjustment between theoretical considerations and inductive practice involved in the proposal of a definition of ‘valid induction’ must preserve that practice as much as possible, there is no way to get rid of entrenchment. Empirical discoveries about the psychological mechanism that underlies projections may help that adjustment but they cannot substitute the role played by the entrenchment of predicates. (shrink)

Speculative fiction, such as science fiction and fantasy, has a unique epistemic value. We examine similarities and differences between speculative fiction and philosophical thought experiments in terms of how they are cognitively processed. They are similar in their reliance on mental prospection, but dissimilar in that fiction is better able to draw in readers (transportation) and elicit emotional responses. By its use of longer, emotionally poignant narratives and seemingly irrelevant details, speculative fiction allows for a (...) better appraisal of the consequences of philosophical ideas than thought experiments. (shrink)

The knower paradox states that the statement ‘We know that this statement is false’ leads to inconsistency. This article presents a fresh look at this paradox and some well-known solutions from the literature. Paul Égré discusses three possible solutions that modal provability logic provides for the paradox by surveying and comparing three different provability interpretations of modality, originally described by Skyrms, Anderson, and Solovay. In this article, some background is explained to clarify Égré’s solutions, all three of which hinge on (...) intricacies of provability logic and its arithmetical interpretations. To check whether Égré’s solutions are satisfactory, we use the criteria for solutions to paradoxes defined by Susan Haack and we propose some refinements of them. This article aims to describe to what extent the knower paradox can be solved using provability logic and to what extent the solutions proposed in the literature satisfy Haack’s criteria. Finally, the article offers some reflections on the relation between knowledge, proof, and provability, as inspired by the knower paradox and its solutions. (shrink)

We review the history of the philosophy of fondue since Aristotle so as to arrive at the formulation of the paradox of Swiss fondue. Either the wine and the cheese cease to exist (Buridan), but then the fondue is not really a mixture of wine and cheese. Or the wine and the cheese continue to exist. If they do, then either they continue to exist in different places (the chemists), but then a fondue can never be perfectly homogenous (it is (...) a French fondue). Or the wine and the cheese continue to exist in the same place (the Stoïcs), but then wine and cheese have to be, oddly, penetrable and spatially expansible. Aristote attempted to solve this paradox by arguing that the cheese and wine continue to exist, but only potentially in the fondue. We sketch an alternative answer. The wine and the cheese continue to exist, but only non-spatially in the fondue. Wine and cheese, once mixed, become non-spatial constituents of the fondue, a bit like character traits are non-spatial constituents of persons. The wine and the cheese are in the fondue, but only the fondue is there in the fondue pot. (shrink)

As artefacts, the worlds of digital games are designed and developed to fulfil certain expressive, functional, and experiential objectives. During play, players infer these purposes and aspirations from various aspects of their engagement with the gameworld. Influenced by their sociocultural backgrounds, sensitivities, gameplay preferences, and familiarity with game conventions, players construct a subjective interpretation of the intentions with which they believe the digital game in question was created. By analogy with the narratological notion of the implied author, we call the (...) figure to which players ascribe these intentions ‘the implied designer’. In this article, we introduce the notion of the implied designer and present an initial account of how appreciators ascribe meaning to interactive, fictional gameworlds and act within them based on what they perceive to be the designer’s intentions. (shrink)

Abstract: By the second half of the eleventh century, in the Christian West, the theological doctrine of St. Anslem sought to re‐establish the place of reason within the domain of faith. Anselm arrived at a possible re‐enactment of this relation under the condition regulated by the principle fides quaerens intellectum – faith seeking reason. This paper is an attempt to explore not only the possible implications of this principle but to understand the internal logic which constitutes it and holds it (...) together. It is the contention of this paper that this regulative principle (fides quaerens intellectum) could complete such a process of logically constituting itself through a violent forcing of thought which gathered and maintained within itself an anomy. This internal paradox produced a logical excess which at one hand threatened constantly to expose a crisis, inhabiting the very centre of the theological system it sought to build, but on the other hand it also became the very ground on which such a system constituted itself. To that extent this paper would try to understand the metaphysical forcing of this moment of crisis back into the theological system it sought to express and normalize at the same time. (shrink)

At the heart of the Stoic theory of modality is a strict commitment to bivalence, even for future contingents. A commitment to both future truth and contingency has often been thought paradoxical. This paper argues that the Stoic retreat from necessity is successful. it maintains that the Stoics recognized three distinct senses of necessity and possibility: logical, metaphysical and providential. Logical necessity consists of truths that are knowable a priori. Metaphysical necessity consists of truths that are knowable a posteriori, a (...) world order according to certain metaphysical principles and natures that god crafts within the constraints of matter. Finally, what is providentially necessary is what occurs according to the chain of fate, but only once it is in process or past. -/- The method of the paper is a close reading of Diogenes Laertius 7.75, adducing broad textual evidence along the way, to show that the Stoic theory of modality embraces Philonian possibility, both that which is capable of being true as a matter of logical consistency, and that which is possible according to the bare fitness of the entity. What differentiates the Stoics from Philo is their additional commitment to possibility as opportunity, resisting the collapse of determinism into necessity. (shrink)

To try to understand Nietzsche’s conception of Christianity is to try to understand his conception of morality, or to try to analyze, dissect, and diagnose the forces and the relation of forces that underly it, or permeate it. These forces characterize not only the reality as Nietzsche considers it, but also the dynamic of his own writing, thought, and perspective. This is the reason why we can affirm that Nietzsche’s thought and writing are essentially, intrinsically, paradoxical. Indeed, the Nietzschean text (...) unfolds as what constantly resists and escapes the order of discourse as such, which means that it would be a frustrating undertaking to seek a key that discloses and explicates the plurality of meanings that engender and determine the development of his writing. Paradoxically, Nietzschean thought reveals itself only to the extent that it is masked, reread, repeated, rewritten, and stripped of all attempts to master it. In other words, it progresses through a continuous intermingling of forces and, consequently, of values, interpretations, and significations that are unceasingly overcoming and surpassing each other. (shrink)

A central passage in Cusset’s essay states: “God, for Sade, is fiction that ‘took hold of the minds of men’. What makes God’s weakness, the impossibility of rationally proving his existence, is precisely what constitutes his strength as fiction. Negated as authority, eliminated as the figure of the almighty father, God is nonetheless everywhere in the Sadean novel: he exists as the fiction principle. Libertines are never done with God because his name represents the power, not of (...) the law, but of the imagination. In showing their contempt for God, libertines reveal their anger against fiction, which does not have the power to prove its own truth: fiction — and Sade chose to write novels, not philosophical essays — is based on the desire for illusion” (119). Sade’s L’Histoire de Juliette, argues Cusset, breaks from his earlier writings in that Juliette has an agency missing from Sade’s previous female characters, and she, unlike earlier characters, breaks through the central Sadean impasse: “her ‘story’ represents the solution through which Sade paradoxically resolves the aporia of libertinage” (120). She is perfectly aware of scientific explanations for phenomena, but, “for the sake of play, Juliette chooses metaphor, and does not try to ‘unveil truth’ entirely. Juliette distinguishes herself from her teachers and masters through her relation to imagination. […] The end of the novel confirms Juliette’s choice of a playful imagination” (123). In short, Juliette is the libertine who breaks the very rules of the libertines by means of resurrecting the sense of play, imagination, and romantic delicacy which her fellow criminals forbid. Cusset concludes: “Sade invites us to read his texts as fictive and humorous texts, and not, as suggested the French feminist Elisabeth Badinter who wanted to censor Sade’s novel, as rational demonstrations inviting readers to commit murder. Juliette’s transformation through the novel allows us to understand why Sade entitled his last long novel L 'Histoire de Juliette. Juliette chooses fiction, without trying to prove its truth; she chooses pleasure, without trying to annihilate every belief, since imaginary belief is a component of pleasure. What Sade tells us with the invention of Juliette is that freedom is the very choice of limit. […] L’Histoire de Juliette is Sade’s critique of pure fiction” (129). (shrink)

This paper deals with Veronica Rodriguez-Blanco’s answer to the paradox of the normativity of law: How can autonomous self-legislating persons act, without compromising their autonomy and their will, following legal rules? Regarding Rodriguez-Blanco’s answer, I offer two main critiques. The first one is based on Rodriguez-Blanco’s comments to David Enoch’s paper in which I argue against the idea that a descriptive theoretical account of law can, and should, give an answer to general problems of normativity due to the fact that (...) a theoretical approach that engages in questions about the normativity of law cannot be purely descriptive, therefore against Rodriguez-Blanco I conclude that Enoch’s answer is the only response a descriptive account is able to offer. The second criticism focuses on Rodriguez-Blanco’s response to the paradox and argues that her solution is not, in fact, a descriptive one, but one that relies on strong normative premises, which as it turns out defend a perfectionist perspective towards the law.Resumen:Este trabajo analiza la respuesta que Veronica Rodriguez-Blanco propone para resolver la paradoja de la normatividad del derecho: ¿Cómo es posible que una persona autónoma actúe siguiendo los mandatos de normas jurídicas sin comprometer su autonomía ni su voluntad? El autor ofrece dos críticas a la respuesta de Rodriguez-Blanco. La primera de ellas está basada en los comentarios que Rodriguez-Blanco ha hecho sobre la propuesta de David Enoch. En este punto, el autor argumenta en contra de la idea según la cual una perspectiva descriptiva del derecho puede, y debe, tratar de responder a los problemas generales de la normatividad del derecho. De acuerdo con el autor, una perspectiva que pretenda dar respuesta a los problemas de la normatividad del derecho no puede ser una perspectiva puramente descriptiva. En este sentido, el autor sostiene que la respuesta que ofrece Enoch es la única respuesta que una perspectiva descriptiva del derecho puede dar. La segunda crítica está dirigida a la respuesta que Rodriguez-Blanco da sobre la paradoja de la normatividad. En este segundo punto el autor argumenta que la perspectiva de Rodriguez-Blanco no es una perspectiva descriptiva como ella presume, sino que adopta una perspectiva normativa la cual, además, está comprometida con una idea perfeccionista del derecho. (shrink)

The aim of this paper is twofold: First, we present and develop a system of logic for pragmatics including the act of denial. Second, we analyse in our framework the so-called paradox of assertability. We show that it is possible to yield sentences that are not assertable. Moreover, under certain conditions, a symmetric result can be obtained: There is a specular paradox of deniability. However, this paradox is based on the problematic principle of classical denial equivalence.

What does Cyberpunk and AI Ethics have to do with each other? Cyberpunk is a sub-genre of science fiction that explores the post-human relationships between human experience and technology. One similarity between AI Ethics and Cyberpunk literature is that both seek a dialogue in which the reader may inquire about the future and the ethical and social problems that our technological advance may bring upon society. In recent years, an increasing number of ethical matters involving AI have been pointed (...) and debated, and several ethical principles and guides have been suggested as governance policies for the tech industry. However, would this be the role of AI Ethics? To serve as a soft and ambiguous version of the law? I would like to promote in this article a more Cyberpunk way of doing AI Ethics, whit a more anarchic way of governance. In this study, I will seek to expose some of the deficits of the underlying power structures of our society, and suggest that AI governance be subject to public opinion, so that ‘good AI’ can become ‘good AI for all’. (shrink)

Thomas Mann's "Death in Venice" is a profound fable, delivering a poignant moral lesson: suppressing one's desires can lead to distortion and an unhealthy, obsessive attachment. This, in turn, may trigger frantic and perverse attempts to obtain the initial object of desire. Aschenbach's inability to confront and satisfy his sexual urges ultimately becomes his undoing. This moral framework enables me to delve deeper into Aschenbach's actions, shedding light on the underlying animal instincts that drive his inner struggle. As a character, (...) Aschenbach embodies the archetype of the rational individual who endeavors to govern his primal, carnal urges. However, when his intellectual defenses crumble in the face of his raw desires, the battle between restraint and longing escalates into a whirlwind of uncontrollable actions. These actions catch Aschenbach off guard, and he never anticipated falling victim to them, nor did he mistrust his ability to control them. Paradoxically, he regains a semblance of control through his commitment to literary honor and morality. (shrink)

In the essay "Philosophy and the Meaning of Life," found within the book "Philosophical Explanations," Robert Nozick proposes that the key to comprehending how theistic religions can impart meaning to human existence lies in the concept of God's boundless nature. This unlimited quality is an expansive backdrop, capable of imbuing the comparatively finite lives of theists with profound meaning. Furthermore, Nozick argues that meaningful lives are not restricted solely to the theistic realm defined by God's boundlessness because, paradoxically, God's boundlessness (...) imposes a limitation upon itself. This perspective emerges from Nozick's theory of "limited transcendence," which involves transcending our inherent limitations to connect with a broader context that possesses limitations but imparts meaning to our lives—albeit within defined boundaries (Nozick, 25). In essence, Nozick's theory suggests that meaning can be found in life beyond the confines of theistic religion. (shrink)

How may human agents come to trust (sophisticated) artificial agents? At present, since the trust involved is non-normative, this would seem to be a slow process, depending on the outcomes of the transactions. Some more options may soon become available though. As debated in the literature, humans may meet (ro)bots as they are embedded in an institution. If they happen to trust the institution, they will also trust them to have tried out and tested the machines in their back corridors; (...) as a consequence, they approach the robots involved as being trustworthy (“zones of trust”). Properly speaking, users rely on the overall accountability of the institution. Besides this option we explore some novel ways for trust development: trust becomes normatively laden and thereby the mechanism of exclusive reliance on the normative force of trust (as-if trust) may come into play - the efficacy of which has already been proven for persons meeting face-to-face or over the Internet (virtual trust). For one thing, machines may evolve into moral machines, or machines skilled in the art of deception. While both developments might seem to facilitate proper trust and turn as-if trust into a feasible option, they are hardly to be taken seriously (while being science-fiction, immoral, or both). For another, the new trend in robotics is towards coactivity between human and machine operators in a team (away from making robots as autonomous as possible). Inside the team trust is a necessity for smooth operations. In support of this, humans in particular need to be able to develop and maintain accurate mental models of their machine counterparts. Nevertheless, the trust involved is bound to remain nonnormative. It is argued, though, that excellent opportunities exist to build relations of trust toward outside users who are pondering their reliance on the coactive team. The task of managing this trust has to be allotted to human operators of the team, who operate as linking pin between the outside world and the team. Since the robotic team has now been turned into an anthropomorphic team, users may well develop normative trust towards them; correspondingly, trusting the team in as-if fashion becomes feasible. (shrink)

This paper analyzes areas of convergence in the works of Amartya Sen and Slavoj Žižek in their criticisms of the multiculturalist approach to non-violence. First, Žižek’s characterization of the liberal discourse of guilt and fear is presented. Then, Sen’s key ideas on multiculturalism, tolerance, and rational critique are explicated. Next, a synthesis of Sen and Žižek’s notions of universality, freedom, and rationality, as well as of their critical conceptions of globalization and anti-globalization are discussed. Subsequently, Sen and Žižek’s divergences on (...) overcoming violence are examined. Lastly, from integrating Sen and Žižek’s thoughts, key theses are provided on the paradoxical character of the multiculturalist approach to non-violence and on how despite their divergences, both Sen and Žižek propose radical systematic changes and an alternative approach to non-violence characterized by the universals of rationality and genuine freedom. (shrink)

In part Samuels's aim with The Queen of Cups is to get a better understanding of Juliette Peirce by writing a fictionalized account of her life. This is a laudable goal that should appeal also to Peirce scholars who seek to better understand Peirce.

Despite pervasive variation in the content of laws, legal theorists and anthropologists have argued that laws share certain abstract features and even speculated that law may be a human universal. In the present report, we evaluate this thesis through an experiment administered in 11 different countries. Are there cross‐cultural principles of law? In a between‐subjects design, participants (N = 3,054) were asked whether there could be laws that violate certain procedural principles (e.g., laws applied retrospectively or unintelligible laws), and also (...) whether there are any such laws. Confirming our preregistered prediction, people reported that such laws cannot exist, but also (paradoxically) that there are such laws. These results document cross‐culturally and –linguistically robust beliefs about the concept of law which defy people's grasp of how legal systems function in practice. (shrink)

Richard Moran has argued, convincingly, in favour of the idea that there must be more than one path to access our own mental contents. The existence of those routes, one first-personal—through avowal—the other third-personal—no different to the one used to ascribe mental states to other people and to interpret their actions—is intimately connected to our capacity to respond to norms. Moran’s account allows for conflicts between first personal and third personal authorities over my own beliefs; this enable some instances of (...) Moore-paradoxical cases to be meaningful. In this paper we reflect on the consequences of this view for the acquisition of beliefs, and argue that, as in the moral case, excessive concentration on a thirdpersonal understanding of thought undermines the very idea of being directed to the world and of being capable to fully own our own beliefs. We suggest that maybe too much attention to epistemic virtues or tojustification is misdirected and could produce beliefs that are themself not first-personal enough. (shrink)

If feeling a genuine emotion requires believing that its object actually exists, and if this is a belief we are unlikely to have about fictional entities, then how could we feel genuine emotions towards these entities? This question lies at the core of the paradox of fiction. Since its original formulation, this paradox has generated a substantial literature. Until recently, the dominant strategy had consisted in trying to solve it. Yet, it is more and more frequent for scholars to (...) try to dismiss it using data and theories coming from psychology. In opposition to this trend, the present paper argues that the paradox of fiction cannot be dissolved in the ways recommended by the recent literature. We start by showing how contemporary attempts at dissolving the paradox assume that it emerges from theoretical commitments regarding the nature of emotions. Next, we argue that the paradox of fiction rather emerges from everyday observations, the validity of which is independent from any such commitment. This is why we then go on to claim that a mere appeal to psychology in order to discredit these theoretical commitments cannot dissolve the paradox. We bring our discussion to a close on a more positive note, by exploring how the paradox could in fact be solved by an adequate theory of the emotions. (shrink)

Freud uses paradoxical and conflictual rhetoric to create an unstable and conflictual picture of the mind. Thus he diverges from both dominant traditions of thought in the West: the Judeo-Christian way of filling all gaps in meaning by putting a single omnipotent divinity in charge of them, and the Enlightenment quest for a final, causal language to describe reality. By both suggesting and displacing a plurality of perspectives on the unconscious, Freud’s text mirrors what it claims happens in our minds, (...) in which unconscious impulses undermine the pretense of total rational self-control. Though Freud suggests that a mechanistic description of the mind may bring us nearer to the reality of the unconscious, he also explains that this reality will remain dark. He not only develops an ostensibly mechanistic vocabulary for unconscious mental processes, but also clarifies that his terminology is most fictional precisely when it seems most scientific. Hence, Freud’s science of the unconscious cannot be assimilated to an empiricist position; its philosophical underpinnings are both Kantian and Nietzschean, with metaphors and analogies playing a crucial role. Two dramatic images, in which the mind appears as a domain of warring gods and a realm of political conflict, demonstrate that Freud did not regard the unconscious as some kind of true inner self. He depicts the mind in general and the unconscious in particular as a pagan, conflictual universe over which no god or goddess can gain exclusive control and where no rigid dictatorship is possible. (shrink)

In this note I present a solution to Kripkenstein’s paradox, based on a very simple argument: (1) natural language and rule-following are empirical phenomena; (2) no case has been described, in real life, of a person who behaves as Wittgenstein’s or Kripke’s fictional character; (3) therefore, the discussion of such a case is completely devoid of interest. I lay out the example of a ‘Kripkensteinian apple’, which has a normal weight on even days and is weightless on odd days, in (...) order to highlight the contrast between a genuinely empirical perspective, such as that of physics, and the logical-analytical perspective, under which Kripkenstein’s paradox has attracted so much attention. (shrink)

In this paper we challenge the notion of ‘normativity’ used by some enactive approaches to cognition. We define some varieties of enactivism and their assumptions and make explicit the reasoning behind the co-emergence of individuality and normativity. Then we argue that appealing to dispositions for explaining some living processes can be more illuminating than claiming that all such processes are normative. For this purpose, we will present some considerations, inspired by Wittgenstein, regarding norm-establishing and norm-following and show that attributions of (...) normativity to non-social agents are deeply paradoxical. The main conclusions of our discussion are: (1) circular and internal explanations centred on the stability of living systems are insufficient to account for processes where the environment plays an important role, such as adaptation. Enactivism is not an explanatory alternative to evolutionary biology but needs it as a complement to accounts focused on the internal self-assembly of organisms; (2) though we share enactivism’s anti-representational spirit, we argue that ecological psychology can offer a better account of perception. (shrink)

This paper concerns the familiar topic of whether we can have genuinely emotional responses such as pity and fear to characters and situations we believe to be fictional1. As is well known, Kendall Walton responds in the negative (Walton (1978); (1990): 195-204 and Chapter 7; (1997)). That is, he is an ‘irrealist’ about emotional responses to fiction (the term is Gaut’s (2003): 15), arguing that such responses should be construed as quasiemotions (Walton (1990): 245), of which their possessor imagines (...) that they are genuine emotions. This is not to deny that an experience in response to a fiction may have a phenomenology very like a given emotion, but to insist that, nonetheless, such responses are not real instances of the emotions which they resemble (Walton (1997)). So, in his most famous example, Charles, who experiences fear-like emotion in relation to a film which depicts the approach of evil slime, does not, despite appearances, experience genuine fear towards the slime, but only quasi-fear (Walton (1990): 195-204)2. Walton’s view presupposes the following view about the nature of emotion3. (shrink)

The Gamer’s Dilemma refers to the philosophical challenge of justifying the intuitive difference people seem to see between the moral permissibility of enacting virtual murder and the moral impermissibility of enacting virtual child molestation in video games (Luck Ethics and Information Technology, 1:31, 2009). Recently, Luck in Philosophia, 50:1287–1308, 2022 has argued that the Gamer’s Dilemma is actually an instance of a more general “paradox”, which he calls the “paradox of treating wrongdoing lightly”, and he proposes a graveness resolution to (...) this paradox. In response, we argue for four key claims. First, we accept Luck’s expansion of the Gamer’s Dilemma to be applicable to a wider set of media, but give a novel recasting of this in terms of the Paradox of Fictionally Going Too Far. Second, we develop a novel criticism of Luck in Philosophia, 50:1287–1308, 2022 graveness resolution to this broader paradox. Third, we argue that the Paradox of Fictionally Going Too Far helps to expose an implicit moralism in the Gamer’s Dilemma literature when compared to relevant nearby literatures about other forms of media. Fourth, we consider a range of non-moral, cultural and media conventions that plausibly help to dissolve the intuitive moral gap between non-sexual and sexual violence that is central to this paradox. (shrink)

The chapter considers the “paradox of fiction,” understood as the claim that it is in some sense irrational or inappropriate to respond emotionally to mere fictions. Several theorists have held that special features of imagination, or other “arational” mental reflexes, play a role in its resolution. I argue, to the contrary, that imagination need not enter into the solution, and that the paradox can be resolved in a way that shows our responses to fictions to be reasonable and warranted, (...) even if our emotional reactions to fiction are caused by beliefs and desires. Coming to terms with the paradox requires both properly understanding the “rug-pull” structure of the examples used to motivate it, and appreciating the specific emotional norms relevant to fiction appreciation. Related proposals by Livingston & Mele (1997) and Gilmore (2011) are discussed; their relevance to and coherence with the present account are explained. [This is Chapter 11 of Explaining Imagination.]. (shrink)

The paradox of fiction tackles how we can be considered as rational while having emotions towards fictional and thus non-existing events. I aim to show that the different philosophical positions on this issue can be reconciled within the emotion regulation framework. This approach refines the concept of emotion, defining it as a sequence of distinct regulated processes. I argue that the philosophical solutions that have been proposed to solve the paradox can be framed as different regulation mechanisms occuring at (...) each stage of the emotion sequence. Based on these results, I propose an original and unifying solution to the paradox of fiction which relies on the notion of quasi-belief. On one hand, this solution solves the paradox of fiction through rejecting each proposition of the paradox at different stages of the emotion process. On the other hand, it explains through the notion of rational appraisal why the question of the existence of emotions towards fictional events is bound to the question of their rationality. The functional roles of emotion towards fictional events are thus discussed, showing how rationality shapes emotions towards fictional events. (shrink)

Essential for the concept of the law of nature is not only spatio-temporal universality, but also functionality in the sense of the dependency on physical conditions of natural entities. In the following it is explained in detail that just the neglect of this functional property is to be understood as the real reason for the occurrence of the Goodman paradox. As a consequence, the behavior of things seems to be completely at the mercy of the temporal change of unique absolute (...) temporal points. It is exactly this (mis-)understanding that also generated the induction problem. From the intrinsic connection between universality and functionality, however, - that is my claim - the ontological consequence of a nature results, for which the potentiality of lawfulness is coupled to essentially functionally defined time sequences. (shrink)

My main aim at this paper is to present Lewis Carrol’s Paradox on the justification of logical principles inasmuch as some attempts of solving it. This is important because if there are basic logical principles, it also seems necessary to exist some justification for them. By considering some observations from Ryle, Devitt and Kripke about the theme, we intend to briefly display their theories and their core critics among themselves and, mainly, the critics against adoption theory.

Since the dawn of philosophy, the paradoxical interconnection between the continuous and the discrete plays a central rôle in attempts to understand the ontology of the world, while defying all attempts at consistent formulation. I investigate the relation between (classical) logic and concepts of “space” and “time” in physical and metaphysical theories, starting with the Greeks. An important part of my research consists in exploring the strong connections between paradoxes as they appear and are dealt with in ancient philosophy, and (...) their re-appearance in early modern natural philosophy, as well as in the foundations of contemporary science and mathematics. The way paradoxes are dealt with sheds light on a theory’s hidden metaphysical assumptions, especially with respect to matter, space, time and causation, it defines its ontological signature. This conclusion led me to the in-depth study of early modern natural philosophy, the origin of natural science, especially the influences ancient thinkers had on the new conceptions of space, time and causation developed by Newton, Huygens and Leibniz. (shrink)

In Savoring Disgust, Carolyn Korsmeyer argues that disgust is peculiar amongst emotions, for it does not need any of the standard solutions to the so-called paradox of fiction. I argue that Korsmeyer’s arguments in support of the peculiarity of disgust with respect to the paradox of fiction are not successful.

Egal was der heutige Tag auch bringen mag, der 1. April 2063 wird zumindest als der Tag in die Geschichte des Wissenschaftsjournalismus eingehen, der die bisher aufwändigste Berichterstattung erfahren hat. So viele Kamerateams, wie hier vor den Toren der Australian National University in Canberra, hat bisher kein wissenschaftliches Experiment anziehen können. Selbst der Knüller des Vorjahres, als es einer 48jährigen Hausfrau in einem Vorort von London gelang, mit einfachsten Küchenutensilien einen kleinen Kalte-Fusion-Reaktor herzustellen, der den Staubsauger und die Mikrowelle zuverlässig (...) mit sauberer Energie versorgte, hatte bei weitem nicht ein solches Echo in der Wissenschaftspresse erfahren. Es war zwar noch nichts über den Experimentausgang zu erfahren, trotzdem wurde freilich seit drei Tagen ununterbrochen live auf fast allen Kanälen aus Canberra darüber berichtet, dass nun zwar noch nichts zu erfahren sei, dass es aber ja sehr bald soweit sein müsse. Das Experiment, dessen Ausgang man hier so gespannt erwartete, war schon im Vorfeld hitzig diskutiert worden und überhaupt nur durch einen Sonderbeschluss der Vereinten Nationen zustande gekommen. Immerhin läuft die Vorbereitung bereits seit fast 30 Jahren, als sich mehrere Philosophen und Bürgerinitiativen zusammenschlossen, die UNO um eine endgültige Klärung einer der ältesten Fragen der Menschheit zu bitten: Was ist Bewusstsein? Und insbesondere: Ist Bewusstsein etwas anderes als physikalisch beschreibbare Zustände unseres Gehirns, oder sind alle Tatsachen letztlich physikalische Tatsachen? Dass diese Fragen trotz ihres Ehrfurcht einflößenden Alters zunehmend auf den Nägeln brannten, hatte nicht zuletzt die jüngste Entwicklung der Computertechnologie befördert. Nachdem die KI in den letzten Jahrzehnten einen großen Schritt vorwärts gemacht hatte, war man in Sorge, dass ohne endgültige begriffliche Klärung dieser Fragen unser zukünftiger Umgang mit unseren elektronischen Helfern auf moralisch unsicherem Boden stehen könne. Man hatte sich daher nach langer Abwägung der ethischen Aspekte dieses Experiments dazu entschieden, ein gerade neugeborenes Waisenkind in einem völlig schwarz-weiß-grauen Raum groß werden zu lassen, sorgsam darum bemüht, dass die kleine Mary (so hatte man das Mädchen in Anlehnung an die Protagonistin einer fiktiven philosophischen Geschichte genannt) keine Farben zu Gesicht bekommt.. (shrink)

Fictional names pose a difficult puzzle for semantics. We can truthfully maintain that Frodo is a hobbit, while at the same time admitting that Frodo does not exist. To reconcile this paradox I propose a way to formalize the interpretation of fiction as ‘prescriptions to imagine’ (Walton 1990) within an asymmetric semantic framework in the style of Kamp (1990). In my proposal, fictional statements are analyzed as dynamic updates on an imagination component of the interpreter’s mental state, while plain (...) assertions are updates on a belief component. Proper names – regular, empty, or fictional – are uniformly analyzed as presupposition triggers. The possibility of different attitude components referentially depending on each other is what ultimately allows us to account for the central paradox mentioned above. (shrink)

Ziel des Beitrages ist die differenzierende Beschreibung des Projekts Cybersyn sowie die anschließende kritische Perspektivierung ausgewählter neokybernetischer Governance-Konzepte, die in den letzten Jahren verstärkt im Policy-Kontext diskutiert wurden. Die „Entscheidungsmaschine“ Stafford Beers, die der Management-Kybernetiker unter Salvador Allende in den frühen Siebzigern konzipierte, wird zumeist als Projekt eines technisch avancierten, ökonomischen Organisationskonzepts, eines „dritten Wegs“ beschrieben. Der Beitrag diskutiert die Grundkonzeption des „sozialistischen Internets“, seine fortschrittlichen, ökonomischen Ideen und Ästhetiken wie auch die Person Stafford Beer, legt den Fokus aber vor (...) allem auf ein eher selten beschriebenes Teilkonzept, namentlich „Cyberfolk“, eine Art binäres, affektives Echtzeit-Stimmungsbarometer der Bevölkerung zur Live-Bewertung von politischen Reden. In diesem Konnex werden gerade die demokratietheoretischen Implikationen von Cybersyn und seine Vorstellung „totaler Transparenz“ genauer untersucht. Im Anschluss wird expliziert, wie sich in unterschiedlichen gegenwärtigen Konzeptionen fluider Techno- bzw. technoider Expertokratien – von den „smart states“ Beth Novecks bis zur „direct technocracy“ Parag Khannas – die „Kybernetisierung des Politischen“ auch im digitalen Zeitalter – gewissermaßen unter umgekehrtem, d.h. neoliberalen Vorzeichen – revitalisiert und dabei sowohl problematische Partizipations- als auch Emanzipationskonzepte umreisst. Zu untersuchen sind in dieser Hinsicht so auch die reduktiven Aspekte der Beerschen letztlich feedbacklogischen Konzeption des Politischen. (shrink)

In a series of articles, Dan Lopez De Sa and Elia Zardini argue that several theorists have recently employed instances of paradoxical reasoning, while failing to see its problematic nature because it does not immediately (or obviously) yield inconsistency. In contrast, Lopez De Sa and Zardini claim that resultant inconsistency is not a necessary condition for paradoxicality. It is our contention that, even given their broader understanding of paradox, their arguments fail to undermine the instances of reasoning they attack, either (...) because they fail to see everything that is at work in that reasoning, or because they misunderstand what it is that the reasoning aims to show. (shrink)

Why is it that we respond emotionally to plays, movies, and novels and feel moved by characters and situations that we know do not exist? This question, which constitutes the kernel of the debate on »the paradox of fiction«, speaks to the perennial themes of philosophy, and remains of interest to this day. But does this question entail a paradox? A significant group of analytic philosophers have indeed thought so. Since the publication of Colin Radford's celebrated paper »How Can (...) We Be Moved by the Fate of Anna Karenina?« (1975), the number of proposals to solve, explain, reformulate, dismiss or even revitalize this apparent paradox has continued to proliferate. In line with recent developments in the philosophy of emotion, in this paper I will argue against the sustainability of the paradox, claiming that the only reasonable way to continue our discussions about it consists in using it as a heuristic tool to shed light on problems regarding our involvement with fiction. Against this background, I will then focus on one of the problems related to how our emotional responses to fiction contribute to our appreciation of it. The paper is divided into three main sections. The first section shows the parallel evolution of the paradox of fiction and the analytic philosophy of emotion. Here I claim that, although the paradox is epistemically flawed, since one of its premises is rooted in a limited view on the emotions typical of early cognitiv-ism, the discussions it provokes are still epistemically useful. As Robert Stecker (2011, 295), among others, has pointed out, the paradox was formulated during the heyday of cognitive theories of the emotions in which emotion necessarily requires belief. Today, however, only few authors would endorse this premise. If emotion does not always require belief (as the majority of authors in the contemporary debate admit), let alone belief about the existence of the object towards which it is directed, then there is no reason to speak of a paradox. From this first conclusion, however, it does not follow that the paradox is completely without use from the epistemic point of view. A glimpse at the topics touched on during the discussions about how to solve, reformulate, or negate the paradox reveals their value in shedding light on the interrelation between emotion and fiction. The second section elaborates a phenomenologically inspired cognitive account of the emotions by focusing on their cognitive bases, their influence on Emotion in the Appreciation of Fiction 205 cognitions, and their cognitive function. In this model, emotions are responsible for indicating values, for showing what matters to us, and for being appropriate to their objects. My claim is that this view applies not only to reality, but also to our involvement with fiction. In the final section I draw on this account to focus on one kind of appreciation of fiction which necessarily requires our emotional involvement. Following an idea put forward by Susan Feagin (1996, 1), I employ the concept of »appre-ciation« to refer to a set of abilities exercised with the aim of extracting value from the work. There is a long tradition in aesthetics that condemns any focus on the emotions in the appreciation of art and fiction, and defends the necessity of aesthetic appreciation without emotional influence. To refer to this negative attitude towards the emotions, I will borrow an expression coined by Susan Feagin (2013, 636), who refers to »the intellectualized view of appreciation«. Against this widespread view, I will argue that some aspects of the fiction can only be appreciated with the help of our emotions. The cognitive approach developed in the previous section can explain how the emotions might in fact play a significant role in the appreciation of art and fiction. Attention will be paid to three activities involved in appreciation, for all of which emotion is crucial: processing relevant information about the fictional world, understanding aspects of it, and becoming acquainted with the values it presents. My aim here is to argue that there are particular aspects of the fictional world that can only be appreciated if recipients have the appropriate emotions. (shrink)

Comix Zone (Sega Technical Institute, 1995) is a two-dimensional scrolling beat ‘em up videogame released in 1995 for the Sega Mega Drive (known as Sega Genesis in North America). Comix Zone has two peculiarities which makes it even today an easily distinguishable videogame. These peculiarities are interrelated. First, Comix Zone imitates the aesthetics and visual settings peculiar to comic books, the aim of which is to join the experience of playing a videogame with that of reading a comic; and second, (...) Comix Zone is ultimately grounded on the philosophical claim that fictional characters are actually existing entities, distinct from, and even colliding with, their creator(s). It is pointed out that this claim on the nature of fictional characters was seriously argued for, and put it into literary practice, by the Spanish philosopher Miguel de Unamuno (1864–1936). (shrink)

I distinguish paradoxes and hypodoxes among the conundrums of time travel. I introduce ‘hypodoxes’ as a term for seemingly consistent conundrums that seem to be related to various paradoxes, as the Truth-teller is related to the Liar. In this article, I briefly compare paradoxes and hypodoxes of time travel with Liar paradoxes and Truth-teller hypodoxes. I also discuss Lewis’ treatment of time travel paradoxes, which I characterise as a Laissez Faire theory of time travel. Time travel paradoxes are impossible according (...) to Laissez Faire theories, while it seems hypodoxes are possible. (shrink)

This paper addresses the so-called paradox of fiction, the problem of explaining how we can have emotional responses towards fiction. I claim that no account has yet provided an adequate explanation of how we can respond with genuine emotions when we know that the objects of our responses are fictional. I argue that we should understand the role played by the imagination in our engagement with fiction as functionally equivalent to that which it plays under the guise (...) of acceptance in practical reasoning, suggesting that the same underlying cognitive-affective mechanisms are involved in both activities. As such, our imaginative engagement with fiction un-problematically arouses emotions, but only to the extent that we are not occurrently attending to our epistemic relation to the fiction i.e. fully attending to the fact that the object of our response is merely fictional. In order to illuminate this idea I examine a recent proposal that the phenomenology of attention is partially non-attributive, and I argue that emotional phenomenology too shares this characteristic. (shrink)

There are propositions constituting the content of fictions—sometimes of the utmost importance to understand them—which are not explicitly presented, but must somehow be inferred. This essay deals with what these inferences tell us about the nature of fiction. I will criticize three well-known proposals in the literature: those by David Lewis, Gregory Currie, and Kendall Walton. I advocate a proposal of my own, which I will claim improves on theirs. Most important for my purposes, I will argue on this (...) basis, against Walton’s objections, for an illocutionary-act account of fiction, inspired in part by some of Lewis’s and Currie’s suggestions, but (perhaps paradoxically) above all by Walton’s deservedly influential views. (shrink)

L'exemple le plus connu de l'impossibilité de voyager dans le temps est le paradoxe du grand-père ou l'argument de l'auto-infanticide: une personne qui voyage dans le passé et tue son propre grand-père, empêchant ainsi l'existence d'un de ses parents et donc sa propre existence. Une réponse philosophique à ce paradoxe serait l'impossibilité de changer le passé, (à l'instar du principe de cohérence de Novikov. Le paradoxe du grand-père implique toute action qui change le passé. Il se présente (...) sous de nombreuses variantes. DOI: 10.13140/RG.2.2.14587.26409. (shrink)

Roger Swyneshed, in his treatise on insolubles (logical paradoxes), dating from the early 1330s, drew three notorious corollaries of his solution. The third states that there is a contradictory pair of propositions both of which are false. This appears to contradict the Rule of Contradictory Pairs, which requires that in every such pair, one must be true and the other false. Looking back at Aristotle's treatise De Interpretatione, we find that Aristotle himself, immediately after defining the notion of a contradictory (...) pair, gave counterexamples to the rule. Thus Swyneshed's solution to the logical paradoxes is not contrary to Aristotle's teaching, as many of Swyneshed's contemporaries claimed. Dialetheism, the contemporary claim that some propositions are both true and false, is wedded to the Rule, and in consequence divorces denial from the assertion of the contradictory negation. (shrink)