I explore options for a plenitudinarian solution to the Paradox of Flexible Origin Essentialism, taking as my unlikely starting point the views of Sarah-Jane Leslie, who holds that if plenitudinarianism is true, then there is in fact no paradox to be solved, only the illusion of one. The first three sections are expository: Sect. 1 on plenitudinarianism, Sect. 2 on the paradox, and Sect. 3 on Leslie’s views about how plenitudinarianism bears on the paradox. In Sect. 4, I reject the (...) contention that there is no paradox and critically explore three options for a plenitudinarian solution. In Sect. 5, I argue that the plenitudinarian ought to endorse a fourth option. In Sect. 6, I consider an objection. I endorse neither plenitudinarianism nor its denial; the main aim of the paper is to argue that for one who does endorse plenitudinarianism, the best solution to the Paradox of Flexible Origin Essentialism is clear. (shrink)

We defend hylomorphism against Maegan Fairchild’s purported proof of its inconsistency. We provide a deduction of a contradiction from SH+, which is the combination of “simple hylomorphism” and an innocuous premise. We show that the deduction, reminiscent of Russell’s Paradox, is proof-theoretically valid in classical higher-order logic and invokes an impredicatively defined property. We provide a proof that SH+ is nevertheless consistent in a free higher-order logic. It is shown that the unrestricted comprehension principle of property abstraction on which the (...) purported proof of inconsistency relies is analogous to naïve unrestricted set-theoretic comprehension. We conclude that logic imposes a restriction on property comprehension, a restriction that is satisfied by the ramified theory of types. By extension, our observations constitute defenses of theories that are structurally similar to SH+, such as the theory of singular propositions, against similar purported disproofs. (shrink)

In 2015 the United Kingdom (UK) became the first nation to legalize egg and zygotic nuclear transfer procedures using mitochondrial replacement techniques (MRTs) to prevent the maternal transmission of serious mitochondrial DNA diseases to offspring. These techniques are a form of human germline genetic modification and can happen intentionally if female embryos are selected during the MRT clinical process, either through sperm selection or preimplantation genetic diagnosis (PGD). In the same year, an MRT was performed by a United States (U.S.)-based (...) physician team. This experiment involved a cross-border effort: the MRT procedure per se was carried out in the US, and the embryo transfer in Mexico. The authors examine the ethics of MRTs from the standpoint of genetic relatedness and gender implications, in places that lack adequate laws and regulation regarding assisted reproduction. Then, we briefly examine whether MRTs can be justified as a reproductive option in the US and Mexico, after reassessing their legalization in the UK. We contend that morally inadequate and ineffective regulations regarding egg donation, PGD, and germline genetic modifications jeopardize the ethical acceptability of the implementation of MRTs, suggesting that MRTs are currently difficult to justify in the US and Mexico. In addition to relevant regulation, the initiation and appropriate use of MRTs in a country require a child-centered follow-up policy and more evidence for its safety. (shrink)

This essay is part of a doctoral dissertation presented to the Department of Philosophy, University of São Paulo, in 1993, named 'Genealogy of the Real' . Its core idea is a Nietzschean approach to a masterpiece among philosophical inspired movies, namely, Akira Kurosawa's Rashomon, which surely touches deep groundings of the concept of truth and reality.

Sogo/Gakuryu Ishii is one of the pioneers of the punk/cyberpunk movement in Japanese cinema. Though his style changed throughout his career, his early films have been a great influence to filmmakers around the world. His unique filmic style presents questions, observations and interpretations regarding the role of violence as normalized in the daily lives of heavily marginalized punk youth portrayed in an amplified and stylized cyberpunk Japan. What is so captivating about Ishii's style and motivation is that he (...) was not only a filmmaker interested in making embellished political or social commentary, Ishii was also part of the emerging punk movement in Japan and several musicians of punk rock bands were also involved in his films. My main aim in my inquiry into Ishil's early films involves two parts regarding the same concept. The first is the ethical issues that arise both with portrayal of violence in films as well as the intention of such an endeavor in general. The second part is the way in which violence is made to be part of the film in terms of form and style. This may be interpreted as either glorifying and stylizing violence or showing that violence is nothing but a destructive force that the outcasts of society may not be able to escape. To the last statement Ishii seems to be silent but very active. What I mean by this is that the simplistic plot-lines of his early films are contrasted by heavy punk music, fast editing, constant moving camera and rage, fear and disappointment in the faces of the anti-heroes. (shrink)

This paper wants to commemorate Akira Toriyama after his death by analyzing his major work, Dragon Ball. In the work, I tried to point out some of the most important characteristics of the series so to understand its success and influence in the mass culture: I found irony to be constitutive as a refined device that broadens the intended audience and, on the other hand, I detected social interests, specifically Japanese complexities, to be structural for the morality of the (...) series. (shrink)

Taking as starting point Akira Kurosawa’s film, I analyse the tension between the reconstructive nature of memory and the possibility of knowing truths from the past, and I explore if the tendency to align our personal memories to our present interests necessarily leads to an sceptic and relativistic vision of the knowledge from the past.

In this eleventh book of scilogs – called in-turns and out-turns –, one may find new and old questions and solutions, referring mostly to topics on Neutrosophy, but also Multispace, with miscellaneous addition of topics on Physics, Mathematics, or Sociology – email messages to research colleagues, or replies, notes about authors, articles, or books, spontaneous ideas, and so on. -/- Exchanging ideas with Prem Kumar Singh, Feng Liu, Nicolae Bălașa, Jimmy Quellet, Minodora Rușchița, Frank Gelli, A. R. Vătuiu, Victor Christianto, (...) Vladimir I. Rogozhin, Robert Neil Boyd, Akira Kanda, Stefan Spaarmann, Oliver Consa, Yabin Shao, Junle Zhuo, Nivetha Martin, Said Broumi, Jean Dezert, Erick González, Tomasz Witczak, B. De Baets, I. Couso, D. Dubois, L. Good, Mihaela Colhon, Atiqe Ur Rahman, Muhammad Saeed, Muhammad Ihsan, Edeline Nancy, Shawkat Alkhazaleh, Shazia Rana, Vasantha Kandasamy, Santanu Acharjee, Mohamed Al-Shmrani, Parimala Manie, Mehmet Unver, Murat Olgun, Adel Aleidhri, Akira Kanda, Ilanthenral Kandasamy, Mircea Zărnescu, R. Tayebi Khorami, Arsham Borumand Saeid, Maisam Jdid, M. Abobala, Riad Hamido, Rafael Rojas, Esmaeil Zarei, Faisal Khan, Rouzbeh Abbassi, Adel Al-Odhari, Henry Garrett, Ackbar Rezaei, Saeid Jafari, Karthika Muthusamy, Harish Garg, Huda E. Khalid, Gonca D. Güngör, Muslim A. Noah Zainal, Fakhry Asad Agusfrianto, Madeleine Al-Tahan, Mariam Hariri, Yudi Mahatma, Masoud Ghods, Marco Brigliadori, Luis Enrique Aponte Pérez, Amr Mohammed, M. Aslam (in order of reference in the book). (shrink)

Nella sua riflessione filosofica sull’immagine filmica Gilles Deleuze sembra aver tradotto nella maniera più immediata, ancorché insolubilmente problematica, la presenza di uno spazio e di un tempo che giocano il proprio ruolo su di una forma passiva di soggettività: è proprio ne L’image- mouvement, infatti, che Deleuze mostra come uno dei passaggi più proficui delle sue osservazioni sul cinema sia proprio la crisi di ciò che egli definisce immagine-azione, a favore, invece, di un’immagine-tempo, o situazione ottica e sonora pura. Per (...) quanto attiene specificamente lo statuto filosofico dell’immagine, si può dire che sia proprio questo passaggio che consente a Deleuze stesso di modulare la sua riflessione riponendo maggiore attenzione all’elemento temporale rispetto invece al movimento — concetto dal quale, ciononostante, l’indagine sul cinema aveva preso abbrivio. (shrink)