This paper aims to uncover some of the important contributions the phenomenological method can offer to philosophical issues in literary studies. It leads us to the idea that the archetypes found in fiction are intuited phenomenologically. This idea is then linked to a social constructive attainment of meaning for reality. From the intersubjectivity provided by phenomenology, empathy with characters in fiction is then displayed as more than an intellectual activity, as it becomes known to have practical (...) implications. It is framed as involving the same processes as the empathy we have with people in the real world. This equivalency allows for the plausibility of the notion that fiction-making is a necessary process for our interpretations of reality. It designates our involvement in fiction as beneficial to our experience of the real world and supports the notion it can train us to empathize. Such training is displayed to be posssible from phenomenology’s role in the process of empathy. Phenomenology's method de-centers the Cartesian ego to prevent any impasse between internal consciousness and the external world. Since they are bridged together by intentionality, we learn that phenomenology is a method that can contribute to how we conceive of empathy. (shrink)

What kind of thing, as it were, is power and how does it fit into our understanding of the social world? I approach this question by exploring the pragmatic character of power ascriptions, arguing that they involve fictional expectations directed at an open future. When we take an agent to be powerful, we act as if that agent had a robust capacity to make a difference to the actions of others. While this pretense can never fully live up to (...) a social reality whose future is open, acting on such expectations helps constitute social order. Fictional expectations are thus built into the material practices that constitute power. This account, I argue, helps us make sense of some of the deep disagreements about the nature of power. I develop the account by drawing on Thomas Hobbes’s myth of an original institution of sovereign power before expanding it to other forms of power. (shrink)

There is growing support for the view that social categories like men and women refer to “objective types” (Haslanger 2000, 2006, 2012; Alcoff 2005). An objective type is a similarity class for which the axis of similarity is an objective rather than nominal or fictional property. Such types are independently real and causally relevant, yet their unity does not derive from an essential property. Given this tandem of features, it is not surprising why empirically-minded researchers interested in fighting oppression (...) and marginalization have found this ontological category so attractive: objective types have the ontological credentials to secure the reality (and thus political representation) of social categories, and yet they do not impose exclusionary essences that also naturalize and legitimize social inequalities. This essay argues that, from the perspective of these political goals of fighting oppression and marginalization, the category of objective types is in fact a Trojan horse; it looks like a gift, but it ends up creating trouble. I argue that objective type classifications often lack empirical adequacy, and as a result they lack political adequacy. I also provide, and in reference to the normative goals described above, several arguments for preferring a social ontology of natural kinds with historical essences. (shrink)

The text “Language and Social Reality” is translated here from the work of John R. Searle: The Construction of Social Reality (The Free Press: New York, 1995. Chapter 3: Language and Social Reality. pp. 59–78.

One of the greatest achievements of modern physics is the discovery of spacetime by Hermann Minkowski. Still, talking about the ”discovery” of spacetime cannot be done without further questioning its ontological status. Did Minkowski discover a real physical substrate? What is the creative role of his scientific imagination in the process of discovery? To what extent the explanatory power of spacetime supports the conclusion that it is a true description of the physical world? I consider those questions in that paper, (...) and I claim that for Minkowski’s discovery of spacetime, imagination and explanation work together in a fictionalist strategy. I explain why there is no reason to doubt the veracity of the discovery of spacetime and its physical reality. (shrink)

While this article aims to explore the connections between citizenship and ‘race’, it is the first study to use fictional tools as a sociological resource in exemplifying the deviation between citizenship in principle and practice in an Austrian context. The study involves interviews with 73 Austrians from three ethnic/racial groups, which were subjected to a directed approach to qualitative content analysis and coded based on sentences from George Orwell’s fictional book, ‘Animal Farm’. By using fiction as a conceptual and (...) analytical device, this article goes beyond the orthodox particulars of citizenship to expose the compressed entitlements of some racial/ethnic minorities. In particular, data analysis revealed two related and intertwined central themes: (a) “all animals are not equal or comrades”; and (b) “some animals are more equal than others”. All ‘animals’ may be equal in principle, whereas, in practice, their ‘race’ serves as a critical source of social (dis)advantage in the ‘animal kingdom’. Thus, since citizenship is a precondition for possessing certain rights that non-citizens are not granted, I argue that citizenship cannot only be judged by whom it, in theory, excludes (i.e., non-citizens), but also by how it treats the included (i.e., citizens) on the basis of their ‘race’. I conclude that skin colour is a specific aspect of the hierarchy of citizenship in Austria, which reinforces that ‘some animals are more equal than others’. (shrink)

This paper reconstructs Gramsci’s account of social objects in light of recent developments in analytic social ontology. It combines elements of Gramsci’s account with that of John Searle, and argues that when taken together their theories constitute a robust account of social reality and a nuanced view of the relation between social reality and power. Searle provides a detailed analysis of the creation of social entities at the level of the agent, while Gramsci, (...) by employing his concepts of hegemony and domination, is able to provide an analysis of the differential ability of societal subgroups to construct the social world. (shrink)

As belief in the reality of race as a biological category among U.S. anthropologists has fallen, belief in the reality of race as a social category has risen in its place. The view that race simply does not exist—that it is a myth—is treated with suspicion. While racial classification is linked to many of the worst evils of recent history, it is now widely believed to be necessary to fight back against racism. In this article, I argue (...) that race is indeed a biological fiction, but I critique the claim that race is socially real. I defend a form of anti‐realist reconstructionism about race, which says that there are no races, only racialized groups—groups mistakenly believed to be races. I argue that this is the most attractive position about race from a metaphysical perspective, and that it is also the position most conductive to public understanding and social justice. (shrink)

Reality is composed of many layers, including what John Searle calls “brute facts” and, superimposed on these, what he calls “social reality”. Ontology is the study of reality in its various layers, and involves attempts to describe that reality in ways that are useful and logically consistent. Philosophers and others who attempt to “build” ontologies, must examine the manners in which we can best describe objects, and devise structured vocabularies that can be used consistently, often (...) across disciplines, and now with an eye toward automation such that when people use terms to describe reality, a greater consistency, and thus better understanding, ensues. Any object of intentionality is capable of ontological analysis and greater clarity. Abstract objects composed by collective intentionality, such as the institutions and other objects that comprise “social reality”, are especially rich domains for ontological analysis. (shrink)

Can groups really be agents or is group agency just a fiction? Christian List and Philip Pettit argue influentially for group-agent realism by showing how certain groups form and act on attitudes in ways they take to be unexplainable at the level of the individual agents constituting them. Group agency is therefore considered not a fiction or a metaphor but a reality we must account for in explanations of certain social phenomena. In this paper, I challenge (...) this defence of group-agent realism by showing how it is undermined by individual-level analysis of how individuals interact within groups. While group agency can be a useful fiction, real agents are at the individual level, not the collective level. (shrink)

A planetary panic and almost deserted cities, fear of food shortages, and the growing threat of an invisible virus that does more damage day by day. In the time of the COVID-19 pandemic, many believe that science fiction has now been overtaken by reality. In these times of adversity, what does it take to survive when the world comes crashing down? How do humans stay resilient, manage their growing stress, and somehow navigate through the crisis? More specifically, how (...) do humans cope with isolation and loneliness in the light of a global outbreak? What does science fiction have to tell us about this? For the bewildered population, science fiction has been recognized as an ingredient to understand an unexpected reality. In this article I explain, through the philosophical eye of Francis Lawrence’s movie I Am Legend (2007), how a coping skill such as imagination, in the age of pandemics and social distancing, can mutate into a “Second Reality” that fills the gap left by the former (pre-outbreak) reality. (shrink)

In The Future of Human Nature, Jürgen Habermas raises the question of whether the embryonic genetic diagnosis and genetic modification threatens the foundations of the species ethics that underlies current understandings of morality. While morality, in the normative sense, is based on moral interactions enabling communicative action, justification, and reciprocal respect, the reification involved in the new technologies may preclude individuals to uphold a sense of the undisposability of human life and the inviolability of human beings that is necessary for (...) their own identity as well as for reciprocal relations. Engaging with liberal bioethics and Catholic approaches to bioethics, the article clarifies how Habermas’ position offers a radical critique of liberal autonomy while maintaining its postmetaphysical stance. The essay argues that Habermas’ approach may guide the question of rights of future generations regarding germline gene editing. But it calls for a different turn in the conversation between philosophy and theology, namely one that emphasizes the necessary attention to rights violations and injustices as a common, postmetaphysical starting point for critical theory and critical theology alike. In 2001, Jürgen Habermas published a short book on questions of biomedicine that took many by surprise.[1] To some of his students, the turn to a substantive position invoking the need to comment on a species ethics rather than outlining a public moral framework was seen as the departure from the “path of deontological virtue,”[2] and at the same time a departure from postmetaphysical reason. Habermas’ motivation to address the developments in biomedicine had certainly been sparked by the intense debate in Germany, the European Union, and internationally on human cloning, pre-implantation genetic diagnosis, embryonic stem cell research, and human enhancement. He turned to a strand of critical theory that had been pushed to the background by the younger Frankfurt School in favor of cultural theory and social critique, even though it had been an important element of its initial working programs. The relationship of instrumental reason and critical theory, examined, among others, by Max Horkheimer, Theodor W. Adorno, and Herbert Marcuse and taken up in Habermas’ own Knowledge and Interest and Theory of Communicative Action became ever-more actual with the development of the life sciences, human genome analysis, and genetic engineering of human offspring. Today, some of the fictional scenarios discussed at the end of the last century as “science fiction” have become reality: in 2018, the first “germline gene-edited” children were born in China.[3] Furthermore, the UK’s permission to create so-called “three-parent” children may create a legal and political pathway to hereditary germline interventions summarized under the name of “gene editing.”In this article, I want to explore Habermas’ “substantial” argument in the hope that philosophy and theology become allies in their struggle against an ever-more reifying lifeworld, which may create a “moral void” that would, at least from today’s perspective, be “unbearable”, and for upholding the conditions of human dignity, freedom, and justice. I will contextualize Habermas’ concerns in the broader discourse of bioethics, because only by doing this, his concerns are rescued from some misinterpretations.[1] Jürgen Habermas, The Future of Human Nature.[2] Ibid., 125, fn. 58. 8[3] Up to the present, no scientific publication of the exact procedure exists, but it is known that the scientist, Jiankui He, circumvented the existing national regulatory framework and may have misled the prospective parents about existing alternatives and the unprecedented nature of his conduct. Yuanwu Ma, Lianfeng Zhang, and Chuan Qin, "The First Genetically Gene‐Edited Babies: It's “Irresponsible and Too Early”," Animal Models and Experimental Medicine ; Matthias Braun, Meacham, Darian, "The Trust Game: Crispr for Human Germline Editing Unsettles Scientists and Society," EMBO reports 20, no. 2. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

The current debate on literary cognitivism in the philosophy of fiction typically assumes that we can rigorously distinguish between fictional and factual, and focuses on the question of whether and how works of fiction can impart propositional knowledge to the reader. In this paper we suggest that this way of framing the debate may be problematic. We argue that works of fiction almost inevitably include a reference to the real world and that – contrary to what is (...) usually assumed – the exchange between fiction and reality is vivid as well as potentially fruitful. We shed a new light on these complex dynamics by building on the metaphors of trade exchange and smuggling between the two worlds. While the current debate exclusively focuses on cognitively relevant goods that “officially” cross the border through “customs”, as it were, we show that exchanges between fiction and reality run deeper. Indeed, as we show, a substantial part of the cognitive impact that we derive from fiction goes “under the table” and is “smuggled” from fiction to reality. As such, it bypasses the audience’s conscious control, which in turn explains the manipulative force that fiction can exert. Smuggling takes place when cognitively relevant contents are passed on to the reader in subliminal ways, as it happens when they imprint implicit biases or prejudices, shift perspectives or subtly modify habits or patterns of behavior. By elaborating on the metaphors of trade exchange and smuggling, we aim at presenting a more comprehensive and nuanced understanding of the relations between fiction and reality and on the impact that imagination has on our real-world beliefs. (shrink)

This paper critically evaluates the semantic externalist conception of Race and Gender concepts put forward in Sally Haslanger's 2012 essay collection "Resisting Reality". I argue that her endorsement of "objective type externalism" limits the options for critique compared to social externalist approaches.

Can artificial entities be worthy of moral considerations? Can they be artificial moral agents (AMAs), capable of telling the difference between good and evil? In this essay, I explore both questions—i.e., whether and to what extent artificial entities can have a moral status (“the machine question”) and moral agency (“the AMA question”)—in light of Kazuo Ishiguro’s 2021 novel Klara and the Sun. I do so by juxtaposing two prominent approaches to machine morality that are central to the novel: the (1) (...) view “from within,” including the standard (or “metaphysical”) perspective on moral agency, and the (2) view “from outside,” which includes behaviorism, functionalism and the social-relational perspective. Importantly, while the story illustrates both views, it exposes the epistemological vulnerability of the first in relation to the practical and social reality imposed by the second. That is, regardless of what metaphysical properties the Artificial Friend Klara can be said to have (from within), her moral status as well as agency ultimately depend on the views of others (from outside), including the others’ own epistemic beliefs about the nature of consciousness and personhood. (shrink)

Friedrich Schlegel’s remarks about poetry and reality are notoriously baffling. They are often regarded as outlandish, or “poetically exaggerated” statements, since they are taken to suggest that there is no difference between poetry and reality or to express the view that there is no way out of linguistic and poetic constructions (Bowie). I take all these responses to be mistaken, and argue that Schlegel’s remarks are philosophical observations about a genuine confusion in theoretical approaches to the distinction between (...) fiction and reality. The confusion at stake involves the assumption that this distinction is and must be fixed independently of the ordinary practices of using these terms to mean certain things in specific situations. And this assumption itself is grounded fundamentally in a confused picture about the way language works. I argue that this confused understanding of the distinction between fiction and reality is not an object of the past, but a picture that is still shaping a central strand in the contemporary debate in philosophical aesthetics about our emotional responses to fiction. And while I do not use Schlegel’s approach to argue against this contemporary view directly, I suggest that his philosophical method includes the resources for unraveling a central confusion in this contemporary debate. (shrink)

Social advertising often employs persuasive imagery in support of a morally laden cause. These visual arguments can take the form of veridical representations of the given situation or the form of purposeful visual blends. Both visual routes to persuasion have serious ethical issues to confront. In what concerns the purportedly veridical images, controversies about picture retouching and framing have cast many doubts on their success in offering unmediated access to a given reality. Editorial interests have proven far too (...) influential on the destiny of what and how is presented to the audience from the amount of visual material available on a topic. Even when the audience is certain that photos are not doctored, the use of veridical images may be seen as unethical. Their disproportionate affective impact may lead the audience to hold biased opinions, since other concerns may be impossible to capture in a vivid picture. Visual blends may be the answer to this problem, employing the fictional or the figurative to help the viewer grasp the moral anatomy of a given situation. Their generous use of figurative meaning may be seen as their strength and their weakness at the same time. It makes them less likely to face accusations of distorting reality, because they do not claim to be windows on reality per se. At the same time, it makes them vulnerable to interpretations that miss their true point – one might appreciate the artistry of a visual metaphor or a visual pun and fail to consider the statement it makes about a given situation. Contemporary philosophical approaches to the place of visuals in moral persuasion inform my analysis of the use of visual arguments in charity-oriented advertising. (shrink)

Most online platforms are becoming increasingly algorithmically personalized. The question is if these practices are simply satisfying users preferences or if something is lost in this process. This article focuses on how to reconcile the personalization with the importance of being able to share cultural objects - including fiction – with others. In analyzing two concrete personalization examples from the streaming giant Netflix, several tendencies are observed. One is to isolate users and sometimes entirely eliminate shared world aspects. Another (...) tendency is to blur the boundary between shared cultural objects and personalized content, which can be misleading and disorienting. A further tendency is for personalization algorithms to be optimized to deceptively prey on desires for content that mirrors one’s own lived experience. Some specific - often minority targeting -“clickbait” practices received public blowback. These practices show disregard both for honest labeling and for our desires to have access and representation in a shared world. The article concludes that personalization tendencies are moving towards increasingly isolating and disorienting interfaces, but that platforms could be redesigned to support better social world orientation. (shrink)

Part 1 of this exchange consists in a critique by Smith of Searle’s The Construction of Social Reality focusing on Searle’s use of the formula ‘X counts as Y in context C’. Smith argues that this formula works well for social objects such as dollar bills and presidents where the corresponding X terms (pieces of paper, human beings) are easy to identify. In cases such as debts and prices and money in a bank's computers, however, the formula (...) fails, because these are cases of what he calls ‘free-standing Y terms’, since there is here no X which can count as the corresponding Y. In his response in Part 2, Searle argues that Smith’s critique rests on three misunderstandings: 1. in wrongly presupposing that Searle is trying to analyze the nature of what he calls “social objects”, rather than of social facts; 2. in thinking that the counts as formula is intended as a definition, rather than as a mere mnemonic; and 3. in neglecting the naturalism of Searle’s account. (shrink)

With the advent of Postmodernism, the recent discussions in Continental thought has called into question the philosophy of the Subject, particularly the Cartesian “cogito” and the related method of reflection. One of the important ramifications of these questioning of the reflective subject is to do with the phenomenological doctrine of intentionality of consciousness. Recently, David Carr, himself a phenomenologist, has advanced a serious objection to the phenomenological approach to social reality. In what follows, I will be attempting a (...) defence of phenomenology against criticisms like Carr’s. (shrink)

The purpose of this paper is to offer some critical remarks on the so-called pragmatist approach to the regulation of robotics. To this end, the article mainly reviews the work of Jack Balkin and Joanna Bryson, who have taken up such ap- proach with interestingly similar outcomes. Moreover, special attention will be paid to the discussion concerning the legal fiction of ‘electronic personality’. This will help shed light on the opposition between essentialist and pragmatist methodologies. After a brief introduction (...) (1.), in 2. I introduce the main points of the methodological debate which opposes pragmatism and essentialism in the regulation of robotics and I examine how legal fictions are framed from a pragmatist, functional perspective. Since this approach entails a neat separation of ontological analysis and legal rea- soning, in 3. I discuss whether considerations on robots’ essence are actually put into brackets when the pragmatist approach is endorsed. Finally, in 4. I address the problem of the social valence of legal fictions in order to suggest a possible limit of the pragmatist approach. My conclusion (5.) is that in the specific case of regulating robotics it may be very difficult to separate ontological considerations from legal reasoning—and vice versa—both on an epistemological and social level. This calls for great caution in the recourse to anthropomorphic legal fictions. (shrink)

This book chapter shows how the early Heidegger’s philosophy around the period of Being and Time can address some central questions of contemporary social ontology. After sketching “non-summative constructionism”, which is arguably the generic framework that underlies all forms of contemporary analytic social ontology, I lay out early Heidegger’s conception of human social reality in terms of an extended argument. The Heidegger that shows up in light of this treatment is an acute phenomenologist of human (...) class='Hi'>social existence who emphasizes our engagement in norm-governed practices as the basis of social reality. I then defuse a common and understandable set of objections against invoking the early Heidegger as someone who can make any positive contribution to our understanding of social reality. Lastly, I explore the extent to which the early Heidegger’s philosophy provides insights regarding phenomena of collective intentionality by showing how the intelligibility of such phenomena traces back to individual agents’ common understanding of possible ways of understanding things and acting with one another. With the early Heidegger, I argue that this common understanding is the fundamental source and basis of collective intentionality, not the non-summativist constructionism on which contemporary analytic social ontology has sought to focus with much effort. The lesson about social ontology that we should learn from the early Heidegger is that there is a tight connection between the social constitution of the human individual and his or her capacity to perform actions or activities that instantiate collective intentionality. (shrink)

Concept Progress is a fusion of science fiction and philosophy. It is a thesis on metaphysics that stretches beyond the scope of modern science and scratches many of our curious itches. The thesis is complemented by short and loosely tied sci-fi stories that make its conceptualizations come to life. ​ The central theme throughout is that progress is a driving force in human evolution. This recurring viewpoint has previously stirred much debate. However, as we escalate through the twenty-first century, (...) the evidence is plentiful. Concept Progress offers a fresh perspective into the topic, citing humanity's ongoing accomplishments as a convincing piece of that evidence. In the book, we celebrate ourselves for our achievements, challenge our perceived limits, and conclude that progress will eventually produce the most evolved life form. In so doing, we look back to the beginning of time and circle forward to a time that is farther away than the current age of the universe. ​ While the tone of the book's body resembles that of a philosophical prose, with each chapter, the reader realizes more and more that the narrative is actually one of science fiction. The intent of the book's structure and approach is manifold. ​ First, it is safe to say that any literature that points to the future is already, by definition, a work of fiction—no matter how serious it tries to sound. Imagining future technologies, foreseeing the next stages of human evolution, and exploring the realm of the highest dimension surely makes it a science fiction. ​ Second, the book is a collection of concepts—abstract notions of the mind that reflect our grasp on certain aspects of reality. It is also a play on those concepts, exposing how our progressive understanding of these notions can gradually be transcended. Each chapter starts with a sketch of a particular concept whose humanistic yet quantum mechanical context lets us identify with it and be mystified by it. From the concepts of sound and light to the concepts of consciousness and coexistence, each concept tale depicts a personal expression of our mutual worldview. ​ Third, each one of the ten chapters concludes with a science fiction story. These stories project the theme further and subtly point to each other. As we connect the dots from one story to another, the outline reveals a world that makes us wonder whether we are headed toward its future or whether we will bypass it as an alternate universe. In one story, we meet the inventor of mind-reading technology while in another story, we meet an artificial life form that will be made possible by this technology. Yet another story is about the time-traveling mind of an astrophysicist whose life's work has impacts on whole timelines, as revealed by a different story. In the end, it all comes together with the final piece of the puzzle completing not only the short story series, but also the novel as a whole. ​ Each three-part chapter is a triad with a distinct purpose in mind. We begin the journey with our own curiosity. This basic emotion allows us to open the door to that which we are so curiously seeking. Essentially, that covers everything. In questioning the entirety of existence, we commence with the premise that it is the element of life that sends us on a quest for meaning. So we review the trend of life's evolution on Earth from its roots to the present day and follow this trend into the distant future. The process of evolutionary development leads us to a recipe for one's own personal progress, which is comprised of physical, mental, and spiritual ingredients. It soon becomes clear that a species can change only insofar as its individual members embrace this change. And we realize that our choice in the matter has impacts not only on our own future, but also on the future of everyone who shares our timeline. ​ In some ways, Concept Progress is a modern reflection of Charles Darwin's revolutionary theory of evolution. In other ways, it is an encouraging observation of our humble human existence. As we widen the time scale and follow this evolutionary trend from biological, social, and cosmic angles, the concepts of evolution and progress slowly but surely become synonymous. (shrink)

What is the nature of the social reality? How do the major social institutions like money and law exist? What are the limits of individualistically-oriented social theories? These and related problems are intensely discussed in philosophy, in legal theory and in the methodology of social sciences. This collection brings together the different traditions of the contemporary discussions. It includes new and thought-provoking articles by John Searle, Margaret Gilbert, Ota Weinberg, Raimo Tuomela, Eerik Lagerspetz, Michael Quante, (...) Maria Cristina Redondo and Paolo Comanducci. (shrink)

Within dramatherapy and psychodrama, the term ‘de-roling’ indicates a set of activities that assist the subjects of therapy in ‘disrobing’ themselves from their fictional characters. Starting from the psychological needs and the therapeutic goals that ‘de-roling’ techniques address in dramatherapy and psychodrama, this text provides a broader understanding of procedures and exercises that define and ease transitional experiences across cultural practices such as religious rituals and spatial design. After this introductory section, we propose a tentative answer as to why game (...) studies and virtual world research largely ignored processes of ‘roling’ and ‘de-roling’ that separate the lived experience of role-play from our everyday sense of the self. The concluding sections argue that de-roling techniques are likely to become more relevant, both academically and in terms of their practical applications, with the growing diffusion of virtual technologies in social practices. The relationships we can establish with ourselves and with our surroundings in digital virtual worlds are, we argue, only partially comparable with similar occurrences in pre-digital practices of subjectification. We propose a perspective according to which the accessibility and immersive phenomenological richness of virtual reality technologies are likely to exacerbate the potentially dissociative effects of virtual reality applications. This text constitutes an initial step towards framing specific socio-technical concerns and starting a timely conversation that binds together dramatherapy, psychodrama, game studies, and the design of digital virtual worlds. (shrink)

“Myth” comprises the first chapter of the book, The Logic of the Imagination, by Miki Kiyoshi. In this chapter Miki analyzes the significance of myth (shinwa) as possessing a certain reality despite being “fictions.” He begins by broadening the meaning of the imagination to argue for a logic of the imagination that involves expressive action or poiesis (production) in general, of which myth is one important product. The imagination gathers in myth material from the environing world lived by the (...) social collectivity. Its formation of images (Bilder) expresses the pathos of a people vis-à-vis their environment, but myth also contains elements of logos in the form of intellectual representations and figures. And their combination becomes expressed externally by stimulating and guiding action. In this way Miki argues that myths contain both emotive and kinetic elements, which by moving people to action, are capable of making history. Thus rooted in the symbiosis between individual and social and between society and environment, myth possesses a “historical creativity.” And he also argues that myths can be present with a sense of reality at any epoch in history, even today, wherever and whenever their primeval power is felt to function, “drawing out” a new reality, a new world, out of the natural world. (shrink)

I argue that the social dimension of alienation, as discussed by Williams and Railton, has been underappreciated. The lesson typically drawn from their exchange is that moral theory poses a threat to the internal integrity of the agent, but there is a parallel risk that moral theory will implicitly construe agents as constitutively alienated from one another. I argue that a satisfying account of agency will need to make room for what I call ‘genuine ethical contact’ with others, both (...) as concrete objects in the world external to ourselves and as subjects who can recognize us reciprocally. (shrink)

John Searle’s The Construction of Social Reality and Hernando de Soto’s The Mystery of Capital shifted the focus of current thought on capital and economic development to the cultural and conceptual ideas that underpin market economies and that are taken for granted in developed nations. This collection of essays assembles 21 philosophers, economists, and political scientists to help readers understand these exciting new theories.

Three distinct turning points (“bottleneck breakings”) in universal evolution are discussed at some length in terms of “self-reference” and (corresponding) “Reality Principles.” The first (origin and evolution of animate Nature) and second (human consciousness) are shown to necessarily precede a third one, that of Marxist philosophy. It is pointed out that while the previous two could occupy a natural (so in a sense neutral) place as parts of human science, the self-reference of Marxism, as a _social_ human phenomenon, through (...) its direct bearings on the _practice_ of society, did have a stormy history. I conclude that the fall of Bolshevism was unavoidable, and still, we might uphold our hope for a truly free society of humankind, just on the very basis of what we have learned of the fate of Marxist philosophy as such, as a _recursively evolving_ social _practice_: the freedom of humankind of its own ideological burdens (constraints). (shrink)

Is the boundary between the normal and the pathological real or fiction? Are health and disease just a matter of fact or are they value-laden? Here we present some examples of how alleged diseases can be invented and propagated by the industry (disease mongering) or by the methodology of medical science itself. We show that the boundary between health and disease is blurred and depends on individual and social representations, culture relative ways of categorising things and people, and (...) by the society’s degree of medicalisation. However, we do not mean that it is not real, rather that it is more complex than expected, as the subjectivity of social constructions and individual experiences makes them no less real. Finally, we conclude that health and disease belong to both objective and subjective kinds of reality, so the fictional can be real. (shrink)

The following is a mock debate on schizophrenia set in the 1960s at the Sorbonne in Paris, France, between two fictional characters, Dr. Brian L. Zacou, a qualitative sociologist and Institute Professor Emeritus at the University of Prague; Dr. Wytt Thomas, a professor of psychology at Harvard University; two notable historical figures: Dr. Michel Foucault [20th-century philosopher, historian, academic and theorist] and Dr. R. D. Laing [20th-century psychiatrist and experimental researcher and author] and the writer of this compendium [artist and (...) writer Alexej Savreux; himself a diagnosed schizophrenic]. We model it as a transcription of a debate held at that juncture. It explores the historical framework of schizophrenia, the deep-seated aspects and reality of psychosis, a critique of psychiatry, and a sociological perspective on psychosis. We devote the first chapter to the historical framework and an explanation of the reality of schizophrenia. The second chapter is a critique of mainstream psychiatry, and the third chapter is a resolution between the mock debaters on the social framework and how best to come out unscathed in post-modernity. The remarks from Foucault and Laing are paraphrased from the works “Madness and Civilization: A History of Insanity in the Age of Reason” (Foucault) and “The Divided Self: An Existential Study in Sanity and Madness” (Laing) and are annotated with footnotes along with a few other sources. The writer has taken great liberties in constructing this mock debate, including the usage of anachronisms, and also determines his findings based on what we refer to as the anti-symmetry underpinning the biopsychosocial reality of schizophrenia and the social framework that ensues, generated by popular responses to abstract disease concepts associated with insanity. (shrink)

This paper examines Steve Biko’s distinction between black and non-white as a project in the “amelioration” of social concepts and categories. Biko himself—it has been persuasively argued by Mabogo More and Lewis Gordon—writes in the tradition of existential phenomenology. More and Gordon explore Biko’s continuity with Frantz Fanon, and in this paper I draw on their interpretations, attempting to complement and elaborate on these continuities. I also, however, attempt to show how Biko moves beyond Fanon in crucial ways, solving (...) problems that Fanon confronted. By examining Fanon’s and Biko’s categories in light of recent work in social metaphysics, I explore the ways Biko attempts to transform an existing set of oppressive social categories in the world into new social categories. (shrink)

This paper clarifies Searle's account of we-intentions and then argues that it is subject to counterexamples, some of which are derived from examples Searle uses against other accounts. It then offers an alternative reductive account that is not subject to the counterexamples.

A well-known theory about under which circumstances a statement is true in a fiction is The Reality Principle, which originate in the work of David Lewis: (RP) Where p1... pn are the primary fictional truths of a fiction F , it is true in F that q iff the following holds: were p1 ... pn the case, q would have been the case (Walton 1990: 44). RP has been subjected to a number of counterexamples, up to a (...) point where, in the words of Stacie Friend “it is widely recognized that the Reality Principle […] cannot be a universal inference rule for implied story-truths” (Friend 2017: 33). This chapter argues that the strength of these counterexamples is widely overestimated, and that they do not, on closer scrutiny, constitute reasons for rejecting RP. (shrink)

This paper discusses two novels by contemporary writer Inga Iwasiów (b. 1963), Bambino (2008) and Ku słońcu [Towards the Sun] (2010), in the context of geopolitical, ideological, social and psycho-cultural transformations as they specifically affect different generations of inhabitants of the Polish city of Szczecin (pre-1945 German Stettin) from 1945 until the first decade of the 21st century. Bambino covers the years 1945–1981, but also contains flashbacks to pre-war memory of Stettin and to the suppressed experiences of the new (...) post-war inhabitants, as well as ‘flash-forwards’ to post-1989, post-communist reality; Ku słońcu covers 1981 to the first decade of 2000s. It shows how the novels portray these transformations through the experience primarily of women (but not only) — in Bambino, through the main protagonists: Ula (formerly Ulrike), Anna and Marysia, and through that of the hidden narrator Magda (Marysia’s daughter born in the same year as the author, Iwasiów, 1963); and in Ku słońcu, primarily through the experience of Magda herself, as well as through that of two generations of ‘feminist’ academics: Małgorzata and Sylwia (in which it is hard not to perceive the personal experience of the author, though she is at pains to emphasize elsewhere that her work is a collective biography of the city, not so much of herself). The analysis follows Katarzyna Chmielewska’s supposition that contemporary Polish fiction dealing with the past ‘constantly oscillates between memory and genealogy’, and that it raises raw issues not yet addressed by historians; it also derives inspiration from the new ‘postdependency’ studies proposed by Hanna Gosk and Ryszard Nycz. It also attempts to capture the specific nature of Iwasiów’s use of language, her style of feminism, her method of portraying place, and the connections in her prose between place and memory. (shrink)

The term ‘posthumanism’ has been employed to describe a diverse array of phenomena ranging from academic disciplines and artistic movements to political advocacy campaigns and the development of commercial technologies. Such phenomena differ widely in their subject matter, purpose, and methodology, raising the question of whether it is possible to fashion a coherent definition of posthumanism that encompasses all phenomena thus labelled. In this text, we seek to bring greater clarity to this discussion by formulating a novel conceptual framework for (...) classifying existing and potential forms of posthumanism. The framework asserts that a given form of posthumanism can be classified: 1) either as an analytic posthumanism that understands ‘posthumanity’ as a sociotechnological reality that already exists in the contemporary world or as a synthetic posthumanism that understands ‘posthumanity’ as a collection of hypothetical future entities whose development can be intentionally realized or prevented; and 2) either as a theoretical posthumanism that primarily seeks to develop new knowledge or as a practical posthumanism that seeks to bring about some social, political, economic, or technological change. By arranging these two characteristics as orthogonal axes, we obtain a matrix that categorizes a form of posthumanism into one of four quadrants or as a hybrid posthumanism spanning all quadrants. It is suggested that the five resulting types can be understood roughly as posthumanisms of critique, imagination, conversion, control, and production. -/- We then employ this framework to classify a wide variety of posthumanisms, such as critical, cultural, philosophical, sociopolitical, and popular (or ‘commercial’) posthumanism; science fiction; techno-idealism; metahumanism; neohumanism; antihumanism; prehumanism; feminist new materialism; the posthumanities; biopolitical posthumanism, including bioconservatism and transhumanism (with specialized objective and instrumental typologies offered for classifying forms of transhumanism); and organizational posthumanism. Of particular interest for our research is the classification of organizational posthumanism as a hybrid posthumanism combining analytic, synthetic, theoretical, and practical aspects. We argue that the framework proposed in this text generates a typology that is flexible enough to encompass the full range of posthumanisms while being discriminating enough to order posthumanisms into types that reveal new insights about their nature and dynamics. (shrink)

Scientific realists claim that the best of successful rival theories is (approximately) true. Relative realists object that we cannot make the absolute judgment that a theory is successful, and that we can only make the relative judgment that it is more successful than its competitor. I argue that this objection is undermined by the cases in which empirical equivalents are successful. Relative realists invoke the argument from a bad lot to undermine scientific realism and to support relative realism. In response, (...) I construct the argument from double spaces. It is similar to the argument from a bad lot, but threatens many philosophical inferences, including relative realists’ inference from comparative success to comparative truth. (shrink)

In quantum mechanics, the term “creativity” is amplified, since natural events form the constant transition from possibility to reality, according to the ontological probabilism of the Schrödinger equation. The completion of the quantum theory through the concept of the Grand Unified Theories, and especially through the yet incomplete superstring theory, reveals that at the micro level of creation of sub-atomic particles or space, motion literally comes prior to Being and objects are forms of a motion which suggests a constant (...) transition from possibility to reality. In non – linear physics of complex systems, the term “creativity” does not simply correspond to the initial emergence of the universe (big bang) or to the sub-atomic scale processes described by quantum mechanics, the Grand Unified Theories and the superstring theory, but is expanded to all aspects of nature: i.e. physical - chemical, ecological, psychological – mental aspect. So, through the non – linear physics theory, macroscopically viewed beings are constructed, holistic forms of motion, in order for the whole to gain a non reducible (therefore the whole is constantly being produced) ontological meaning which characterizes the operation of the part. Combining the theories of quantum mechanics and relativity, it could be stated that modern physics abolishes the customary perception concerning the natural phenomena, which were concerned as a constant transformation of a fundamental substance. On the contrary, the contemporary description of the natural world by physics and mathematics corresponds to Morphodynamics, i.e. the description of the world as creation of all cosmic shapes from a zero point, on all cosmic levels. From this point of view, zero is understood as the absence of shape, while the notion of an unshaped eternal substance is weakened and does not seem to be able to be justified by the evolution of scientific thought. The “beings” and their “substance” are assimilated to forms of movement that have already been created or that are being created, and constitute motion inside motion. (shrink)

I outline and defend a limited realism in socio-political conceptual amelioration (RSCA). RSCA claims that, in some cases, socio-political concepts are ameliorated to represent parts of a concept-independent reality more accurately. My main aim is to dissolve a seeming dilemma for RSCA: Whereas social kinds are mind-dependent (i.e. depending on human thought and action), realism implies that the kinds represented are ontologically independent of the concepts representing them. To dissolve this dilemma, I suggest considering two different roles concepts (...) play concerning social kinds. Concepts can both generate social kinds and represent social kinds. Once a concept has generated a social kind, this social kind is part of a concept-independent reality that can be represented by different concepts. Thereby, RSCA allows amelio-rated concepts to represent social kinds (e.g., rape, marriage) more accurately while acknowledging that human actions or concepts have generated these social kinds. (shrink)

If science fiction is a genre, then attempts to think about the nature of science fiction will be affected by one’s understanding of what genres are. I shall examine two approaches to genre, one dominant but inadequate, the other better, but only occasionally making itself seen. I shall then discuss several important, interrelated issues, focusing particularly on science fiction : what it is for a work to belong to a genre, the semantics of genre names, the validity (...) of attempts to define genres, and the connections between genre and normativity. One important but neglected clue to the nature of genres lies in the kinds of disagreements they generate over the assignment of works to genres. I conclude by explaining why these disagreements tell us something about the nature of genres, and discussing in some detail two famous cases of disagreement about whether some work or works are science fiction. (shrink)

The Gathas, a corpus of seventeen poems in Old Avestan composed by the ancient Iranian poet-priest Zarathushtra (Zoroaster) ca. 1200 B.C.E., is the foundation document of Zoroastrian religion. Even though the dualistic axiology of the Gathas has been widely noted, it has proved very difficult to understand the meaning and genre of the corpus or the position of Zarathushtra’s ideas with regard to other religious philosophies. Relying on recent advances in translation and decryptions of Gathic poetry, I shall here develop (...) a philosophical interpretation of the Gathas, including, as shall be discussed here in detail, explication of the revelation he reports in the poem known as Yasna 30. I argue that, similarly to Marx, Henry, and Schutz, Zarathushtra connects social criticism with an original philosophy of (inter)subjectivity and existential reflection, placing his account in the context of a fully developed metaphysics which includes the human-divine sharing of mental properties. I show that in order to accommodate this complicated problematic, Zarathushtra uses the vehicle of multiple realities. Reflecting the spontaneity of life, the dynamics of various ontological modes in the text create a reference to subjectivity. A description of the dream in Yasna 30 is sufficiently within the limits of possibility for a dream experience, and thereby delivers three original phenomenological reductions. The reductions initiate a genetic account of the phenomenalization of invisible impulses which give rise to moral choices, and define the human-divine relationship. The opposing moral choices open into a reverse axiological intentionality in the sphere of intersubjectivity, and are said to plot life for the rightful and lifelessness for the wrongful. It can be concluded that Zarathushtra’s theism and views of the social world are “the first philosophy”, with a unique and original phenomenological ontology of intersubjectivity at its core. (shrink)

The paper focuses on the issue of truth-telling in non-fictional narratives of (in)justice. Based on examples of rape narratives, domestic abuse narratives, human trafficking narratives and asylum seeker narratives, I examine the various difficulties in telling the truth in such stories, particularly those related to various culturally conditioned ideas of how the world works, which at the same time form the basis of, among other things, legal discourse and officials’ decision-making processes. I will also demonstrate that such culturally conditioned ideas, (...) which are the basis of official discourse, can be considered within the category of both the social imaginary of the just world in the Taylorian sense of the term, and the social master narrative, which in the case of stories of (in)justice is often based on the just world hypothesis. (shrink)

Zunshine’s essay draws on recent research in developmental psychology and cognitive evolutionary anthropology to examine emotional responses to supernatural events by the child and adult characters of E. T. A. Hoffmann’s "The Nutcracker and the Mouse King" (1816), as well as to revisit the traditional literary critical view of those responses, according to which the tale’s main protagonist, the seven-year-old Marie, possesses a “Romantic imagination” (in contrast to her philistine parents). Zunshine demonstrates, first, that Marie’s stubborn insistence on the (...) class='Hi'>reality of Nutcracker and the Mouse King is well in keeping with what developmental psychologists today would expect from children of her age group; and, second, that when Marie’s parents are called to comment on their daughter’s account of her magical adventures, their stodgy response is influenced by a very particular kind of social pressure under which they find themselves. While the essay’s primary goal is to emphasize the developmental and social aspects of the characters’ attitudes toward what is real, Zunshine also discusses the legitimacy of using recent research by cognitive scientists for examining the psychology and interpersonal dynamics of early nineteenth-century fictional characters. (shrink)

How should we theorize about the social world? How can we integrate theories, models and approaches from seemingly incompatible disciplines? Does theory affect social reality? This state-of-the-art collection addresses contemporary methodological questions and interdisciplinary developments in the philosophy of social science. Facilitating a mutually enriching dialogue, chapters by leading social scientists are followed by critical evaluations from philosophers of social science. This exchange showcases recent major theoretical and methodological breakthroughs and challenges in the (...) class='Hi'>social sciences, as well as fruitful ways in which the analytic tools developed in philosophy of science can be applied to understand these advancements. The volume covers a diverse range of principles, methods, innovations and applications, including scientific and methodological pluralism, performativity of theories, causal inferences and applications of social science to policy and business. Taking a practice-orientated and interactive approach, it offers a new philosophy of social science grounded in and relevant to the emerging social science practice. (shrink)

This paper introduces Holistic Free Will (HFW), a transformative framework that reconceptualizes autonomy as a dynamic, relational, and ethically aspirational process embedded within structured realities. Distinct from traditional theories like libertarian free will and compatibilism, HFW integrates interdisciplinary insights from neuroscience, moral philosophy, and cultural traditions to provide a comprehensive understanding of free will that aligns individual agency with systemic and relational contexts. HFW emphasizes structured reality as comprising four dimensions—natural laws, human constructs, social norms, and personal histories—that (...) act not as constraints but as enablers of ethical autonomy and moral development. Central to the framework are mechanisms such as reflective veto, self-reflection, and virtue cultivation, which empower individuals to navigate deterministic influences and align actions with enduring ethical principles like justice, empathy, and humility. HFW’s practical applications across governance, education, and social systems, demonstrating its capacity to address global challenges such as social justice, environmental sustainability, and relational harmony. Case studies illustrate how structured realities foster personal and collective growth, positioning HFW as a tool for bridging theoretical insights and actionable strategies. By advancing autonomy as a relational and developmental process, HFW offers a groundbreaking model for ethical agency and societal transformation. (shrink)

This is a co-authored dialogue which explores epistemological and metaphysical questions raised by a social constructivist approach to science.

This paper defends a theory of fictional truth. According to this theory, there is a fact of the matter concerning the number of hairs on Sherlock Holmes' head, and likewise for any other meaningful question one could ask about what's true in a work of fiction. We argue that a theory of this form is needed to account for the patterns in our judgments about attitude reports that embed fictional claims. We contrast our view with one of the dominant (...) approaches to fictional truth, which originates with David Lewis. Along the way we explore the relationship between fiction, counterfactuals, and vagueness. (shrink)