We report the results of four empirical studies designed to investigate the extent to which an epistemic closure principle for knowledge is reflected in folk epistemology. Previous work by Turri (2015a) suggested that our shared epistemic practices may only include a source-relative closure principle—one that applies to perceptual beliefs but not to inferential beliefs. We argue that the results of our studies provide reason for thinking that individuals are making a performance error when their knowledge attributions and denials conflict with (...) the closure principle. When we used research materials that overcome what we think are difficulties with Turri’s original materials, we found that participants did not reject closure. Furthermore, when we presented Turri’s original materials to non-philosophers with expertise in deductive reasoning (viz., professional mathematicians), they endorsed closure for both perceptual and inferential beliefs. Our results suggest that an unrestricted closure principle—one that applies to all beliefs, regardless of their source—provides a better model of folk patterns of knowledge attribution than a source-relative closure principle. (shrink)

Memory is everywhere in Blade Runner 2049. From the dead tree that serves as a memorial and a site of remembrance (“Who keeps a dead tree?”), to the ‘flashbulb’ memories individuals hold about the moment of the ‘blackout’, when all the electronic stores of data were irretrievably erased (“everyone remembers where they were at the blackout”). Indeed, the data wiped out in the blackout itself involves a loss of memory (“all our memory bearings from the time, they were all damaged (...) in the blackout”). Memory, and lack of it, permeates place, where from the post-blackout Las Vegas Deckard remembers it as somewhere you could “forget your troubles.” Memory is a commodity, called upon and consumed by the Wallace Corporation, purchased from the memory-maker, Dr Ana Stelline, who constructs and implants “the best memories” in replicants so as to instil in them real human responses. Memory is ubiquitous in Blade Runner 2049, involving humans, replicants, objects, and machines. Even “God,” we are told, “remembered Rachael.” Nowhere, though, is the depiction of memory more important than in the attempt to solve a question of identity. Officer K has a memory of his past. Even though he knows it is an implant, it is a memory he is emotionally attached to, frequently narrating it to Joi, his digital girlfriend. But it is a memory that starts to puzzle and trouble him. When K discovers the remains of a dead replicant, a female NEXUS-7, he uncovers a secret—this replicant was pregnant and died during childbirth, a discovery that could “break the world.” K is charged with hunting down the child and making the problem disappear. Yet as K starts seeking answers to the question of the child’s identity he gets inextricably caught up in the mystery. Is he merely Officer K, or is he Joe, the miracle child of Rachael and Deckard? The answer to this question hinges on K’s memory. But is the memory genuine? Is the memory his? Blade Runner 2049 encourages us to think deeply about the nature of memory, identity, and the relation between them. Indeed, the film does not just serve as a starting point for thinking about philosophical issues related to memory and identity. Rather, as we show in this chapter, the film seems to offer a view on these philosophical issues. Blade Runner 2049 offers us a view of memory as spread out over people, objects, and the environment, and it shows us that memory’s role in questions of identity goes beyond merely accurately recalling one’s past. Identity depends not on memory per se, but partly on what we use memory for. (shrink)

To what extent are factors that are extrinsic to the artwork relevant to judgments of artistic value? One might approach this question using traditional philosophical methods, but one can also approach it using empirical methods; that is, by doing experimental philosophical aesthetics. This paper provides an example of the latter approach. We report two empirical studies that examine the significance of three sorts of extrinsic factors for judgments of artistic value: the causal-historical factor of contagion, the ontological factor of uniqueness, (...) and the contextual factor of appreciative environment. We explore the context of appreciation by performing studies in a museum as well as the lab. We found that contagion made a difference to judgments of artistic value in both settings. These results are congruent with previous empirical research as well as recent philosophical work that defends the artistic significance of authenticity. However, uniqueness only made a difference in the lab setting, but not in the museum. This suggests that the context of appreciation may make a difference to judgments of artistic value. Of broader significance, these studies show the value of experimental philosophical aesthetics and the value of doing in situ empirical research on art. (shrink)

This study was conducted to determine the effectiveness of utilizing the Dual-axis Solar Tracker in harnessing solar energy and storing it in lithium-ion batteries in terms of voltage and milliamps per hour gained. This study utilized two solar panel systems, the Static Solar Panel System and the Dual-Axis Solar Tracker and aimed to prove the significant difference generated by solar panel systems in terms of voltage and milliamps per hour. This study employed an Applied Experimental Research Design utilizing Arduino Uno, (...) light-dependent resistors, micro servos, and solar panels to create the Dual-Axis Solar Tracker. The data gathered from the electric quantities during the seven-day sun exposure were tabulated, analyzed, and computed using mean tests, standard deviation, and T-tests to find the significant difference between the two solar panels. Based on the analyses of the data, it was revealed that the Dual-Axis Solar Tracker was superior in terms of voltage and milliamps per hour generated compared to the Static Solar Panel System. Moreover, computations using the T-test found that in terms of voltage and milliamps per hour generated, there was a significant difference between the Dual-Axis Solar Tracker and the Static Solar Panel System. Based on the findings of the study, it is concluded that the utilization of the Dual-Axis Solar Tracker statistically increases the effectiveness of solar panels in harnessing energy generation. (shrink)

Philosophers have no time. They are tired with philosophising. They doze off or even die of fatigue over yet another review, opinion, article, translation of works of an English-speaking philosophical genius, publishing and editing of a book. They are exhausted by the obligatory teaching, bored with listening to conference papers, depressed by defences of post-doctoral theses, hopeless against plagiarism, out-of-breath chasing credits, worn out by English articles, crumpled and ill-treated by institutions, tired with maintaining and co-creating them, jaded by the (...) speed of information transfer, weakened by the absence of lively thought, knackered by the number of graduates and languid due to their quality, depressed by discord, exhausted by the continuous game of getting lost and finding oneself in science and the Academy. -/- In this ruffle, shabbiness and depletion they undertake with difficulty yet another fight for philosophy, in which they often represent the lost cause and happen to be merciless to each other, sometimes they give up and even moan. Their tiredness is accompanied by heavy steps and sluggishness. Barely alive they keep on living. Somewhere they find the energy, they live for something, serve something. In the article, following the smartest of philosophers, Socrates, and his defence speech, the speech in defence of his life, we explain where the philosophers find the energy, what they live for and what, often in contradiction to their own declarations, they serve. (shrink)

Decalogue Five tells the story of Waldemar Rekowski (Jan Tesarz), a jaded taxi driver, Piotr Balicki (Krzysztof Globisz), an idealistic, newly-licensed attorney, and Jacek Lazar (Mirosław Baka), a young and troubled drifter, whose lives intersect with one another as a result of fate, or contingent circumstance, or some combination of both. With brutal detail and detachment, the film depicts Jacek’s seemingly aimless wanderings through Warsaw, his senseless killing of Waldemar, his interactions with Piotr (his court-appointed attorney), and his eventual execution (...) after a failed defense in court. Like other films within the Decalogue series, Five illustrates what happens when human beings are forced to confront ethical dilemmas (and thus are forced to confront themselves as responsible moral decision makers) in a world that seems to offer little in the way of moral direction, meaning, purpose, and community with others. Discussing the overarching aim of the Decalogue series as a whole, Krzysztof Kies´lowski refers to the sense of alienation, aimlessness, and loneliness that often describes the human condition. (shrink)