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

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

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