By considering the movies in the Marvel Cinematic Universe as a case study, I bring Tolkien’s explication of mythopoesis in “On Fairy Stories” to bear on the current popularity of superhero films to argue that such works qualify as cinematic examples of Tolkienesque fantasy tales. After summarizing Tolkien’s criteria for the genre in Nietzschean aesthetic terms, I both demonstrate how the builders of the MCU have crafted a sub-created fictional world and defend the existence of fairy stories in (...) visual media from Tolkien’s own criticism of such a possibility. (shrink)

What distinguishes low, middle, and high art? In this article, I give an ameliorative analysis of these concepts. On what I call the Capacity View, the distinction between low, middle, and high art depends on the relation between an artwork’s perceiver (specifically her aesthetic responsive capacities) and the perceived artwork. Though the Capacity View may not align perfectly with folk usage, the view is worth our attention due to three attractive upshots. First, it explains how an artwork’s status level can (...) be elevated or lowered over time and why biases can lead to mistaken judgments about such statuses. Second, it sheds light on the idea of cultural inheritance and why certain forms of aesthetic deference may be justified. Finally, it explains how high, middle, and low art each make distinctive contributions to the good life. (shrink)

One of the aims of the encyclical "Laudato Si’" is to help us “marvel at the manifold connections existing among creatures”, to show how we are also involved, and to motivate us thereby to care for our common home. Are there new dimensions of beauty available to us today because of recent advances in biology? In this paper I seek to answer this question by first recalling the basic criteria for beauty, as expressed by Aristotle and Aquinas, and then (...) evaluating their applicability as regards three ways in which some prominent twentieth century philosophers of biology have sought to overcome the limitations of reductionism. The overall argument refers especially to the works of Jakob von Uexküll and Georges Canguilhem. The results indicate that harmony, proportion, and integrity in the natural order should be more evident than ever before, especially as regards the way the organism and its environment codetermine each other. This insight allows a deeper appreciation of the message of "Laudato Si’". (shrink)

review of Falzon *Philosophy goes to the Movies*.

Movie is considered to be an important art form; films entertain, educate, enlighten and inspire audiences. -/- Film is a term that encompasses motion pictures as individual projects, as well as — in metonymy — the field in general. The origin of the name comes from the fact that photographic film (also called filmstock) has historically been the primary medium for recording and displaying motion pictures. Many other terms exist — motion pictures (or just pictures or “picture”), the silver screen, (...) photoplays, the cinema, picture shows, flicks — and commonly movies. (shrink)

According to Robert Goodin, “the requirement of symmetry” demands that political thinkers should respond to the movement of capital, in the form of cross-border financial flows, and the movement of labor, in the same way: the failure of many political theorists to do this cries out for explanation and justification. In this paper, I extend Goodin’s argument to suggest that there is a case to be made for symmetry in relation to our attitudes towards the movement of cultural goods across (...) national borders and the movement of people. What is ultimately at stake in arguments about the movement of both people and cultural goods is the appropriate response to the prospect of cultural transformation. Symmetry requires, I suggest, that differences in our response to the “threat” of cultural change depending on its source require justification. Moreover, I argue that both the free movement of cultural goods and the free movement of people across borders can be understood as a consequence of commitment to important individual rights that liberals defend within the context of liberal state: freedom of speech and freedom of association. We should therefore respond to the different sorts of cross-border flows that fall under each of these rights in the same way. “If people were movies,” restrictions on the movement of people around the world might be challenged more often and more powerfully. (shrink)

Movies have a striking aesthetic power: they can draw us in and induce a peculiar mode of involvement in their images – they absorb us. While absorbed in a movie, we lose track both of the passage of time and of the fact that we are sitting in a dark room with other people watching the play of light upon a screen. What is the source of the power of movies? Noël Carroll, who cites Maurice Merleau-Ponty as an (...) influence on his account of the power of movies, agrees with Merleau-Ponty that our perceptual experience of movies draws on many of the capacities at work in our perceptual experience of everyday situations. Yet Merleau-Ponty’s account of perception shows that Carroll’s emphasis on intellectual inference and the entertaining of unasserted thoughts is a distortion of the phenomenology of cinematic absorption. According to Merleau-Ponty, such intellectual operations come into play in cases of breakdown but should not be read back into the primary absorbed experience as being implicitly operative all along. After presenting and criticizing Carroll’s view, I interpret and expand upon Merleau-Ponty’s position, showing that his version of the analogy between cinematic perception and everyday perception is more convincing than Carroll’s. (shrink)

ABSTRACT -/- Films are usually assumed to be types, with their templates or performances being tokens of those types. However, I give a counter-example in which two different films are simultaneously made by different directors, with the outcome of this process being a single template length of film which, I claim, embodies both of those films. But no two types could thus have a token in common, and hence type views of films must be incorrect. I further explain and defend (...) the legitimacy of the example, and conclude by offering an alternative, representational view of the nature of films that can also more adequately explain the interpretive nature of experience of a film. (shrink)

In this essay, I use four war movies to explore conflicts of loyalty and how they are resolved, all to illustrate W.D. Ross’ multiple rule deontologism. The films are all fine WWII movies: The Enemy Below; Decision Before Dawn; John Rabe; and The Bridge on the River Kwai. In my analysis of each, I show how the protagonists face conflicts of their loyalty to themselves, their countrymen, their friends, and humanity in general, and resolve them in the face (...) of changing factual backgrounds. (shrink)

In this short piece, I explore why we, as moral philosophers, should watch sci-fi movies. Though I do not believe that sci-fi material is ne- cessary for doing good moral philosophy, I give three broad reasons why good sci-fi movies should nevertheless be worth our time. These reasons lie in the fact that they can illustrate moral-philosophical pro- blems, probe into possible solutions and, perhaps most importantly, an- ticipate new issues that may go along with the use of (...) new technologies. For the sake of illustration, I focus, for the most part, on aspects of robo-ethics in the movie I, Robot. (shrink)

Conventional wisdom dictates that proofs of mathematical propositions should be treated as necessary, and sufficient, for entailing `significant' mathematical truths only if the proofs are expressed in a---minimally, deemed consistent---formal mathematical theory in terms of: * Axioms/Axiom schemas * Rules of Deduction * Definitions * Lemmas * Theorems * Corollaries. Whilst Andrew Wiles' proof of Fermat's Last Theorem FLT, which appeals essentially to geometrical properties of real and complex numbers, can be treated as meeting this criteria, it nevertheless leaves two (...) questions unanswered: (i) Why is x^n +y^n = z^n solvable only for n < 3 if x, y, z, n are natural numbers? (ii) What technique might Fermat have used that led him to, even if only briefly, believe he had `a truly marvellous demonstration' of FLT? Prevailing post-Wiles wisdom---leaving (i) essentially unaddressed---dismisses Fermat's claim as a conjecture without a plausible proof of FLT. -/- However, we posit that providing evidence-based answers to both queries is necessary not only for treating FLT as significant, but also for understanding why FLT can be treated as a true arithmetical proposition. We thus argue that proving a theorem formally from explicit, and implicit, premises/axioms using rules of deduction---as currently accepted---is a meaningless game, of little scientific value, in the absence of evidence that has already established---unambiguously---why the premises/axioms and rules of deduction can be treated, and categorically communicated, as pre-formal truths in Marcus Pantsar's sense. Consequently, only evidence-based, pre-formal, truth can entail formal provability; and the formal proof of any significant mathematical theorem cannot entail its pre-formal truth as evidence-based. It can only identify the explicit/implicit premises that have been used to evidence the, already established, pre-formal truth of a mathematical proposition. Hence visualising and understanding the evidence-based, pre-formal, truth of a mathematical proposition is the only raison d'etre for subsequently seeking a formal proof of the proposition within a formal mathematical language (whether first-order or second order set theory, arithmetic, geometry, etc.) By this yardstick Andrew Wiles' proof of FLT fails to meet the required, evidence-based, criteria for entailing a true arithmetical proposition. -/- Moreover, we offer two scenarios as to why/how Fermat could have laconically concluded in his recorded marginal noting that FLT is a true arithmetical proposition---even though he either did not (or could not to his own satisfaction) succeed in cogently evidencing, and recording, why FLT can be treated as an evidence-based, pre-formal, arithmetical truth (presumably without appeal to properties of real and complex numbers). It is primarily such a putative, unrecorded, evidence-based reasoning underlying Fermat's laconic assertion which this investigation seeks to reconstruct; and to justify by appeal to a plausible resolution of some philosophical ambiguities concerning the relation between evidence-based, pre-formal, truth and formal provability. (shrink)

This article focuses on the religious information inside Ghanaian and Nigerian video movies regarding Akan and Yoruba women. More specifically, it focuses on the indigenous religious, Christian, and Islamic messages inside these movies in relation to women. The article demonstrates that Akan and Yoruba filmmakers, who dominate the Ghanaian and Nigerian video movie industries, are part of networks of religious institutions, predominantly Pentecostal-Charismatic Christian and modest Islamic ones. These organizations sponsor filmmakers to spread religious messages that promote hierarchical (...) gender relations and the suppression of equal rights for women, e.g., economic independence. By providing an overview of Akan and Yoruba belief systems, in respect of indigenous, Christian, and Islamic gender-related positional concepts and ideological communication on what is appropriate behavior for women, the author will show and support the hypothesis that these movies contribute to women’s demonization and (economic) discrimination. (shrink)

Amazon Book Review Series of “Wild Wise Weird”.

The medical profession has been surrounded from mixed feelings of admiration, mysticism, as well as of fear and refusal. Authors and enthusiastic directors have dedicated serials and movies to the physicians’ everyday work, in their ebbs and tides. Albanian cinema produced a score of titles dedicated to the medical profession, with some movies focusing on the physician as the principal role, and some others more peripherally. -/- The physician as a movie character underwent serious changes in the way (...) the directors and scripts defined it, and maybe even in the way the general audience perceived the same. Changes in this modeling of physician’s character were part of the maturation process of the Albanian cinematography that has otherwise been strongly politicized from scholars; this trend could as well, or mainly, be related to the intrinsic alterations of the Albanian society from the immediate post WWII, until the fall of the totalitarian regime. (shrink)

Aristotle's Poetics has been the basis for theories of entertainment for over 2,000 years. But the general approach it uses has led to a number of gaps, contradictions, and difficulties in predicting the success of books, plays, movies, and entertainment as a whole, so much so that sayings like "there are no rules, but you break them at your peril," and "in Hollywood, nobody knows anything" have become widespread and accepted. -/- However, it turns out that a model of (...) entertainment that defines literary conventions by the pleasurable feelings they release in the brain, and then equates them with outside experiences that people subconsciously attach to the literary work, in the same way that we can be conditioned to feel love when we view our wedding rings, can actually resolve almost every seeming contradiction in Aristotle's ideas and traditional theories of storytelling when compared to real-world results. -/- Furthermore, this approach can be extended to the other major forms of art, including painting, music and even video games, leading to a "Non-Aristotelian" theory that modifies the fundamental aspects of each of these fields, but in a natural and necessary way, which strengthens both our understanding and our ability to predict the success or failure of art in the future. -/- My work as a vlogger and writer, mostly done via my Youtube channel "StoryBrain," has been viewed over 6 million times, and written about in MovieMaker magazine, Creative Screenwriting magazine, on the front page of major sites like Reddit, Roger Ebert online, and in international newspapers like the Sydney Morning-Herald in Australia and Fotogramas in Spain. My work is also the subject of a chapter of the currently-in-release book "Neuro-Design," by Kogan Page publishing, called "The Neuro Movie Analyst." This paper is a detailed introduction to the theory of Emotional Indiscretion which I have talked about in my work. (shrink)

Как насчет другого взять на богатых и знаменитых? Во-первых, очевидное - романы о Гарри Поттере - это примитивные суеверия, которые побуждают детей верить в фантазию, а не брать на себя ответственность за мир - норма, конечно. JKR как раз как clueless о себе и мире как большинств люди,но около 200 времен как разрушительно как средний американец и около 800 времен больше чем средний китаец. Она несет ответственность за уничтожение, может быть, 30000 гектаров леса для производства этих романов мусора и все (...) эрозии последующем (не тривиально, как этопо крайней мере 6 и, возможно, 12 тонн / год почвы в океан для всех на земле или, может быть, 100 тонн на американских, и так около 5000 тонн / год для книг Роулинг и movies иее 3 детей). Земля теряет по крайней мере 1% своего верхнего слоя почвы каждый год, так как она приближается к 2100, большая часть его потенциала выращивания продуктов питания исчезнет. Тогда есть огромное количество горючего сжигается и отходов, чтобы сделать и распространять книги и фильмы, пластиковые куклы и т.д. Она показывает ее отсутствие социальной ответственности, производя детей, а не использовать ее миллионы для поощрения планирования семьи или скупить тропический лес, а также путем поощрения обычных либеральной глупости 3-го мирового превосходства, что разрушает Великобритании, Америки, мира и будущего ее потомка. Конечно, она не сильно отличается от остальных 7. 8 миллиардов невежественных - просто шумнее и более разрушительным. Это - не бесплатная проблема обеда, большая. Толпа просто не может видеть, что нет такого понятия, как помогать одному человеку, не причиняя вреда другим. Права или привилегии, предоставленные новым абитуриентам в переполненном мире, могут лишь приглушить правадругих. Несмотря на массовые экологические катастрофы, происходящие перед ними повсюду каждый день, они не могут приколоть их к безудержной материнства "разнообразных", что составляет большую часть прироста населения в прошлом веке, и все это в этом. Им не хватает определенного сочетания интеллекта, образования, опыта и здравомыслия, необходимых для экстраполирования ежедневных посягательств на ресурсы и функционирование общества на возможный крах индустриальной цивилизации. Каждая еда, каждая поездка на машине или автобусе, каждая пара обуви является еще одним гвоздем в гроб земли. Он, вероятно, никогда не приходило ей в голову, что одно место на самолете из Лондона в Сан-Франциско производит около одной тонны углерода, который тает около 3 квадратных метров морского льда и в качестве одного из перепривилегированных она, вероятно, пролетел сотни таких рейсов. Не только богатые и известные, но почти любой общественный деятель на всех, в том числе практически все учителя, давление, чтобы быть политически корректным, что в западных демократиях, в настоящее время означает социал-демократической(неомарксистской т.е. разбавленный коммунист) третьего мира превосходства, работающих на уничтожение своих собственных обществ и их собственных потомков. Таким образом, те, у кого не хватаетобразования, опыта, интеллекта (и основного здравого смысла), которые должны запрещать им делать какие-либо публичные заявления вообще, полностью доминируют во всех средствах массовой информации, создавая впечатление, что умные и цивилизованные должны способствовать демократии, разнообразию и равенству, в то время как истина заключается в том, что это проблемы, а не решения, и что они сами являются главными врагами цивилизации. Смотрите мой Самоубийство демократии 2nd ed (2019) и другие. (shrink)

“He marvels at the beauty of nature and the purity of bird vocalization, pitying those who have failed to recognize this.” — In “Conductor”; The Kingfisher Story Collection [1].

From folk tales to movies, stories possess features which naturally suit them to contribute to the growth of virtue. In this article I show that the fictional exemplars help the learner to grasp the moral importance of internal states and resolves a tension between existing kinds of exemplars discussed by virtue ethicists. Stories also increase the information conveyed by virtue terms and aid the growth of prudence. Stories can provide virtuous exemplars, inform learners as to the nature of the (...) virtues and offer practice in developing situational judgement. As such they are a significant resource for virtue ethics and moral education. (shrink)

The Godfather movies expertly showcase "dialectics" and "historical materialism.".

Why do people seemingly want to be scared by movies and feel pity for fictional characters when they avoid situations in real life that arouse these same negative emotions? Although the domain of relevant artworks encompasses far more than just tragedy, the general problem is typically called the paradox of tragedy. The paradox boils down to a simple question: If people avoid pain then why do people want to experience art that is painful? I discuss six popular solutions to (...) the paradox: conversion, control, compensatory, meta-response, catharsis, and rich experience theories. (shrink)

In view of the philosophical problems that vex the debate on situated affectivity, it can seem wise to focus on simple cases. Accordingly, theorists often single out scenarios in which an individual employs a device in order to enhance their emotional experience, or to achieve new kinds of experience altogether, such as playing an instrument, going to the movies or sporting a fancy handbag. I argue that this narrow focus on cases that fit a ‘user/resource model’ tends to channel (...) attention away from more complex and also more problematic instances of situated affectivity. Among these are scenarios in which a social domain draws individuals into certain modes of affective interaction, often by way of attunement and habituation to affective styles and interaction patterns that are normative in the domain in question. This can lead to a phenomenon that is not so much ‘mind extension’ than ‘mind invasion’: affectivity is dynamically framed and modulated from without, often contrary to the prior orientations of the individuals in question. As an example, I discuss affective patterns prevalent in today’s corporate workplace. I claim that workplace affect sometimes contributes to what is effectively a ‘hack’ of employees’ subjectivity. (shrink)

The main message of Neuroethics is that neuroscience forces us to reconceptualize human agency as marvelously diverse and flexible. Free will can arise from unconscious brain processes. Individuals with mental disorders, including addiction and psychopathy, exhibit more agency than is often recognized. Brain interventions should be embraced with cautious optimism. Our moral intuitions, which arise from entangled reason and emotion, can generally be trusted. Nevertheless, we can and should safely enhance our brain chemistry, partly because motivated reasoning crops up in (...) everyday life and in the practice of neuroscience itself. Despite serious limitations, brain science can be useful in the courtroom and marketplace. Recognizing all this nuance leaves little room for anxious alarmism or overhype and urges an emphasis on neurodiversity. The result is a highly opinionated tour of neuroethics as an exciting field full of implications for philosophy, science, medicine, law, and public policy. (shrink)

This is a brief review of the Rasa theory of Indian aesthetics and the works I have done on the same. A major source of the Indian system of classification of emotional states comes from the ‘Natyasastra’, the ancient Indian treatise on the performing arts, which dates back to the 2nd Century AD (or much earlier, pg. LXXXVI: Natyasastra, Ghosh, 1951). The ‘Natyasastra’ speaks about ‘sentiments’ or ‘Rasas’ (pg.102: Natyasastra, Ghosh, 1951) which are produced when certain ‘dominant states’ (sthayi Bhava), (...) ‘transitory states’ (vyabhicari Bhava) and ‘temperamental states’ (sattvika Bhava) of emotions come together (pgs.102, 105: Natyasastra, Ghosh, 1951). This Rasa theory, which is still widely followed in classical Indian performing arts, classifies eight Rasas or sentiments which are: Sringara (erotic), Hasya (comic), Karuna (pathetic), Raudra (furious), Vira (heroic), Bhayanaka (terrible), Bibhatsa (odious) and Adbhuta (marvellous). There was a later addition of the ninth sentiment or Rasa called Santa (peace) in later Sanskrit poetics (pg.102: Natyasastra, Ghosh, 1951). According to ancient Indian aesthetics (especially in the context of Bharatas’ ‘Natyasastra’, Anandavardhana’s ‘Dhvanyaloka’ and Abhinavagupta’s ‘Abhinavabharati’), ‘Rasa’ is the relishable state of elemental human emotions called ‘Bhavas’. Bharata’s ‘Natyasastra’ originally spoke of eight Rasas. The concept of the 9th Rasa was a later interpolation by the Kashmiri Shaivist Abhinavagupta (10th Century AD) and also his predecessor Anandavardhana (9th Century AD). Abhinavagupta extends the eight Rasas by adding the concept of the Santa Rasa which he regards as the essence of all Rasas. It is this 9th Rasa which according to Abhinavagupta lets the Rasika attain the aesthetic detachment and savour the essences of all other Rasas and therefore the true aesthetic delight. The introduction of 9th Rasa integrates the concepts of Bharata’s Rasasutra and Patanjali’s Yoga theory – the detachment necessary to introspect inwards into the inherent state of freedom and bliss (aesthetic consciousness). (shrink)

Those of us who take skepticism seriously typically have two relevant beliefs: (a) it’s plausible (even if false) that in order to know that I have hands I have to be able to epistemically neutralize, to some significant degree, some skeptical hypotheses, such as the brain-in-a-vat (BIV) one; and (b) it’s also plausible (even if false) that I can’t so neutralize those hypotheses. There is no reason for us to also think (c) that the BIV hypothesis, for instance, is plausible (...) or probably true. In order to take skepticism seriously it’s sufficient to hold (a) and (b); one need not hold (c). Indeed, philosophers who accept (a) and (b) never endorse (c). Show me a philosopher who suspects that he is a brain in a vat and I’ll show you someone who is deranged! That’s one thing that bothers undergraduates in philosophy. They object: why on earth do some philosophers take the BIV hypothesis to pose any threat at all to our beliefs given that those very same philosophers think that there’s no real chance that the BIV hypothesis is true? Sure, the BIV hypothesis is formally inconsistent with my belief that I have hands, so if the former is true then my belief is false. But so what? Why should that bare inconsistency matter so much? Is this strange attitude amongst philosophers the result of some logic fetish infecting the philosophical community? It is sometimes said that the skeptical hypotheses are not only inconsistent with our beliefs but are explanatory of our experiences, which is supposed to make them more of a threat. But students aren’t fooled: although the skeptical hypotheses may attempt to explain why our experience is as it is, it’s the kind of attempt appropriate for science fiction movies that are all special effects and virtually no plot. No one with any sense of reality will take the evil demon hypothesis to be even tenuously explanatory. (shrink)

Foreword to the Traditional Chinese translation of Erich Hatala Matthes's Drawing the Line: What to Do with the Work of Immoral Artists from Museums to the Movies, published as 《大師失格：如何在人品與作品之間劃出界線？》(2025). -/- Somewhat based on my own "The Art of Immoral Artists" (2024).

Death across human history is codified and controlled by religion, dogma, or social￾political circumstances. However, it is possible to take death out of these realms, instead dying how one wishes. One can design their own death. I will argue that human trans-death can be an intentional performance by persons and that this intentional performance can be combined with the newest and most novel methods of preserving a consciousness. This thesis opens possibilities for future exhibitions and live performances combining art and (...) innovative post-life, post-mortem (what I call “trans-death”) technologies. Possible performances or exhibitions combining art and innovative trans-death technologies include: people doing staged-performances while in their last years of life about their deanimation; public display of cryonically suspended (vitrified) bodies; and if consciousness is ever able to be digitized, the possibilities expand to any number of scenarios explored in anime shows and sci-fi literature or movies. The ethical and political implications of permissibility, freedom, and societal consequences of such artistic and technological expressions are not detailed, but some positions are outlined. A case study is utilized: the last years of life of famous and controversial Timothy Leary (1920-1996) and his struggle with prostate cancer. My analysis of the life and work of Timothy Leary - especially the text he mostly wrote Design for Dying (1997), it was edited by R.U. Sirius - is my theoretical foundation. (shrink)

It is widely taken for granted that fictions, including both literature and film,influence our attitudes toward real people, events, and situations. Philosopherswho defend claims about the cognitive value of fiction view this influence in apositive light, while others worry about the potential moral danger of fiction.Marketers hope that visual and aural references to their products in movies willhave an effect on people’s buying patterns. Psychologists study the persuasiveimpact of media. Educational books and films are created in the hopes of (...) guidingchildren’s and adult’s preferences toward socially acceptable norms.The influencesdiscussed by marketers, psychologists, educators, and philosophers tend to be bothcognitive and affective. It seems that we can be “emotionally persuaded”: ourpreferences can be changed, our feelings about particular people or events can beinfluenced, and so forth. (shrink)

Dreams are not real, so when we recount them we prefix an intensional operator like “I dreamed that…”. Linguists will analyze this construction in terms of clausal complementation syntax and possible worlds semantics. But talking about a dream is often more like telling a story, with a potentially complex discourse structure (involving propositional discourse units connected by coherence relations like NARRATION, BACKGROUND, and EXPLANATION) that is hard to fit inside a single syntactically embedded that-clause (or a sequence of independently embedded (...) clauses). I show how we can analyze actual, complex dream report stories using a formal discourse semantics framework. I then explore how to extend this discourse framework to visual dream reporting, like in movies and comics, where it’s not immediately clear that we even have any intensional operators or embeddings to begin with. (shrink)

The Movie Recommendation System using Machine Learning Techniques is a data-driven approach designed to provide personalized movie suggestions based on user preferences and historical data. This system leverages advanced machine learning algorithms, including collaborative filtering, content-based filtering, and hybrid methods, to predict the most relevant movies for individual users. The system's primary goal is to enhance user experience by recommending movies that align with their tastes, thereby promoting user engagement and satisfaction. The recommendation process starts by collecting user (...) data, such as viewing history, ratings, and genre preferences, which are then processed to generate personalized suggestions. Collaborative filtering analyzes the behavior of similar users to recommend movies based on common interests, while content-based filtering focuses on movie features such as genre, director, actors, and plot summary. By combining both methods, the hybrid approach further refines the recommendation, ensuring diverse and accurate results. The model's effectiveness is evaluated using standard metrics like precision, recall, and F1-score, demonstrating its ability to accurately predict user preferences. The system can be integrated into various platforms, offering real-time recommendations and improving user satisfaction. This project can be expanded by incorporating more sophisticated algorithms, such as deep learning, to further enhance recommendation accuracy and scalability. Overall, this movie recommendation system aims to optimize content discovery and cater to diverse audience needs. (shrink)

Locke and Leibniz deny that there are any such beings as ‘monsters’ (anomalies, natural curiosities, wonders, and marvels), for two very different reasons. For Locke, monsters are not ‘natural kinds’: the word ‘monster’ does not individuate any specific class of beings ‘out there’ in the natural world. Monsters depend on our subjective viewpoint. For Leibniz, there are no monsters because we are all parts of the Great Chain of Being. Everything that happens, happens for a reason, including a monstrous birth. (...) But what about materialism? Well, beginning with the anatomical interest into ‘monstrous births’ in the French Académie des Sciences in the first three decades of the eighteenth century, there is a shift away from ‘imaginationist’ claims such as those of Malebranche, that if a woman gives birth to a monstrous child it is a consequence of something she imagined. Anatomists such as Lemery and Winslow try to formulate a strictly mechanical explanation for such events, rejecting moral and metaphysical explanations. Picking up on this work, materialist thinkers like Diderot are compelled to reject the very idea of monsters. We are all material beings produced according to the same mechanisms or laws, some of us are more ‘successful’ products than others, i.e. some live longer than others. In his late Eléments de physiologie he says “L’homme est un effet commun, le monstre un effet rare.” Ultimately he arrives at a materialist version of Leibniz’s position: there are no monsters, we are all monsters in each other’s eyes, at one time or another. This conclusion is a pregnant one in light of twentieth century interest in the problem of ‘the normal and the pathological’ (Canguilhem), and the broader question of how materialism relates to the biological world. (shrink)

You can survive after death in various kinds of artifacts. You can survive in diaries, photographs, sound recordings, and movies. But these artifacts record only superficial features of yourself. We are already close to the construction of programs that partially and approximately replicate entire human lives (by storing their memories and duplicating their personalities). A digital ghost is an artificially intelligent program that knows all about your life. It is an animated auto-biography. It replicates your patterns of belief and (...) desire. You can survive after death in a digital ghost. We discuss a series of digital ghosts over the next 50 years. As time goes by and technology advances, they are progressively more perfect replicas of the lives of their original authors. (shrink)

As is usually the case with what I work on, I read some stuff I liked. I 1 read an article on comics by Greg Hayman and Henry Pratt and some work on 2 videogames,GrantTavinor’sreallyexcellentworkonthattopic. Ifoundthematerial interesting and I thought I had something to say about it. That’s what usually motivates me and that’s what did in these cases. With comics, my interest in the medium played a big role. I was a child collector of Marvel. I got turned (...) on to independent and alternative comics about ten years ago by a good friend who’s a successful comics artist and that played a role in my writing about comics. (shrink)

This article seeks to explore the different strategies the Bard uses in order to evoke sympathy in the reader for Macbeth who is so persistent in the path of evil. What strategy does Shakespeare use in order to provoke such a deep emotional response from his readers? By using paradoxes in the play, the Bard creates a world of illusion, fear and wild imagination. The paradoxical world in Macbeth startles us into marvel and fear, challenges our commonly held opinions, (...) and reshapes our thought in the process (Platt 8). As the text involves the reader in the formation of illusion and the simultaneous formation of the means whereby the illusion is punctured, “reading reflects the process by which we gain experience. Once the reader is entangled, his own preconceptions are continually overtaken so that the text becomes his present while his own ideas fade into the past. As soon as it happens, he is open to the immediate experience of the text” (Iser, The Implied Reader 290). Mesmerised by Macbeth’s powerful imagination and poetic language, the reader engages in a dialogical interaction with the play and eventually finds light in the murky world of the text. Regardless of Macbeth’s diabolical world, the reader ventures into it, shares it with him and ultimately wakes up from its dizzying stupor. In reading Macbeth, the reader leaves behind the familiar world of his experience in order to participate in the adventure the text offers him. The edifying effect of the tragedy in the end is the reward the reader reaps after eventually waking up from the nightmarish dream of the text. (shrink)

Recognizing the variety of dystopian science-fiction novels and movies, from Brave New World to Gattaca and more recently Star Trek, on the future of humanity in which eugenic policies are implemented, genetic engineering has been getting a bad reputation for valid but arguably, mostly historical reasons. In this paper, I critically examine the claim from Mehlman & Botkin (1998: ch. 6) that human enhancement will inevitably accentuate existing inequality in a free market and analyze whether prohibition is the optimal (...) public policy for this objection as egalitarians might advise (Lamont and Favor, 2014). (shrink)

Where is consciousness? Neurobiological theories of consciousness look primarily to synaptic firing and “spike codes” as the physical substrate of consciousness, although the specific mechanisms of consciousness remain unknown. Synaptic firing results from electrochemical processes in neuron axons and dendrites. All neurons also produce electromagnetic (EM) fields due to various mechanisms, including the electric potential created by transmembrane ion flows, known as “local field potentials,” but there are also more meso-scale and macro-scale EM fields present in the brain. The functional (...) role of these EM fields has long been a source of debate. We suggest that these fields, in both their local and global forms, may be the primary seat of consciousness, working as a gestalt with synaptic firing and other aspects of neuroanatomy to produce the marvelous complexity of minds. We call this assertion the “electromagnetic field hypothesis.” The neuroanatomy of the brain produces the local and global EM fields but these fields are not identical with the anatomy of the brain. These fields are produced by, but not identical with, the brain, in the same manner that twigs and leaves are produced by a tree’s branches and trunk but are not the same as the branches and trunk. As such, the EM fields represent the more granular, both spatially and temporally, aspects of the brain’s structure and functioning than the neuroanatomy of the brain. The brain’s various EM fields seem to be more sensitive to small changes than the neuroanatomy of the brain. We discuss issues with the spike code approach as well as the various lines of evidence supporting our argument that the brain’s EM fields may be the primary seat of consciousness. This evidence (which occupies most of the paper) suggests that oscillating neural EM fields may make firing in neural circuits oscillate, and these oscillating circuits. may help unify and guide conscious cognition. (shrink)

Being disposed to see the marvelous by moving into the familiar is one of the fundamental philosophical dispositions. The pre-Socratic philosophers—especially Heraclitus—emphasized the needfulness of listening. This is true in two senses: we need to learn to listen, and listening is itself a need for something. The logos in nature can be heard only by one who is “awake.” The problem is that most live as though they were asleep, immersed in their own world. Being in tune with nature opens (...) one to hear something beyond nature—namely, the logos of nature. This implies a paradox: one can understand nature—i.e., be open to hear its logos—only if one is already open to hear it. The logos speaks to all, but it only successfully communicates with its lover. The philosophical life is intelligible only from within an openness to the logos. In this essay, I will argue that living a philosophical life (i.e., a philo-logical life: literally, a life in love with logos) is something that one has always already had. In short, a philosophical life is not something that one can decide to have or not; it is essentially something that one is thrown into, or perhaps more accurately, something that one finds oneself already a part of—like being in love—as the fruit of an unmerited gift. The philosophical life is a life of grace, since it is something that is given from another. This essay sets out to examine the philosophical facets of the claim that the philosophical life is a life of grace. (shrink)

Bazin, Cavell and other prominent theorists have asserted that movies are essentially photographic, with more recent scholars such as Carroll and Gaut protesting. Today CGI stands as a further counter, in addition to past objections such as editing, animation and blue screen. Also central in debates is whether photography is transparent, that is, whether it allows us to see things in other times and places. I maintain photography is transparent, notwithstanding objections citing digital manipulation. However, taking a cue from (...) Cavell—albeit one poorly outlined in his work—I argue this is not so much because of what photography physically is, but because of what “photography” has come to mean. I similarly argue digital technologies have not significantly altered what cinematic media “are” because they have not fundamentally modified what they mean; and that cinema retains a photographic legacy, even when it abandons photographic technologies to digitally manufacture virtual worlds. (shrink)

Charles Peirce claimed that logically "every true universal, every continuum, is a living and conscious being." Such a claim is precisely what hunter-gatherers believe: a world-view depicted as animism. Suppose animism represents a sophisticated world-view, ineradicably embodied in our physical bodies, and that Peirce's philosophy points toward a new kind of civilization, inclusive of what I term animate mind. We are wired to marvel in nature, and this reverencing attunement does not require a concept of God. Marveling in nature (...) proves to be not only a motive source of human evolution, but key to continued development. (shrink)

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

Semiotics has been making progressively inroads into marketing research over the past thirty years. Despite the amply demonstrated conceptual appeal and empirical pertinence of semiotic perspectives in various marketing research streams, spanning consumer research, brand communications, branding and consumer cultural studies, there has been a marked deficit in terms of consolidating semiotic brand-related research under a coherent disciplinary umbrella with identifiable boundaries and research agenda. -/- The Handbook of Brand Semiotics furnishes a compass for the perplexed, a set of anchors (...) for the inquisitive and a solid corpus for scholars, while highlighting the conceptual richness and methodological diversity of semiotic perspectives. -/- Written by a team of expert scholars in various semiotics and branding related fields, such as John A. Bateman, David Machin, Xavier Ruiz Collantes, Kay L. O’Halloran, Dario Mangano, George Rossolatos, Merce Oliva, Per Ledin, Gianfranco Marrone, Francesco Mangiapane, Jennie Mazur, Carlos Scolari, Ilaria Ventura, and edited by George Rossolatos, Chief Editor of the International Journal of Marketing Semiotics, the Handbook is intended as a point of reference for researchers who wish to enter the ‘House of Brand Semiotics’ and explore its marvels. -/- The Handbook of Brand Semiotics, actively geared towards an inter-disciplinary dialogue between perspectives from marketing and semiotics, features the state-of-the-art, but also offers directions for future research in key streams, such as: -/- · Analyzing and designing brand language across media · Brand image, brand symbols, brand icons vs. iconicity · The contribution of semiotics to transmedia storytelling · Narrativity and rhetorical approaches to branding · Semiotic roadmap for designing brand identity · Semiotic roadmap for designing logos and packaging · Sociosemiotic accounts of building brand identity online · Multimodality and Multimodal critical discourse analysis · Challenging the omnipotence of cognitivism in brand- related research · Semiotics and (inter)cultural branding · Brand equity semiotics Comparative readings of structuralist, Peircean and sociosemiotic approaches to brandcomms . (shrink)

A Touch of Doubt traces the theme of touch in the evolution of skepticism through Platonism, German idealism, Continental philosophy and psychoanalysis. Haptic Scepticism, the field of ethics emerging from this study, explores the grasp-ability of contradiction. Contradiction is a haptic marvel. We can cup it in our palms, press it against our lips, dip our toes into its coolness, and, if we are not careful, we may even burn ourselves on its surface.

In this chapter I argue that writers on metaphor have misunderstood Aristotle on metaphor. Aristotle is not an elitist about metaphor and does not consider metaphors to be merely ornamental. Rather, Aristotle believes that metaphors are ubiquitous and believes that people can express themselves in a clearer and more attractive way through the use of metaphors and that people learn and understand things better through metaphor. He also distinguishes between the use of metaphor and the coinage of metaphor, and believes (...) that the ability to coin marvelous new metaphors is a form of literary genius, and he provided an entirely natural origin of metaphor coinage. (shrink)

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

Varzi (2005) discussed 6 ways of symbolizing the sentence 'If Alf went to the movies then Beth went too, but only if she found a taxi-cab.' In the present reply, a seventh symbolization is offered, along with an analysis of the six alternatives discussed by Varzi.

Is cinematicity a virtue in film? Is lack of cinematicity a defect? Berys Gaut thinks so. He claims that cinematicity is a pro tanto virtue in film. I disagree. I argue that the term “cinematic” principally refers to some cluster of characteristics found in films featuring the following: expansive scenery, extreme depth of field, high camera positioning, and elaborate tracking shots. We often use the word as a term of praise. And we are likely right to do so. We are (...) right if we mean that the film does well what movies often do well. We are wrong if we mean that the film is good for doing what is merely distinctive of film. This issue has important implications for understanding the role of the medium in artistic evaluation. I argue that we should reject Gaut’s claim because it entails an implausibly strong medium specificity thesis. (shrink)