If feeling a genuine emotion requires believing that its object actually exists, and if this is a belief we are unlikely to have about fictional entities, then how could we feel genuine emotions towards these entities? This question lies at the core of the paradox of fiction. Since its original formulation, this paradox has generated a substantial literature. Until recently, the dominant strategy had consisted in trying to solve it. Yet, it is more and more frequent for (...) scholars to try to dismiss it using data and theories coming from psychology. In opposition to this trend, the present paper argues that the paradox of fiction cannot be dissolved in the ways recommended by the recent literature. We start by showing how contemporary attempts at dissolving the paradox assume that it emerges from theoretical commitments regarding the nature of emotions. Next, we argue that the paradox of fiction rather emerges from everyday observations, the validity of which is independent from any such commitment. This is why we then go on to claim that a mere appeal to psychology in order to discredit these theoretical commitments cannot dissolve the paradox. We bring our discussion to a close on a more positive note, by exploring how the paradox could in fact be solved by an adequate theory of the emotions. (shrink)

The chapter considers the “paradox of fiction,” understood as the claim that it is in some sense irrational or inappropriate to respond emotionally to mere fictions. Several theorists have held that special features of imagination, or other “arational” mental reflexes, play a role in its resolution. I argue, to the contrary, that imagination need not enter into the solution, and that the paradox can be resolved in a way that shows our responses to fictions to be reasonable (...) and warranted, even if our emotional reactions to fiction are caused by beliefs and desires. Coming to terms with the paradox requires both properly understanding the “rug-pull” structure of the examples used to motivate it, and appreciating the specific emotional norms relevant to fiction appreciation. Related proposals by Livingston & Mele (1997) and Gilmore (2011) are discussed; their relevance to and coherence with the present account are explained. [This is Chapter 11 of Explaining Imagination.]. (shrink)

The Gamer’s Dilemma refers to the philosophical challenge of justifying the intuitive difference people seem to see between the moral permissibility of enacting virtual murder and the moral impermissibility of enacting virtual child molestation in video games (Luck Ethics and Information Technology, 1:31, 2009). Recently, Luck in Philosophia, 50:1287–1308, 2022 has argued that the Gamer’s Dilemma is actually an instance of a more general “paradox”, which he calls the “paradox of treating wrongdoing lightly”, and he proposes a graveness (...) resolution to this paradox. In response, we argue for four key claims. First, we accept Luck’s expansion of the Gamer’s Dilemma to be applicable to a wider set of media, but give a novel recasting of this in terms of the Paradox of Fictionally Going Too Far. Second, we develop a novel criticism of Luck in Philosophia, 50:1287–1308, 2022 graveness resolution to this broader paradox. Third, we argue that the Paradox of Fictionally Going Too Far helps to expose an implicit moralism in the Gamer’s Dilemma literature when compared to relevant nearby literatures about other forms of media. Fourth, we consider a range of non-moral, cultural and media conventions that plausibly help to dissolve the intuitive moral gap between non-sexual and sexual violence that is central to this paradox. (shrink)

This paper concerns the familiar topic of whether we can have genuinely emotional responses such as pity and fear to characters and situations we believe to be fictional1. As is well known, Kendall Walton responds in the negative (Walton (1978); (1990): 195-204 and Chapter 7; (1997)). That is, he is an ‘irrealist’ about emotional responses to fiction (the term is Gaut’s (2003): 15), arguing that such responses should be construed as quasiemotions (Walton (1990): 245), of which their possessor imagines (...) that they are genuine emotions. This is not to deny that an experience in response to a fiction may have a phenomenology very like a given emotion, but to insist that, nonetheless, such responses are not real instances of the emotions which they resemble (Walton (1997)). So, in his most famous example, Charles, who experiences fear-like emotion in relation to a film which depicts the approach of evil slime, does not, despite appearances, experience genuine fear towards the slime, but only quasi-fear (Walton (1990): 195-204)2. Walton’s view presupposes the following view about the nature of emotion3. (shrink)

The paradox of fiction tackles how we can be considered as rational while having emotions towards fictional and thus non-existing events. I aim to show that the different philosophical positions on this issue can be reconciled within the emotion regulation framework. This approach refines the concept of emotion, defining it as a sequence of distinct regulated processes. I argue that the philosophical solutions that have been proposed to solve the paradox can be framed as different regulation mechanisms (...) occuring at each stage of the emotion sequence. Based on these results, I propose an original and unifying solution to the paradox of fiction which relies on the notion of quasi-belief. On one hand, this solution solves the paradox of fiction through rejecting each proposition of the paradox at different stages of the emotion process. On the other hand, it explains through the notion of rational appraisal why the question of the existence of emotions towards fictional events is bound to the question of their rationality. The functional roles of emotion towards fictional events are thus discussed, showing how rationality shapes emotions towards fictional events. (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)

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)

In this brief paper, I present a paradox of the unnew, derived from nineteenth and early twentieth century fiction, and consider an obvious solution.

Tullmann et Buckwalter (2014) ont récemment soutenu que le paradoxe de la fiction tenait plus de l’illusion que de la réalité. D’après eux, les théories contemporaines des émotions ne fourniraient aucune raison d’adopter une interprétation du terme « existence » qui rende les prémisses du paradoxe incompatibles entre elles. Notre discussion a pour but de contester cette manière de dissoudre le paradoxe de la fiction en montrant qu’il ne prend pas sa source dans les théories contemporaines des émotions. (...) Bien plutôt, son origine se situe dans ce que Radford (1975) décrit comme une incohérence dans nos réactions émotionnelles aux évènements fictionnels et non fictionnels. Malgré ce désaccord, nous concédons à Tullmann et Buckwalter qu’une solution satisfaisante au paradoxe de la fiction doit s’appuyer sur les théories des émotions. Ainsi, en guise de conclusion, nous expliquons comment il convient de comprendre l’incohérence en question et comment les théories des émotions pourraient contribuer à la résolution du paradoxe de la fiction. (shrink)

The nature and consequences of readers’ affective engagement with literature has, in recent years, captured the attention of experimental psychologists and philosophers alike. Psychological studies have focused principally on the causal mechanisms explaining our affective interactions with fictions, prescinding from questions concerning their rational justifiability. Transportation Theory, for instance, has sought to map out the mechanisms the reader tracks the narrative experientially, mirroring its descriptions through first-personal perceptual imaginings, affective and motor responses and even evaluative beliefs. Analytical philosophers, by contrast, (...) have largely focussed on the problems fiction poses for traditional theories of rationality (as in the ‘Paradox of Fiction), challenging fiction’s wider epistemic value. The result has been a theoretical impasse in which the power of fiction to affectively ‘transport’ a reader is at once often lauded (by psychologists) as a privileged route to interpersonal understanding, and condemned (by philosophers) as an abdication of the authority of reason. This chapter surveys some of the central claims on both sides, tracing the source of the debate to competing conceptions of rationality. (shrink)

In Savoring Disgust, Carolyn Korsmeyer argues that disgust is peculiar amongst emotions, for it does not need any of the standard solutions to the so-called paradox of fiction. I argue that Korsmeyer’s arguments in support of the peculiarity of disgust with respect to the paradox of fiction are not successful.

I distinguish paradoxes and hypodoxes among the conundrums of time travel. I introduce ‘hypodoxes’ as a term for seemingly consistent conundrums that seem to be related to various paradoxes, as the Truth-teller is related to the Liar. In this article, I briefly compare paradoxes and hypodoxes of time travel with Liar paradoxes and Truth-teller hypodoxes. I also discuss Lewis’ treatment of time travel paradoxes, which I characterise as a Laissez Faire theory of time travel. Time travel paradoxes are impossible according (...) to Laissez Faire theories, while it seems hypodoxes are possible. (shrink)

This article reviews John Wood’s Truth in Fiction: Rethinking its Logic.

Fictional names pose a difficult puzzle for semantics. We can truthfully maintain that Frodo is a hobbit, while at the same time admitting that Frodo does not exist. To reconcile this paradox I propose a way to formalize the interpretation of fiction as ‘prescriptions to imagine’ (Walton 1990) within an asymmetric semantic framework in the style of Kamp (1990). In my proposal, fictional statements are analyzed as dynamic updates on an imagination component of the interpreter’s mental state, while (...) plain assertions are updates on a belief component. Proper names – regular, empty, or fictional – are uniformly analyzed as presupposition triggers. The possibility of different attitude components referentially depending on each other is what ultimately allows us to account for the central paradox mentioned above. (shrink)

Le fameux paradoxe de la fiction (Radford 1975) a suscité maintes interprétations. L’une des distinctions importantes qui affleure bien souvent au sein de cette littérature, pour se voir presque aussitôt négligée, est celle entre les deux questions suivantes : « comment les émotions peuvent-elles être suscitées par des œuvres de fiction ? » et « les émotions suscitées par de telles œuvres peuvent-elles être rationnelles ? » Dans ce qui suit, je me concentrerai exclusivement sur la seconde de (...) ces questions et chercherai à montrer que la plupart de nos réponse affectives à la fiction ne sont pas irrationnelles. Ma discussion se structure de la manière suivante. La première section esquisse la nature du lien entre émotions et valeurs et introduit une conception selon laquelle les émotions sont des attitudes évaluatives. Au cours de la deuxième section, nous nous tournerons vers le problème de la rationalité des émotions pour mettre l’accent sur deux de ses aspects – celui qui regarde le rapport entre une émotion et sa base cognitive, d’un côté, et, de l’autre, celui entre l’émotion elle-même et les jugements et comportements auxquels elle peut donner lieu. La troisième section applique ces considérations à propos de la rationalité affective aux émotions suscitées par la fiction, dont je distingue trois types principaux : les émotions esthétiques, les émotions-blob et les émotions-pour. Une quatrième et dernière section explore quelques conséquences des conclusions auxquelles m’auront amené ce qui précède. (shrink)

This paper addresses the so-called paradox of fiction, the problem of explaining how we can have emotional responses towards fiction. I claim that no account has yet provided an adequate explanation of how we can respond with genuine emotions when we know that the objects of our responses are fictional. I argue that we should understand the role played by the imagination in our engagement with fiction as functionally equivalent to that which it plays under the (...) guise of acceptance in practical reasoning, suggesting that the same underlying cognitive-affective mechanisms are involved in both activities. As such, our imaginative engagement with fiction un-problematically arouses emotions, but only to the extent that we are not occurrently attending to our epistemic relation to the fiction i.e. fully attending to the fact that the object of our response is merely fictional. In order to illuminate this idea I examine a recent proposal that the phenomenology of attention is partially non-attributive, and I argue that emotional phenomenology too shares this characteristic. (shrink)

There are propositions constituting the content of fictions—sometimes of the utmost importance to understand them—which are not explicitly presented, but must somehow be inferred. This essay deals with what these inferences tell us about the nature of fiction. I will criticize three well-known proposals in the literature: those by David Lewis, Gregory Currie, and Kendall Walton. I advocate a proposal of my own, which I will claim improves on theirs. Most important for my purposes, I will argue on this (...) basis, against Walton’s objections, for an illocutionary-act account of fiction, inspired in part by some of Lewis’s and Currie’s suggestions, but (perhaps paradoxically) above all by Walton’s deservedly influential views. (shrink)

A central passage in Cusset’s essay states: “God, for Sade, is fiction that ‘took hold of the minds of men’. What makes God’s weakness, the impossibility of rationally proving his existence, is precisely what constitutes his strength as fiction. Negated as authority, eliminated as the figure of the almighty father, God is nonetheless everywhere in the Sadean novel: he exists as the fiction principle. Libertines are never done with God because his name represents the power, not of (...) the law, but of the imagination. In showing their contempt for God, libertines reveal their anger against fiction, which does not have the power to prove its own truth: fiction — and Sade chose to write novels, not philosophical essays — is based on the desire for illusion” (119). Sade’s L’Histoire de Juliette, argues Cusset, breaks from his earlier writings in that Juliette has an agency missing from Sade’s previous female characters, and she, unlike earlier characters, breaks through the central Sadean impasse: “her ‘story’ represents the solution through which Sade paradoxically resolves the aporia of libertinage” (120). She is perfectly aware of scientific explanations for phenomena, but, “for the sake of play, Juliette chooses metaphor, and does not try to ‘unveil truth’ entirely. Juliette distinguishes herself from her teachers and masters through her relation to imagination. […] The end of the novel confirms Juliette’s choice of a playful imagination” (123). In short, Juliette is the libertine who breaks the very rules of the libertines by means of resurrecting the sense of play, imagination, and romantic delicacy which her fellow criminals forbid. Cusset concludes: “Sade invites us to read his texts as fictive and humorous texts, and not, as suggested the French feminist Elisabeth Badinter who wanted to censor Sade’s novel, as rational demonstrations inviting readers to commit murder. Juliette’s transformation through the novel allows us to understand why Sade entitled his last long novel L 'Histoire de Juliette. Juliette chooses fiction, without trying to prove its truth; she chooses pleasure, without trying to annihilate every belief, since imaginary belief is a component of pleasure. What Sade tells us with the invention of Juliette is that freedom is the very choice of limit. […] L’Histoire de Juliette is Sade’s critique of pure fiction” (129). (shrink)

Evidentialism is the doctrine that rational belief should be proportioned to one’s evidence. By “one’s evidence,” I mean evidence that we possess and know that we possess. I specifically exclude from “evidence” the following: information of which we are unaware that our brain might rely on in constructing experience or in the formation of beliefs. My initial interest is with the doctrine of Evidentialism as it applies to a quandary that arises in the Sci-Fi movie Contact, the “Contact Paradox” (...) as I will call it. In this movie one of the main characters, Ellie, is a cosmologist working in a radio-telescope research facility searching for signals from intelligent life in the cosmos. The entity whose epistemological status is at issue in her quandary is her deceased father but there is an obvious parallel between the quandary of a rational believer in God and Ellie’s quandary, a parallel extensively explored in the movie itself. My first thesis is that in Ellie’s case Evidentialism is false: in certain cases, it is rational to believe in the existence of an entity in spite of the fact that the empirical evidence overall is contrary, and the Contact Paradox is one such case. Later in the paper I turn attention to the issue of Evidentialism regarding beliefs in the existence of God. My second thesis is that Evidentialism is false there as well. (shrink)

This paper’s main thesis is that in virtue of being believable, a believable novel makes an indirect transcendental argument telling us something about the real world of human psychology, action, and society. Three related objections are addressed. First, the Stroud-type objection would be that from believability, the only conclusion that could be licensed concerns how we must think or conceive of the real world. Second, Currie holds that such notions are probably false: the empirical evidence “is all against this idea…that (...) readers’ emotional responses track the real causal relations between things.” Third, responding with a full range of emotions to a novel surely requires that it be believable. Yet since we know the novel is fiction, we do not believe it. So in what does its believability consist? (shrink)

Sequel to Part I. In these articles, I describe Cantor’s power-class theorem, as well as a number of logical and philosophical paradoxes that stem from it, many of which were discovered or considered (implicitly or explicitly) in Bertrand Russell’s work. These include Russell’s paradox of the class of all classes not members of themselves, as well as others involving properties, propositions, descriptive senses, class-intensions and equivalence classes of coextensional properties. Part II addresses Russell’s own various attempts to solve these (...) paradoxes, including strategies that he considered and rejected (limitation of size, the zigzag theory, etc.), as well as his own final views whereupon many purported entities that, if reified, lead to these contradictions, must not be genuine entities, but ‘logical fictions’ or ‘logical constructions’ instead. (shrink)

In this paper Johan Dahlbeck sets out to propose a pedagogy of “as if,” seeking to address the educational paradox of how students can be influenced to approximate a life guided by reason without assuming that they are already sufficiently rational to adhere to dictates of practical reason. He does so by outlining a fictionalist account, drawing primarily on Hans Vaihinger's systematic treatment of heuristic fictions and on Spinoza's ideas about how passive affects can be made to strengthen reason. (...) Dahlbeck suggests that such an account can help us overcome the problem of assuming that reason needs to be enlisted as an instrument in the educational endeavor to live according to the guidance of reason. The reason this is so is that fictions can use passive affects that are prosocial and that thereby strengthen the sense of community necessary for laying a cooperative foundation for successful joint striving. Dahlbeck suggests further that exemplary teachers are crucial to this endeavor insofar as they can offer educational fictions as imaginative and temporary placeholders for the truth, allowing students to act “as if” they were already guided by reason. (shrink)

Two assumptions are common in discussions of the paradox of tragedy: (1) that tragic pleasure requires that the work be fictional or, if non-fiction, then non-transparently represented; and (2) that tragic pleasure may be provoked by a wide variety of art forms. In opposition to (1) I argue that certain documentaries could produce tragic pleasure. This is not to say that any sad or painful documentary could do so. In considering which documentaries might be plausible candidates, I further (...) argue, against (2), that the scope of tragic pleasure is limited to works that possess certain thematic and narrative features. (shrink)

Imagination contributes to human agency in ways that haven't been well understood. I argue here that pathways from imagistic imagining to emotional engagement support three important agential capacities: 1. bodily preparedness for potential events in one's nearby environment; 2. evaluation of potential future action; and 3. empathy-based moral appraisal. Importantly, however, the kind of pathway in question (I-C-E-C: imagining-categorization-emotion-conceptualization) also enables engagement with fiction. So human enchantment with fiction is a consequence of imaginative pathways that make us the (...) kind of agents we are. Finally, I use this approach to address imaginative resistance and the paradox of fiction. [The version archived here is a penultimate draft. Please email me at [email protected] to receive a pdf of the final in accordance with fair use.]. (shrink)

The most well-known and controversial solution to the paradox of fiction is Kendall Walton’s, according to whom pity of (say) Anna Karenina is not genuine pity. Walton’s opponents argue that we can resolve the paradox of fiction while preserving the intuition that our response to Anna is ordinary, run-of-the-mill pity; and they claim that retaining this intuition explains more than Walton’s approach. In my view, the arguments of Walton’s opponents depend on idiosyncratic features of examples involving (...) purely fictional characters like Anna Karenina. What is really at issue is the fact that we respond emotionally to fiction in ways that are not explained by our beliefs, but instead by what we imagine. That this is the crux of the paradox of fiction becomes clear only when we consider fictions about real persons and events. And I contend that once we turn our attention to these cases, Walton’s theory proves significantly more explanatory than the opposition. (shrink)

By using the general investigation framework offered by the cognitive science of religion (CSR), I analyse religion as a necessary condition for the evolutionary path of knowledge. The main argument is the "paradox of the birth of knowledge": in order to get to the meaning of the part, a sense context is needed; but a sense of the whole presupposes the sense (meaning) of the parts. Religion proposes solutions to escape this paradox, based on the imagination of sense (...) (meaning) contexts, respectively closures of these contexts through meta-senses. What is important is the practical effectiveness of solutions proposed by religion, taking into account the costs of faith and the costs of the absence of religious belief. The hypothesis has the following consequences: religion is a necessary condition for the initial evolution of knowledge and the emergence of religion is determined by the evolution of knowledge. The continuation of the solving of paradox is a Bayesian one, using explorations: a sense of the whole allows cognitive arrangements of the parties, which in turn open the possibility of a rearrangement of the whole. The contribution of religion to the emergence of sense (meaning) could be governed by the rule: any map of the world is more useful than no map; any meaning (of life) is better than no meaning. The human mind fills the perceptual and cognitive gaps, some (religious) filling solutions being true vault keys of the entire cognitive construction called the world. Knowledge is conditioned by the existence of an organized context, as the cosmos created by religion by means of explanatory meta-theories supports knowledge by closing the cognitive context and using meaning networks. The proposed analysis is consistent with a redefinition of rationality from the perspective of evolution: the importance and relevance of knowledge is determined by its practical outcome - survival. In the context of useful fictions, it does not matter what God actually does, but what we have done by believing in God. Existence has provided a pragmatic verification of the cognitive solutions that underlie the survival strategies promoted by religions. (shrink)

The outcomes of sports and competitive games excite intense emotions in many people, even when those same people acknowledge that those outcomes are of trifling importance. I call this incongruity between the judged importance of the outcome and the intense reactions it provokes the Puzzle of Sport. The puzzle can be usefully compared to another puzzle in aesthetics: the Paradox of Fiction, which asks how it is we become emotionally caught up with events and characters we know to (...) be unreal. In this article, I examine the prospects of understanding our engagement with competitive games on the model of our engagement with works of fiction, thus enabling analogous explanations for both puzzles. I show that there are significant problems with such an approach and offer an alternative, mobilizing ideas from David Velleman and Thomas Nagel, that appeals to the volatility of our motivational attitudes. (shrink)

The discrepancy between individual women and the stereotypes attributed to the group as a ‎whole has become progressively greater and more explicit over the course of history. The stereotypes remain the same age-old ‎allegations whilst the ‎developments in the occupations of women and the traits they have opportunity to express have increased the distance between women and those ascribed traits. Stereotypes’ abstention from revision in light of contrary evidence constitutes an epistemic paradox for it entails conflict between the stereotypical (...) knowledge and empirical evidence, as well as between the stereotypical knowledge and other empirical knowledges. This paradox of stubbornness also raises the question as to the epistemic source of stereotypes. For, people at young ages encounter evidence which should have formed a more complex knowledge regarding women rather than the pervasive stereotypical knowledge. It is this extremity of absurdness of stereotypes regarding women that is utile to understanding stereotypes as a whole. The epistemic paradox that is engrained in all stereotypes is exposed uncompromisingly by this group. The paradox cannot be dismissed with excuses of having a small basis of evidence, such as may be said regarding other social groups with which one may have had minimal or no contact. Thus, stereotypes of women provide a limit case to understanding the epistemology of this paradoxical form of knowledge. The traits and epistemic phenomena which render stereotypes epistemically puzzling and intriguing is the relationship between knowledges. Stereotypical knowledge regarding women as a group conflict with one’s experience-founded knowledges of particular women, deeming the corporate body of knowledge incoherent. Quine’s theory of knowledge, with its holistic empirical approach endorsing conceptual schemes, provides fertile ground for this analysis. The novelty in his account is his establishment of the criteria of coherency, which shifts the focal point of epistemic inquiry away from the adequacy of individual knowledges with empirical evidence to the intra-knowledge relationships themselves. In his empiricism, Quine rather examines the interactions between knowledges and the overarching coherence of the body of knowledge as a holistic unit. Quine creates place in his account for mechanism which provide for the epistemic incongruences of stubbornness and conflict found between stereotypical knowledges and empirical evidence. These very mechanisms are what this paper requests to examine. Quine, ultimately, formulates knowledge as a collectively held fabric consisting of relations and of posits – socially constructed mechanisms which are empirically-irreducible and implemented pragmatically for the organisation of empirical evidence. According to Quine, the fabric formation is a conceptual scheme sourced in social heritage. People are bestowed with an eclectic framework of ‎knowledge to pragmatically merge between an inherited, collective conceptual scheme and the personally experienced empirical evidence. This paper will delve into Quine’s fabric of knowledge, its relations, and inner-mechanisms. The finding of stereotypes to be an age-old posit entrenched pragmatically – thus stubbornly – in the collective conceptual scheme, will explain the epistemic paradoxes they entail and offer insight to their revision in light of empiric reality and its women. (shrink)

Motivating philosophical interest in the notion of suspense requires comparatively little appeal to what goes on in our ordinary work-a-day lives. After all, with respect to our everyday engagements with the actual world suspense appears to be largely absent—most of us seem to lead lives relatively suspense-free. The notion of suspense strikes us as interesting largely because of its significance with respect to our engagements with (largely fictional) narratives. So, when I indicate a preference for suspense novels, I indicate a (...) preference not only for reading novels with certain narrative structures or content but for novels that in virtue of their narrative structure or content, when properly engaged, evoke a .. (shrink)

In this note I present a solution to Kripkenstein’s paradox, based on a very simple argument: (1) natural language and rule-following are empirical phenomena; (2) no case has been described, in real life, of a person who behaves as Wittgenstein’s or Kripke’s fictional character; (3) therefore, the discussion of such a case is completely devoid of interest. I lay out the example of a ‘Kripkensteinian apple’, which has a normal weight on even days and is weightless on odd days, (...) in order to highlight the contrast between a genuinely empirical perspective, such as that of physics, and the logical-analytical perspective, under which Kripkenstein’s paradox has attracted so much attention. (shrink)

Recently, the problem of national identity has been actualized, but here is a the question: identity to what? Traditions, religion, mentality? Ideals, perhaps? Inspired by the best examples of national historical thought, the author offers an an original approach to deciphering the Russian "cultural code". В последнее время актуализируется проблема национальной идентичности, но вот вопрос: идентичности чему? Традициям, религии, менталитету? Идеалам, может быть? Воодушевленный лучшими образцами отечественной исторической мысли, автор предлагает оригинальный подход к расшифровке русского «культурного кода».

This volume aims to develop a philosophical diagnostic of the present, focussing on contemporary technoscience. psychoanalysis submits contemporary technoscientific discourse to a symptomatic reading, analysing it with evenly-poised attention and from an oblique perspective. Psychoanalysis is not primarily interested in protons, genes or galaxies, but rather in the ways in which they are disclosed and discussed, focussing on the symptomatic terms, the metaphors and paradoxes at work in technoscientific discourse. This monograph presents a psychoanalytical assessment of technoscience. The first four (...) chapters provide a short introduction into the psychoanalysis of technoscience, its basic concepts and methods, as developed Sigmund Freud, Carl Gustav Jung, Gaston Bachelard and Jacques Lacan. In subsequent chapters, this approach is fleshed out with the help of case histories (palaeoanthropology, classical conditioning and virology). Psychoanalysis reveals that, rather than by disinterested curiosity, technoscience is driven by desire, resistance and the will to control. Moreover, the focus is on primal scenes, such as Dubois’ quixotic quest for the missing link and Pavlov’s discovery of the conditioned reflex. In addition, psychoanalysis opts for triangulation: understanding technoscientific research by comparing it to “different scenes”: to genres of the imagination, notably novels, so that, in this volume, the discovery of a Homo erectus skull by Dubois is compared to missing link novels by Jules Verne and Jack London (dating from the same period), Pavlov’s discovery of the conditioned reflex is compared with B.F. Skinner’s novel Walden Two and virology as a research field is considered through the lens of viral fiction. (shrink)

Supererogatory acts—good deeds “beyond the call of duty”—are a part of moral common sense, but conceptually puzzling. I propose a unified solution to three of the most infamous puzzles: the classic Paradox of Supererogation (if it’s so good, why isn’t it just obligatory?), Horton’s All or Nothing Problem, and Kamm’s Intransitivity Paradox. I conclude that supererogation makes sense if, and only if, the grounds of rightness are multi-dimensional and comparative.

This is the first book in a two-volume series. The present volume introduces the basics of the conceptual foundations of quantum physics. It appeared first as a series of video lectures on the online learning platform Udemy.]There is probably no science that is as confusing as quantum theory. There's so much misleading information on the subject that for most people it is very difficult to separate science facts from pseudoscience. The goal of this book is to make you able to (...) separate facts from fiction with a comprehensive introduction to the scientific principles of a complex topic in which meaning and interpretation never cease to puzzle and surprise. An A-Z guide which is neither too advanced nor oversimplified to the weirdness and paradoxes of quantum physics explained from the first principles to modern state-of-the-art experiments and which is complete with figures and graphs that illustrate the deeper meaning of the concepts you are unlikely to find elsewhere. A guide for the autodidact or philosopher of science who is looking for general knowledge about quantum physics at intermediate level furnishing the most rigorous account that an exposition can provide and which only occasionally, in few special chapters, resorts to a mathematical level that goes no further than that of high school. It will save you a ton of time that you would have spent searching elsewhere, trying to piece together a variety of information. The author tried to span an 'arch of knowledge' without giving in to the temptation of taking an excessively one-sided account of the subject. What is this strange thing called quantum physics? What is its impact on our understanding of the world? What is ‘reality’ according to quantum physics? This book addresses these and many other questions through a step-by-step journey. The central mystery of the double-slit experiment and the wave-particle duality, the fuzzy world of Heisenberg's uncertainty principle, the weird Schrödinger's cat paradox, the 'spooky action at a distance' of quantum entanglement, the EPR paradox and much more are explained, without neglecting such main contributors as Planck, Einstein, Bohr, Feynman and others who struggled themselves to come up with the mysterious quantum realm. We also take a look at the experiments conducted in recent decades, such as the surprising "which-way" and "quantum-erasure" experiments. Some considerations on why and how quantum physics suggests a worldview based on philosophical idealism conclude this first volume. This treatise goes, at times, into technical details that demand some effort and therefore requires some basics of high school math (calculus, algebra, trigonometry, elementary statistics). However, the final payoff will be invaluable: Your knowledge of, and grasp on, the subject of the conceptual foundations of quantum physics will be deep, wide, and outstanding. Additionally, because schools, colleges, and universities teach quantum physics using a dry, mostly technical approach which furnishes only superficial insight into its foundations, this manual is recommended for all those students, physicists or philosophers of science who would like to look beyond the mere formal aspect and delve deeper into the meaning and essence of quantum mechanics. The manual is a primer that the public deserves. (shrink)

Silence is a multifaceted concept which is not merely as an absence of sound but a presence with significant ontological, existential, and phenomenological implications. Through a thematic analysis, this paper deconstructs silence into various dimensions—its ontology, linguistic universality, and its function as cessation of speech, a form of listening, an act of kenosis, a form of ascesis, and a way of life. The study employs philosophical discourse and mathematical notation to delve into these aspects, demonstrating that while each perspective sheds (...) light on certain facets of silence, none can comprehensively encapsulate its essence. The research underscores the paradoxical nature of silence. It is both a universal phenomenon recognised across cultures and an intimate, personal experience that resists definitive categorisation. The paper concludes that the true nature of silence, particularly when considering the state of "being silent," remains indefinable and elusive, inviting deeper contemplation on its role in human experience. (shrink)

Illusionism is the view that conscious experience is some sort of introspective illusion. According to illusionism, there is no conscious experience, but it merely seems like there is conscious experience. This would suggest that much phenomenological enquiry, including work on phenomenological psychopathology, rests on a mistake. Some philosophers have argued that illusionism is obviously false, because seeming is itself an experiential state, and so necessarily presupposes the reality of conscious experience. In response, the illusionist could suggest that the relevant sort (...) of seeming here is not an experiential state, but is a cognitive state, such as a judgement or a belief, which is fully amenable to a physical or functionalist analysis. Herein, I argue that this response is unsuccessful and fails to undermine the reality of conscious experience. Nonetheless, the response does raise the problem of how a judgement or belief about the character of a conscious experience, even if it is true, can be justified if the conscious experience has no causal role in the formation of the judgement or belief. This is not a new problem, but is a reiteration of an old problem that is known in the philosophy of mind literature as the paradox of phenomenal judgement. I consider how the paradox of phenomenal judgement can be resolved and how the judgement or belief about conscious experience can be justified with appeal to the notion of acquaintance. (shrink)

Contents Preface - ix -/- I. Scientific fiction movies: is there any place for God?! 1. A brief introduction about the birth of science fiction - 15 2. Religious beliefs vs Science Fiction - 18 3. Is there any place for God?! - 20 -/- II. The Village (M. Night Shyamalan) and The Giver (Phillip Noyce) or why utopia is (im)possible 1. Some utopian notions. Remembering Thomas More - 29 2. The Village and The Giver. Some remarks (...) on ideal societies - 34 3. Notes about the possible and impossible of utopia - 39 -/- III. The limits of Zombies films are the limits of philosophy? 1. Are zombies real? From folklore to films - 46 2. The mind-body problem and the empty-minded zombies? - 54 3. The fallacy of the question. Zombies films and philosophy with no limit - 61 -/- IV. Lucy - why the brain cannot be a screen 1. Lucy and some other movies - The ten percent of the brain myth - 67 2. The enhancement of humanity -The pos-humanism after Nietzsche – 71 3. About the mind and the brain. Lucy or why the brain cannot be a screen – 74 -/- V. Viktor Navorski and Sir Alfred: the limits of consciousness at the border of chaos 1. About the terminal, Locke and Lipovetsky - 83 2. Being someone at a non-place - 87 3. Reality vs fiction. Merhan Karimi Nasseri as Sir Alfred - 89 -/- VI. Alienation and slavery from Precious or what we do not want to see 1. Cinema as a moment or the exclusive experience of feeling cinema - 97 2. Two movies, only one reality - 101 3. To conclude: the paradox of precious silence or what we don't want to see - 104 -/- VII. Philosophy of time and being in Alice through the looking glass 1. Some initial considerations on Alice - 113 2. The impossible and the possible in Alice’s time - 116 3. About time and subjectivity and subjectivity in time – 120 -/- References - cxxv. (shrink)

This paper is concerned with the paradox of decrease. Its aim is to defend the answer to this puzzle that was propounded by its originator, namely, the Stoic philosopher Chrysippus. The main trouble with this answer to the paradox is that it has the seemingly problematic implication that a material thing could perish due merely to extrinsic change. It follows that in order to defend Chrysippus’ answer to the paradox, one has to explain how it could be (...) that Theon is destroyed by the amputation without changing intrinsically. In this paper, I shall answer this challenge by appealing to the broadly Aristotelian idea that at least some of the proper parts of a material substance are ontologically dependent on that substance. I will also appeal to this idea in order to offer a new solution to the structurally similar paradox of increase. In this way, we will end up with a unified solution to two structurally similar paradoxes. (shrink)

If the laws of nature are deterministic, then it seems possible that a Laplacean intelligence that knows the initial conditions and the laws would be able to accurately predict everything that will ever happen. However, it would be easy to construct a counterpredictive device that falsifies any revealed prediction about its future behavior. What would then occur if a Laplacean intelligence encountered a counterpredictive device? This is the paradox of predictability. A number of philosophers have proposed solutions to it, (...) though part of my aim here is to argue that the paradox is more pernicious than has thus far been appreciated, and therefore that extant solutions are inadequate. My broader aim is to argue that the paradox motivates Humeanism about laws of nature. (shrink)

*As mentioned in Peter Coy's NYT essay "When Being Good Is Just a Matter of Being Lucky" (2023) -/- ----- -/- How is the problem of free will related to the problem of moral luck? In this essay, I answer that question and outline a new solution to the paradox of moral luck, the source-paradox solution. This solution both explains why the paradox arises and why moral luck does not exist. To make my case, I highlight a (...) few key connections between the paradox of moral luck and two related problems, namely the problem of free will and determinism and the paradox of self-creation. Piecing together intuitions, arguments, and insights from recent work on each of these three problems, I argue that the type of control necessary for moral responsibility can only be had by someone who is a genuine source of his own actions, but the relevant notion of sourcehood admits no coherent characterization. If our commonsense view of moral responsibility is incoherent, it is unsurprising that our commitment to the existence of morally responsible agents commits us to some paradoxical things—e.g. to both the existence and impossibility of moral luck. For more information about this article, please write to gmail account: kristin.mickelson.42. (shrink)

It is widely accepted that there is what has been called a non-hypocrisy norm on the appropriateness of moral blame; roughly, one has standing to blame only if one is not guilty of the very offence one seeks to criticize. Our acceptance of this norm is embodied in the common retort to criticism, “Who are you to blame me?”. But there is a paradox lurking behind this commonplace norm. If it is always inappropriate for x to blame y for (...) a wrong that x has committed, then all cases in which x blames x (i.e. cases of self-blame) are rendered inappropriate. But it seems to be ethical common-sense that we are often, sadly, in position (indeed, excellent, privileged position) to blame ourselves for our own moral failings. And thus we have a paradox: a conflict between the inappropriateness of hypocritical blame, and the appropriateness of self-blame. We consider several ways of resolving the paradox, and contend none is as defensible as a position that simply accepts it: we should never blame ourselves. In defending this startling position, we defend a crucial distinction between self-blame and guilt. (shrink)

Some philosophers have argued that Aristotle’s view of habituation gives rise to a ‘paradox of moral education.’ The inculcation of habit, they contend, seems antithetical to the cultivation of virtue. I argue that this alleged paradox arises from significant misunderstandings of Aristotle’s view. Habit formation need not be at odds with the development of the kinds of intelligent, reflective capacities required for virtue. Indeed, Aristotle seems right to insist on an important role for habit in the cultivation of (...) virtue. I suggest that habit formation is part of the story of how the virtuous come to see the world aright. (shrink)

Philosophers have long argued that duties to oneself are paradoxical, as they seem to entail an incoherent power to release oneself from obligations. I argue that self-release is possible, both as a matter of deontic logic and of metaethics.

The coordinated attack scenario and the electronic mail game are two paradoxes of common knowledge. In simple mathematical models of these scenarios, the agents represented by the models can coordinate only if they have common knowledge that they will. As a result, the models predict that the agents will not coordinate in situations where it would be rational to coordinate. I argue that we should resolve this conflict between the models and facts about what it would be rational to do (...) by rejecting common knowledge assumptions implicit in the models. I focus on the assumption that the agents have common knowledge that they are rational, and provide models to show that denying this assumption suffices for a resolution of the paradoxes. I describe how my resolution of the paradoxes fits into a general story about the relationship between rationality in situations involving a single agent and rationality in situations involving many agents. (shrink)

Most theories of suspense implicitly or explicitly have as a background assumption what I call suspense realism, i.e., that suspense is itself a genuine, distinct emotion. I claim that for a theory of suspense to entail suspense realism is for that theory to entail a contradiction, and so, we ought instead assume a background of suspense eliminativism, i.e., that there is no such genuine, distinct emotion that is the emotion of suspense. More precisely, I argue that i) any suspense realist (...) (...) theory must resolve the paradox of suspense, ii) if suspense is itself a genuine, distinct emotion, then in order to resolve the paradox of suspense it must be a radically sui generis genuine, distinct emotion, iii) according to any minimally adequate theory of the emotions, there can be no radically sui generis emotion, and so iv) there can be no genuine, distinct emotion that is the emotion of suspense. Quite simply, if a theory of suspense must entail suspense realism, then we ought to be eliminativists about suspense. This I call the Paradox of Suspense Realism, which I take to constitute a productive viability condition for any theory of suspense, i.e., any viable theory of suspense must be mutatis mutandis compatible with suspense eliminativism. (shrink)

Saying that x is ineffable seems to be paradoxical – either I cannot say anything about x, not even that it is ineffable – or I can say that it is ineffable, but then I can say something and it is not ineffable. In this article, I discuss Alston’s version of the paradox and a solution proposed by Hick which employs the concept of formal and substantial predicates. I reject Hick’s proposal and develop a different account based on some (...) passages from Pseudo-Dionysius’ Mystica Theologia. ‘God is ineffable’ is a metalinguistic statement concerning propositions about God: not all propositions about God are expressible in a human language. (shrink)

This paper resolves a paradox concerning colour constancy. On the one hand, our intuitive, pre-theoretical concept holds that colour constancy involves invariance in the perceived colours of surfaces under changes in illumination. On the other, there is a robust scientific consensus that colour constancy can persist in cerebral achromatopsia, a profound impairment in the ability to perceive colours. The first stage of the solution advocates pluralism about our colour constancy capacities. The second details the close relationship between colour constancy (...) and contrast. The third argues that achromatopsics retain a basic type of colour constancy associated with invariants in contrast processing. The fourth suggests that one person-level, conscious upshot of such processing is the visual awareness of chromatic contrasts ‘at’ the edges of surfaces, implicating the ‘colour for form’ perceptual function. This primitive type of constancy sheds new light on our most basic perceptual capacities, which mark the lower borders of representational mind. (shrink)

Conscientious objection in health care is a form of compromise whereby health care practitioners can refuse to take part in safe, legal, and beneficial medical procedures to which they have a moral opposition (for instance abortion). Arguments in defense of conscientious objection in medicine are usually based on the value of respect for the moral integrity of practitioners. I will show that philosophical arguments in defense of conscientious objection based on respect for such moral integrity are extremely weak and, if (...) taken seriously, lead to consequences that we would not (and should not) accept. I then propose that the best philosophical argument that defenders of conscientious objection in medicine can consistently deploy is one that appeals to (some form of) either moral relativism or subjectivism. I suggest that, unless either moral relativism or subjectivism is a valid theory—which is exactly what many defenders of conscientious objection (as well as many others) do not think—the role of moral integrity and conscientious objection in health care should be significantly downplayed and left out of the range of ethically relevant considerations. (shrink)