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)

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)

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 Gamer’s Dilemma is based on the intuitions that in single-player video games fictional acts of murder are seen as morally acceptable whereas fictional acts of sexual assault are seen as morally unacceptable. Recently, it has been suggested that these intuitions may apply across different forms of media as part of a broader Paradox of Fictionally Going Too Far. This study aims to empirically explore this issue by determining whether fictional murder is seen as more morally acceptable than fictional (...) sexual assault across different media types, and whether audio-visuality and the degree of agency afforded by the medium influences these judgments. An experimental survey study was developed where participants responded to imaginary fictional scenarios as part of a 2 (engages with fictional murder or fictional sexual assault) X 2 (in a high or low agency) X 2 (audio-visual or non-audio-visual medium) factorial design. It was found that fictional murder was seen to be more morally acceptable than fictional sexual assault across all media types, providing empirical support for the Paradox of Fictionally Going Too Far. It was also found that the audio-visuality and degree of agency influenced judgments of moral acceptability. (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)

We regularly intentionally expose ourselves to fictions we take to be likely to elicit in us emotions we generally find unpleasant when prompted by actual states of affairs. This is the so-called “paradox of tragedy”. We contribute to solving the paradox of tragedy by denying that, when fiction-directed, most of these emotions are in themselves unpleasant. We first provide strong evidence that these emotions, such as fear, sadness, or pity, are often enjoyed when fiction-directed. We then (...) advance an explanation of what makes these fiction-directed emotions often not unpleasant, while their reality-directed counterparts are generally so. In the last section, we advance an explanation of what makes fiction-directed emotions often enjoyable, and argue that a complete solution to the paradox of tragedy should be pluralist. (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)

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)

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

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.

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)

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)

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)

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 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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

Why do we so often care about the outcomes of games when nothing is at stake? There is a paradox here, much like the paradox of fiction, which concerns why we care about the fates and threats of merely fictional beings. I argue that the paradox threatens to overturn a great deal of what philosophers have thought about caring, severing its connection to value and undermining its moral weight. I defend a solution to the paradox (...) that draws on Kendall Walton's solution to the paradox of fiction, developing his idea that it be extended to games. The solution takes games to involve make‐believe: in particular, players and spectators make‐believe that the outcome of the game matters. I also explore how the phenomenon extends beyond games. And I explore some moral implications: in particular, my view preserves the idea that we have reason not to impede others in their pursuit of what they care about. (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)

David Ekdahl (2023), in a constructive and thoughtful commentary, outlines both points of agreement with and suggestions for further research arising from our paper ‘Crossing the Fictional Line: Moral Graveness, the Gamer’s Dilemma, and the Paradox of Fictionally Going Too Far’ (Montefiore & Formosa, 2023).

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)

In Film, Art and the Third Culture, Murray Smith articulates and defends a naturalized aesthetics of film that exemplifies a “third culture,” integrating the insights and methods of the natural sciences with those of the arts and humanities. By contrast with skeptics who reject the relevance of psychology or neuroscience to the study of film and art, I agree with Smith that we should embrace the third-cultural project. However, I argue that Smith does not go far enough in in developing (...) this project. In defending the contribution of the natural sciences to film aesthetics as traditionally conceived in the arts and humanities, Smith focuses on only one side of the equation, unduly limiting the potential contribution of the arts and humanities to the scientific study of film. Using the example of emotional responses to fiction film, I propose that we adopt a more genuinely integrative approach. (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)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

Questo articolo divulgativo è stato pubblicato il 24 marzo 2021 sulla rivista l'Indiscreto. Le waifu sono personaggi di opere di finzione, per lo più anime, verso i quali molti giovani maschi provano una forta attrazione, fino all'ossessione. Perché delle opere di fantasia suscitano tali sentimenti, che sembrano presupporre il trattare gli eventi osservati come se fosser reali? Questo è il paradosso della fiction. In un certo senso, la teoria della controparte di D. K. Lewis potrebbe essere utilizzato per affermare (...) che, in effetti, i personaggi delle opere di finzione sono reali. Alla fine, però, rifiuto tale interpretazione, sostenendo, invece, che i personaggi di finzione sono versioni alternative di persone reali, e che i sentimenti che si provano sono rivolti a tali persone reali, o comunque a chi può aver realmente vissuto eventi analoghi. (shrink)

This article’s conclusion is that the theories of Einstein are generally correct and will still be relevant in the next century (there will be modifications necessary for development of quantum gravity). Those Einsteinian theories are Special Relativity, General Relativity, and the title of a paper he published in 1919 which asked if gravitation plays a role in the composition of elementary particles of matter. This paper was the bridge between General Relativity and the Unified Field Theory he sought during the (...) last 25 years of his life. In an article published in the "Annals of Physics" in 1957, Charles Misner and John Wheeler claimed that Einstein's latest equations demonstrated the unified field theory. But Einstein himself felt he had not fully succeeded. The present article begins with Olbers’ paradox (why is the sky dark at night?) Then it briefly proceeds to the subjects of Newtonian gravity, quantum entanglement, gravitational waves, E=mc^2, dark energy, dark matter, cosmic expansion, redshift, blueshift, the cosmic microwave background, the 1st Law of Thermodynamics, and explanation of advanced waves travelling back in time. The section “vector-tensor-scalar geometry” touches on mass, quantum spin, the Higgs boson and Higgs field, stellar jets, the pervasiveness of photons and gravitons, and supersymmetry. Then come half a dozen paragraphs referring to formation of planets, black holes, and bosons of the weak and strong nuclear forces. They end with Descartes’ space-matter relation. Also added are paragraphs about simply-connected mathematics, non-orientability, consciousness, the Law of Falling Bodies, the multiverse, space-time travel developed from maths’ Brouwer Fixed Point Theorem and from an experiment in electrical engineering performed at Yale University, development from future space-time travel of human flight in the manner of fiction’s Superman and Supergirl, as well as downloaded band-gap implants in the brain that could deal with forms of matter. They could add or delete anything and everything we choose by emulating computers’ copy/paste function to add things; as well as their delete function, to remove things. To complete my seemingly unusual ideas, 6 sections are added – 1) “Advanced and Retarded Waves” is extended to include dinosaurs, ageing, and photography, 2) there’s a bit about space-time warping and “imaginary” computers, 3) several paragraphs about restoring health (even gaining immortality) by using gravity, 4) a section about superconductivity and the electric or magnetic fields of planets (this section mentions Mercury, Planet 9 and precession), 5) a section titled EXPLAINING OCEAN TIDES WHEN GENERAL RELATIVITY SAYS GRAVITY IS A PUSH CAUSED BY THE CURVATURE OF SPACE-TIME (this has subsections about M-Sigma, Geysers on Saturn’s Moon Enceladus, and A Brief History of Gravity), plus 5) the potential of COVID-19 to create the Golden Rule, world peace, eternal life, and a non-economic world that doesn’t use any form of money (no cash, credit cards, digital currency, etc.) The final section is called DISTANT-FUTURE SCIENCE INTERPRETED BY RELIGIONS AS SUPERNATURAL and introduces an idea for becoming immortal in these physical bodies. If the Theory of Everything sought by physicists applies to all space-time, then every person’s brain must be entangled with the 22nd century (and far beyond that time too). (shrink)

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)

Aided by Michel Foucault’s concept of panopticon and a discussion on the function of fairy tales and modern fiction, this paper aims to deal with the question: If human beings truly are civilized, then why do we glorify the Other in our literature? History has shown that human beings have been forming and developing societies for thousands of years. This development also constantly shows that societies have been dealing with or acting upon violent impulses in order to produce a (...) certain level of normalcy; and considering how modern societies have relied upon surveillance and discipline to produce normalization, we could say that this process of production of the normal would also produce the unacceptable non-normal, the Other. However, from the fairy tales to the more modern forms of fiction, we keep on finding this paradox: the portrayal of the non-normal Other to the point of acceptability. (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)

Next SectionThis article argues against two dominant accounts of the nature of nostalgia. These views assume that nostalgia depends, in some way, on comparing a present situation with a past one. However, neither does justice to the full range of recognizably nostalgic experiences available to us – in particular, ‘Proustian’ nostalgia directed at involuntary autobiographical memories. Therefore, the accounts in question fail. I conclude by considering an evaluative puzzle raised by Proustian nostalgia when it is directed at memories that the (...) nostalgist herself regards as non-veridical. (shrink)

Freud uses paradoxical and conflictual rhetoric to create an unstable and conflictual picture of the mind. Thus he diverges from both dominant traditions of thought in the West: the Judeo-Christian way of filling all gaps in meaning by putting a single omnipotent divinity in charge of them, and the Enlightenment quest for a final, causal language to describe reality. By both suggesting and displacing a plurality of perspectives on the unconscious, Freud’s text mirrors what it claims happens in our minds, (...) in which unconscious impulses undermine the pretense of total rational self-control. Though Freud suggests that a mechanistic description of the mind may bring us nearer to the reality of the unconscious, he also explains that this reality will remain dark. He not only develops an ostensibly mechanistic vocabulary for unconscious mental processes, but also clarifies that his terminology is most fictional precisely when it seems most scientific. Hence, Freud’s science of the unconscious cannot be assimilated to an empiricist position; its philosophical underpinnings are both Kantian and Nietzschean, with metaphors and analogies playing a crucial role. Two dramatic images, in which the mind appears as a domain of warring gods and a realm of political conflict, demonstrate that Freud did not regard the unconscious as some kind of true inner self. He depicts the mind in general and the unconscious in particular as a pagan, conflictual universe over which no god or goddess can gain exclusive control and where no rigid dictatorship is possible. (shrink)

Documentary film is that genre of filmmaking that lays bare the fact of all film, which is that it presents "a world past" (Cavell, The World Viewed). This fact of film seems to point to a paradox of time in our experience of movies: we are present at something that has happened, something that is over. But what if we were to take this fact to show that film has the power to place us outside our ordinary, unreflective relation (...) to time? In this essay I examine three pre-cinematic descriptions of relations to time – in Emerson, Thoreau, and Weil – that anticipate the paradox of time inherent in film. I then put that examination to use in a reading of Werner Herzog's Cave of Forgotten Dreams, a film ostensibly about prehistoric cave paintings but whose achievement is its declaration, not to document some past time, but to liberate the present moment. (shrink)

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)

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)

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.

Sometimes a fact can play a role in a grounding explanation, but the particular content of that fact make no difference to the explanation—any fact would do in its place. I call these facts vacuous grounds. I show that applying the distinction between-vacuous grounds allows us to give a principled solution to Kit Fine and Stephen Kramer’s paradox of ground. This paradox shows that on minimal assumptions about grounding and minimal assumptions about logic, we can show that grounding (...) is reflexive, contra the intuitive character of grounds. I argue that we should never have accepted that grounding is irreflexive in the first place; the intuitions that support the irreflexive intuition plausibly only require that grounding be non-vacuously irreflexive. Fine and Kramer’s paradox relies, essentially, on a case of vacuous grounding and is thus no problem for this account. (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)