In the film “Kaili Blues” by Bi Gan, intricate clues create complex connections between the plots steered by various characters. This relationship manifests in splitting time and alternating between dream and reality. This article analyzes Bi Gan’s approach to temporality and dreams by focusing on how he employs various film metaphors to deal with poetic narratives in his films. The article consists of three sections: First, it introduces the (puzzle) storytelling form of “Kaili Blues” as a promising area (...) in many Chinese films. Second, it examines how puzzle films contribute to the ambiguity (plots) between characters from the perspective of infinite games. Moreover, third, the article discusses the two levels of metaphors in “Kaili Blues” that result from the condensation and displacement of metaphors, including the mutual projection of roles caused by the time-forking effect and the audience’s associations caused by the significance of dreams in Chinese tradition (or local) culture. (shrink)

The deceptive clues in the impossible puzzle film confirm the viewer’s internal expectations and allow retrospective attributing. In the film, a transcendental object negates an internal expectation, causing a retrospective blockage. Retrospectivity does not stop there; the transcendental object reinterpreting deceptive clues in the associative area leads to repeated attribution. This article consists of three parts. First, it discusses impossible puzzle films in the context of complex narrative classification. The following section introduces the Jungian concept of synchronicity (...) and illustrates how it works. The article concludes with a case study of Long Day’s Journey into Night (2018), which contains more complicated puzzles and explains how mind-game narrative techniques create deceptive clues and induce deceptive retrospective attribution. (shrink)

Frege's puzzle about propositional attitude reports is considered. Proposed solution: Every utterance comes from the world model of the speaker, and sometimes it may contain references to (speaker's models of) other world models. More generally, every sentence comes from some kind of world model. It may be the world model of a (real or imagined) person, the world model represented in a novel, movie, scientific book, virtual reality, etc. In principle, even smaller informational units (stories, poems, newspaper articles, jokes, (...) mathematical proofs, video-clips, dreams, halucinations, etc.) may introduce their own “partial world models” – as small additions to “bigger” world models (regarded as background knowledge). Sometimes, sentences contain references to other world models. Trying to understand such sentences, we should identify and keep separated the world models involved. (shrink)

Despite the notable lack of Chaplinesque romantic flourishes, Buster Keaton has a sophisticated approach to romantic love in his films. Love in Keaton’s films is a mutual recognition and admiration for the physical and mental competence necessary to deal with an absurd, cruel, or indifferent social and physical environment and an agreement to face the world together. There are two ways in which this claim might seem surprising to someone familiar with Keaton’s films. Keaton’s famously stoic persona (...) seems to be at odds with the very idea that there is an expression of romantic love in the films. How could someone so un-expressive express romantic love? There is simply not enough there to be interpreted. Additionally, the topic of love seems to be the wrong approach to take toward Keaton, the master of the gag. His films are original and interesting and funny because of their visual wit, not because of their thematic value. Watching his films for themes is to miss what is valuable about them. In answering these objections, I will set the stage for my argument that Keaton’s narratives assume the viewer recognizes the Buster character is in love while withholding many of the traditional emotional signifiers of that love. The narrative cannot proceed without this assumption and many of the gags don’t work without recognizing Buster’s motivation. Through careful attention to the resolution of the stories within the films, we can begin to recognize the surprising, sophisticated approach to romantic love that the films contain. (shrink)

Thomas Elsaesser’s recent scholarship has examined the “mind-game film”, a phenomenon in Hollywood that is broadly characterised by multi-platform storytelling, paratextual narrative feedback loops, nonlinear storytelling, and unreliable character perspectives. While “mind-game” or “puzzle” films have become a contentious subject amongst post-cinema scholars concerned with Hollywood storytelling, what is to be said of contemporary European independent cinema? Elsaesser’s timely publication, European Cinema and Continental Philosophy, examines an amalgam of politically inclined European auteurs to resolve this query. Elsaesser concedes (...) that there exists a phenomenological confluence between the mind-game film and contemporary European cinema. For instance, both produce characters afflicted by productive pathologies, designating new socially useful forms of agency and identity. One only needs to consult the amnesiac protagonist M (Markku Peltola) in Aki Kaurismäki’s The Man Without a Past (Mies vailla menneisyyttä, 2002) or, as regards Lars von Trier’s cinema, Beth (Emily Watson) in Breaking the Waves (1996), Selma (Björk) in Dancer in the Dark (2000), “She” (Charlotte Gainsbourg) in Antichrist (2009) or Joe (Charlotte Gainsbourg) in Nymphomaniac (2013) to evince this overlap. However, this book is more concerned with performative self-contradictions, whereby cinema-as-enunciator is put under erasure, thus aggravating the inherent discrepancies troubling Europe today. Elsaesser, indeed, evaluates a growing general disaffection with politics, the rise of populist nationalism and far-right fringe parties, as well as an increasing population of economic migrants, refugees, and asylum seekers. (shrink)

This chapter explores the anti-colonial narrative potential of certain works of cinema taking Aguirre, the Wrath of God and Caché as a case in point. To do so, this chapter first and mainly draws upon the theoretical and normative lens put forward by Gayatri Chakravorty Spivak on the representation of the colonized other and her resulting political and intellectual call for self-reflection on one's privileged Western intellectual positioning. This lens has many normative implications for the ways in which the colonized (...) subject and colonial history are discussed and represented. The partial lack of representation of the colonized other in Aguirre, the Wrath of God leaves the subjectivity of the colonizer in crisis and madness. Second, the narrative of Caché is explored and it is suggested that it resembles the rhetoric of Foucauldian disciplinary power of surveillance turned upside-down thus enforcing the complicit of colonialism to question her privilege. (shrink)

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

In this paper I consider Corneliu Porumboiu’s ‘Police, Adjective’ (Romania, 2009) as an instance of a puzzling work of art. Part of what is puzzling about it is the range of extreme responses to it, both positive and negative. I make sense of this puzzlement and try to alleviate it, while considering the film alongside Ludwig Wittgenstein’s arguably puzzling “Lectures on Aesthetics” (from 1938). I use each work to illuminate possible understandings of the other. The upshot is that it is (...) is plausible to regard both as engaged, in part, in preparing us to make sense both of themselves, and then also of other works. (shrink)

Musical works change. Bruckner revised his Eighth Symphony. Ella Fitzgerald and many other artists have made it acceptable to sing the jazz standard “All the Things You Are” without its original verse. If we accept that musical works genuinely change in these ways, a puzzle arises: why can’t I change Bruckner’s Eighth Symphony? More generally, why are some individuals in a privileged position when it comes to changing musical works and other artifacts, such as novels, films, and games? (...) I give a view of musical works that helps to answer these questions. Musical works, on this view, are created abstract objects with no parts. The paradigmatic changes that musical works undergo are socially determined normative changes in how they should be performed. Due to contingent social practices, Bruckner, but not I, can change how his symphony should be performed. Were social practices radically different, I would be able to change his symphony. This view extends to abstract artifacts beyond music, including novels, films, words, games, and corporations. (shrink)

For the metaphysician, photographs are very puzzling entities indeed. And even from the non-philosopher's intuitive point of view, it is not that clear what sort of thing a photograph is. Typically, if a client wants to purchase a photograph, she can mean very different things by 'buying a photograph' : she can mean to buy a print or a number of prints, or she can mean to buy a negative (when traditional film photographs are concerned) or a file (when digital (...) photography is concerned), or she can mean to buy a right to use a photograph a precisely determined number of times in a number of brochures or on a website, and so on. When facing a new client, I always, without exception, face the problem of explaining to her what it is that she is actually buying – and it is not always clear that she is ever buying a photograph. As a metaphysician, I face a much more difficult challenge : find out to what ontological category photographs belong to. Are they concrete spatio-temporal entities like prints, are they universals since there can be many 'prints-instances' of a same photograph, are they sets or aggregates of prints, or something even different ? This is the task that I wish to undertake in this paper : examine all plausible metaphysical categories to which photographs could belong to, and see which one is the fittest. As we shall see, in this 'survival for the fittest' competition between traditional metaphysical categories, there will be no real winner : several categories will reveal themselves to be enlightening and useful when describing features of what photographs are, but none will prove to be entirely satisfactory. Photographs, it seems, are a sort of borderline entities that share some but not all aspects of several traditional metaphysical categories. Is it then justified to postulate a new ontological category to which photographs would properly belong ? On mainly methodological grounds, I shall argue that it is not, and I will suggest a different way out of this metaphysician's trouble by defending a nihilism about photographs. To put it bluntly, I will defend the claim that photographs do not exist – but I will also argue that this is not a very revisionary or anti-commonsensical claim. (shrink)

Derek Jarman’s Wittgenstein (1993) is one of the very few films made about a philosopher’s life. Almost a parody of a late twentieth-century art-house movie, it contains a mimetic performance by Karl Johnson in the title role, plus cameos by Michael Gough (Bertrand Russell) and the ubiquitous Tilda Swinton (Russell’s lover, Ottoline Morrell). There is a green Martian (played by Nabil Shaban) who quizzes the young Ludwig Wittgenstein, and a collection of handsome young men sitting on deckchairs, looking puzzled (...) and gazing adoringly at the Master. The action, such as it is, takes place against a theatrical black background with a few props, and the whole thing lasts a brisk seventy minutes... (shrink)

Objectively, time does not pass, physics reveals no such phenomenon. While subjectively we find ourselves at a specific point in time, 'now', and we appear to pass from moment to moment, physics can accommodate neither of these concepts, thus there is no explanation of subjective transtemporal reality, or how an observation could possibly be made. A solution to the puzzle is proposed based on an analysis of the logical type of the system required to explain such subjective experience. Relativity (...) requires that we consider the dimension of time on a par with the spatial dimensions, thus making a block universe inevitable. The concept of change can be recovered by considering a sequence of definitions of the block universe, and thus the passage of time can be considered to be the change of this definition, resulting in a sequence of block universes as transtemporal reality. However, the unitary wave function must subsume all possible block universes, all possibilities exist 'already', thus there is no becoming. As Barbour explains, each moment in time is a complete definition of the state of the whole four-dimensional universe, the sequence of states being static like the frames of a movie on the film. Since nothing passes from moment to moment it appears impossible that there could be any such thing as time that passes; this would require something of different logical type to the moments to account for such a phenomenon, and the moments are all that exist. What would be required is something that is to the moments as the projector is to the movie, something that contains all the moments and iterates the sequence. Clearly only the unitary system as a whole contains all the moments of any given sequence. Additionally, the only possible expression of the necessary logical type for an iterator is an emergent property of the system as a whole; only the system as a whole is of the correct logical type to change the functional frame of reference from one block universe to another, giving rise to the appearance of collapse described by Everett. Objectively this transtemporal process is the collapse dynamics, subjectively it is phenomenal consciousness passing through time. (shrink)

Kendall Walton explains pictures in terms of games of perceptual make-believe. Pictures or depictions are props that draw us to participate in games of make-believe where we imagine seeing what a picture depicts. Walton proposes that one imagines of one’s perceptual experience of the coloured canvas that it is a different perceptual experience. The issue is whether perception and imagination can combine the way Walton suggests. Can one imagine a perception to be different? To get a clearer understanding of the (...) unified perceptual-imaginative experience Walton posits, the paper turns to competing theories that explain perceptual experience in terms of contents, relations to objects, or both contents and relations. Walton appeals to theories of perceptual content and cognitive penetration. But it is also important to examine whether his view fits with recent theories that explain perception only in terms of relations or in terms of both contents and relations. The paper argues that Walton’s view is compatible with content theories of perception and can be defended from some objection once we look at the detail these theories offer. Walton’s view is not compatible with pure relational theories of perception but it can be explained by hybrid content-relational theories of perception that posit de re senses. (shrink)

This paper presents a puzzle about justification and withholding. The puzzle arises in a special case where experts advise us to not withhold judgment. My main thesis is simply that the puzzle is genuinely a puzzle, and so leads us to rethink some common assumptions in epistemology, specifically assumptions about the nature of justification and doxastic attitudes. Section 1 introduces the common assumptions. Section 2 presents the puzzle case. Section 3 assesses the puzzle case. (...) Section 4 explains the choice we're faced with. Sections 5 and 6 consider and reject some proposed solutions, and in the process refine and clarify the choice we're faced with. Section 7 considers and rejects a miscellany of different proposed solutions. (shrink)

Most of our best scientific descriptions of the world employ rates of change of some continuous quantity with respect to some other continuous quantity. For instance, in classical physics we arrive at a particle’s velocity by taking the time-derivative of its position, and we arrive at a particle’s acceleration by taking the time-derivative of its velocity. Because rates of change are defined in terms of other continuous quantities, most think that facts about some rate of change obtain in virtue of (...) facts about those other continuous quantities. For example, on this view facts about a particle’s velocity at a time obtain in virtue of facts about how that particle’s position is changing at that time. In this paper we raise a puzzle for this orthodox reductionist account of rate of change quantities and evaluate some possible replies. We don’t decisively come down in favour of one reply over the others, though we say some things to support taking our puzzle to cast doubt on the standard view that spacetime is continuous. (shrink)

The puzzle of imaginative desire arises from the difficulty of accounting for the surprising behaviour of desire in imaginative activities such as our engagement with fiction and our games of pretend. Several philosophers have recently attempted to solve this puzzle by introducing a class of novel mental states—what they call desire-like imaginings or i-desires. In this paper, I argue that we should reject the i-desire solution to the puzzle of imaginative desire. The introduction of i-desires is both (...) ontologically profligate and unnecessary, and, most importantly, fails to make sense of what we are doing in the imaginative contexts in question. (shrink)

The social world contains institutions, groups, objects, and more. This essay explores a puzzle about the essences of social items. There is widespread consensus against social essences because of problematic presuppositions often made about them. But it is argued that essence can be freed from these presuppositions and their problems. Even so, a puzzle still arises. In a Platonic spirit, essences in general seem detached from the world. In an Aristotelian spirit, social essences in particular seem embedded in (...) the world. The puzzle is that these inclinations are individually plausible but jointly incompatible. The essay has four aims: to clarify and refine the puzzle; to explore the puzzle's implications for essence in general and for social essences in particular; to illustrate the fruitfulness of the general distinction between detached and embedded; and to develop this distinction to sketch a novel solution to the puzzle. (shrink)

This paper proposes a novel conception of mental files, aimed at addressing Frege puzzles. Classical Frege puzzles involve ignorance and discovery of identity. These may be addressed by accounting for a more basic way for identity to figure in thought—the treatment of beliefs by the believer as being about the same thing. This manifests itself in rational inferences that presuppose the identity of what the beliefs are about. Mental files help to provide a functional characterization of a mind capable of (...) this presupposition, but more must be said to show how it may be rational. I argue that this can be done by drawing out the way in which mental files interact with a thinker's motivational states and so come to have normative functional properties. I show how this theory works better than some other treatments of mental files. (shrink)

In this paper, I present a possible solution to the puzzle unveiled by Kornblith about the sources and the possibility of knowledge of epistemic norms. The puzzle is: if such norms cannot be discovered solely by reflection, and if there are correct ways of thinking and inferring, then such norms can only be discovered by investigating the world —a counterintuitive conclusion. To avoid skepticism about normativity, I argue that we create normative correctness and discover normative demands by investigating (...) the world and reflecting about our epistemic practices. This is done by an exposition of the method known as reflective equilibrium, which is defended against Kornblith’s thesis that the appeal to reflective equilibrium is doomed to failure because it implies reflection. (shrink)

Inquiry is guided, in the minimal sense that it is not haphazard. It is also often thought to have as a natural stopping point ceasing to inquire, once inquiry into a question yields knowledge of an answer. On this picture, inquiry is both telic and guided. By contrast, mind-wandering is unguided and atelic, according to the most extensively developed philosophical theory of it. This paper articulates a puzzle that arises from this combination of claims: there seem to be plenty (...) of examples of inquiry progressing within mind-wandering, yet theories of inquiry and mind-wandering can make wandering inquiry seem impossible or incoherent. I offer several solutions to this puzzle and make the case that taken together, they illuminate a prevalent form of inquiry that the burgeoning literature on that topic overlooks: inquiry that progresses spontaneously. (shrink)

In this paper I will present a puzzle about visual appearance. There are certain necessary constraints on how things can visually appear. The puzzle is about how to explain them. I have no satisfying solution. My main thesis is simply that the puzzle is a puzzle. I will develop the puzzle as it arises for representationalism about experience because it is currently the most popular theory of experience and I think it is along the right (...) lines. However, everyone faces a form of the puzzle, including the naïve realist. In §1 I explain representationalism about experience. In §§2-3 I develop the puzzle and criticize a response due to Ned Block and Jeff Speaks and another response based on a novel form of representationalism (“sensa representationalism”). In §4 I argue that defenders of “perceptual confidence” (Morrison, Munton, my earlier self) face an instance of the puzzle. In §5 I suggest that everyone faces a form of the puzzle. (shrink)

According to the transparency approach, achievement of self-knowledge is a two-stage process: first, the subject arrives at the judgment ‘p’; second, the subject proceeds to the judgment ‘I believe that p.’ The puzzle of transparency is to understand why the transition from the first to the second judgment is rationally permissible. After revisiting the debate between Byrne and Boyle on this matter, I present a novel solution according to which the transition is rationally permissible in virtue of a justifying (...) argument that begins from a premise referring to the mental utterance that is emitted in the course of judging ‘p.’. (shrink)

Much of our know-how is acquired through practice: we learn how to cook by cooking, how to write by writing, and how to dance by dancing. As Aristotle argues, however, this kind of learning is puzzling, since engaging in it seems to require possession of the very knowledge one seeks to obtain. After showing how a version of the puzzle arises from a set of attractive principles, I argue that the best solution is to hold that knowledge-how comes in (...) degrees, and through practice a person gradually learns how to do something. However, the two standard accounts of know-how in the literature, intellectualism and anti-intellectualism, cannot properly account for the distinctive way in which know-how is gradually acquired by practice, a process in which conceptual representations and practical abilities are intimately interwoven. Drawing on Gareth Evans's work, I outline an account that may do so, and use this account to distinguish between two forms of learning to explain why skill generally cannot be learnt through testimony, and requires practice. (shrink)

The Covid-19 pandemic has brought to surface new and puzzling manifestations of the culture wars between liberals and conservatives, especially in the US. One such manifestation is the one centered around mask-wearing as a way to protect others from viral infection. In public spaces, mask-wearing has become a signal as to whether one is a liberal or a conservative. Liberals tend to wear the mask and condemn as immoral conservatives, who tend not to wear it. I argue that the liberal (...) attitude does not cohere with liberal theory. I use the issue of the permissibility of abortion and the liberal consensus about it as the benchmark for what a genuine liberal attitude toward mask-wearing should be. (shrink)

Imagine your mirror‐inverted counterpart on Mirror Earth, a perfect mirror image of Earth. Would her experiences be the same as yours, or would they be phenomenally mirror‐inverted? I argue, first, that her experiences would be phenomenally the same as yours. I then show that this conclusion gives rise to a puzzle, one that I believe pushes us toward some surprising and philosophically significant conclusions about the nature of perception. When you have a typical visual experience as of something to (...) your left, the following three claims seem very plausible: (1) No one could have an experience phenomenally just like yours without thereby having an experience as of something to her left. (2) Your experience is veridical. (3) Your experience doesn't differ from that of your mirror‐inverted counterpart with respect to veridicality. But (1)‐(3) jointly contradict the claim that you and your mirror‐inverted counterpart would have the same experiences. I argue that any viable response to this puzzle will embrace the following disjunction: either there is a degree of independence between perceptual phenomenology and representational content, contrary to popular intentionalist views of perception, or spatial subjectivism is true, where spatial subjectivism is the view that the spatial properties presented in perception are either mind‐dependent or illusory. (shrink)

In their 2010 book, Biology’s First Law, D. McShea and R. Brandon present a principle that they call ‘‘ZFEL,’’ the zero force evolutionary law. ZFEL says (roughly) that when there are no evolutionary forces acting on a population, the population’s complexity (i.e., how diverse its member organisms are) will increase. Here we develop criticisms of ZFEL and describe a different law of evolution; it says that diversity and complexity do not change when there are no evolutionary causes.

This article raises a puzzle about luck and meaning in life. The puzzle shows that, in certain cases involving luck, standard intuitions about the meaningfulness of various lives conflict with basic theoretical assumptions about the nature of meaning. After setting out the puzzle, several options for resolving it are developed and evaluated.

In this introduction we explore a number of puzzles that arise concerning epistemic autonomy, and introduce the sections and chapters of the book. There are four broad types of puzzles to be explored, corresponding to the four sections of the book. The first set of puzzles concerns the nature of epistemic autonomy. Here, questions arise such as what is epistemic autonomy? Is epistemic autonomy valuable? What are we epistemically autonomous about? The second set of puzzles concern epistemic paternalism. Paternalistic acts (...) interfere with an agent’s autonomy. Here, questions arise concerning the permissibility of epistemic paternalism as well the extension of epistemically paternalistic acts. The third set of puzzles concerns the relation of epistemic autonomy to epistemic value and to intellectual virtues and vices. Is there epistemic value to being epistemically autonomous? How does epistemic autonomy relate to different intellectual virtues and vices? Finally, the fourth set of puzzles concerns the role of epistemic autonomy within a social epistemology. How does epistemic autonomy square with a reliance on expertise? Does thinking about epistemic autonomy add to the debates about the epistemic significance of disagreement or epistemic injustice? (shrink)

The paper argues that the assumption that there are property designators, together with two theoretically innocent claims, leads to a puzzle, whose solution requires us to reject the position that all (canonical) property designators are rigid. But if we deny that all (canonical) property designators are rigid, then the natural next step is to reject an abundant conception of properties and with it the suggestion that properties are the semantic values of predicates.

It seems plausible that successfully communicating with our peers requires entertaining the same thoughts as they do. We argue that this view is incompatible with other, independently plausible principles of thought individuation. Our argument is based on a puzzle inspired by the Kripkean story of Peter and Paderewski: having developed several variations of the original story, we conclude that understanding and communication cannot be modeled as a process of thought transfer between speaker and hearer. While we are not the (...) first to reach this conclusion, the significance of our argument lies in the fact that it only relies on widely accepted premises, without depending on any especially controversial theory of mental and linguistic content. We conclude by drawing out the implications of that conclusion: if communication and understanding do not require thought identity, then one important motivation for the postulation of inter-personally shared thoughts is undercut. (shrink)

This paper is dedicated to articulating the ethical puzzles that arise from the possibility of time travel. I divide the puzzles into three different categories: permissibility puzzles, obligation puzzles, and conflicts between past and future selves. In each category, I suggest that ethical problems involving time travel are not as dissimilar to parallel “normal” ethical puzzles as one might think.

Since the start of the Covid-19 pandemic in early 2020, conspiracy theories, misinformation, and fake news about the virus have abounded, drastically affecting global health measures to oppose it. In response, different strategies have been proposed to combat such Covid-19 collective irrationalities. One suggested approach has been that of epistemic paternalism – non-consultative interference in agents’ inquiries for their epistemic improvement. While extant literature on epistemic paternalism has mainly discussed whether it is (ever) justified, in this paper, I primarily focus (...) on the potential implementation of widespread epistemically paternalistic policies (such as no-platforming and censorship) and its consequences. I argue that pursuing epistemic paternalism to combat Covid-19 collective irrationalities leads to a hitherto unnoticed puzzle for proponents of epistemic paternalism. Central to the puzzle is the idea those (governments, corporations, social media giants) who actually can (i.e., have the requisite power to) enact widespread epistemically paternalistic policies seem the institutions who are least suited to having such informational control over the populace. Thus, epistemic paternalism appears a sword without a hilt; while it may prove an effective strategy in tackling Covid-19 collective irrationalities, we do not have any way to use it without incurring serious risks. (shrink)

I present an intractable puzzle for the currently popular view that belief is weak—the view that expressions like ‘S believes p’ ascribe to S a doxastic attitude towards p that is rationally compatible with low credence that p. The puzzle concerns issues that arise on considering beliefs in conditionals. I show that proponents of weak belief either cannot consistently apply their preferred methodology when accommodating beliefs in conditionals, or they must deny that beliefs in conditionals can be used (...) in reasoning. (shrink)

A series of essays on film and philosophy whose authors - philosophers or film studies experts - write on a wide variety of films: classic Hollywood comedies, war films, Eastern European art films, science fiction, showing how film and watching it can not only illuminate philosophy but, in an important sense, be doing philosophy. The book is crowned with an interview with Wittgensteinian philosopher Stanley Cavell, discussing his interests in philosophy and in film and how they can (...) come together. (shrink)

A famous mathematical theorem says that the sum of an infinite series of numbers can depend on the order in which those numbers occur. Suppose we interpret the numbers in such a series as representing instances of some physical quantity, such as the weights of a collection of items. The mathematics seems to lead to the result that the weight of a collection of items can depend on the order in which those items are weighed. But that is very hard (...) to believe. A puzzle then arises: How do we interpret the metaphysical significance of this mathematical theorem? I first argue that prior solutions to the puzzle lead to implausible consequences. Then I develop my own solution, where the basic idea is that the weight of a collection of items is equal to the limit of the weights of its finite subcollections contained within ever-expanding regions of space. I show how my solution is intuitively plausible and philosophically motivated, how it reveals an underexplored line of metaphysical inquiry about quantities and locations, and how it elucidates some classic puzzles concerning supertasks. (shrink)

I outline and provide a solution to some paradoxes of ground.

Visual imagination (or visualization) is peculiar in being both free, in that what we imagine is up to us, and useful to a wide variety of practical reasoning tasks. How can we rely upon our visualizations in practical reasoning if what we imagine is subject to our whims? The key to answering this puzzle, I argue, is to provide an account of what constrains the sequence in which the representations featured in visualization unfold—an account that is consistent with its (...) freedom. Three different proposals are outlined, building on theories that link visualization to sensorimotor predictive mechanisms (e.g., efference copies, forward models ). Each sees visualization as a kind of reasoning, where its freedom consists in our ability to choose the topic of the reasoning. Of the three options, I argue that the approach many will find most attractive—that visualization is a kind of off-line perception, and is therefore in some sense misrepresentational—should be rejected. The two remaining proposals both conceive of visualization as a form of sensorimotor reasoning that is constitutive of one’s commitments concerning the way certain kinds of visuomotor scenarios unfold. According to the first, these commitments impinge on one’s web of belief from without, in the manner of normal perceptual experience; according to the second, these commitments just are one’s (occurrent) beliefs about such generalizations. I conclude that, despite being initially counterintuitive, the view of visualization as a kind of occurrent belief is the most promising. (shrink)

The notion of belief appears frequently in cognitive science. Yet it has resisted definition of the sort that could clarify inquiry. How then might a cognitive science of belief proceed? Here we propose a form of pluralism about believing. According to this view, there are importantly different ways to "believe" an idea. These distinct psychological kinds occur within a multi-dimensional property space, with different property clusters within that space constituting distinct varieties of believing. We propose that discovering such property clusters (...) is empirically tractable, and that this approach can help sidestep merely verbal disputes about what constitutes “belief.”. (shrink)

This paper presents a puzzle in the form of a tension between two things: (1) data points about what intuitively count as good guesses to a question given an agent's subjective probabilities, and (2) plausible strategic norms of inquiry that tell us how to go about answering a question. Recent theories of guessing and good guessing have acknowledged this puzzle in one form or another, and they aim to get around it by appealing to some sort of contextualism. (...) But I argue that the puzzle is more pressing than has been appreciated, that it makes it hard to understand how individually good guesses can form part of an overall rational inquiry, and that the appeal to contextualism in response to it relies on a very implausible kind of semantic blindness. In other words, I argue that the puzzle stands as a serious challenge to our understanding of how good guessing relates to rational inquiry. (shrink)

We present a puzzle about knowledge, probability and conditionals. We show that in certain cases some basic and plausible principles governing our reasoning come into conflict. In particular, we show that there is a simple argument that a person may be in a position to know a conditional the consequent of which has a low probability conditional on its antecedent, contra Adams’ Thesis. We suggest that the puzzle motivates a very strong restriction on the inference of a conditional (...) from a disjunction. (shrink)

P.F. Strawson’s account of moral responsibility in “Freedom and Resentment” has been widely influential. In both that paper and in the contemporary literature, much attention has been paid to Strawson’s account of blame in terms of reactive attitudes like resentment and indignation. The Strawsonian view of praise in terms of gratitude has received comparatively little attention. Some, however, have noticed something puzzling about gratitude and accountability. We typically understand accountability in terms of moral demands and expectations. Yet gratitude does not (...) express or enforce moral demands or expectations. So, how is it a way to hold an agent accountable? In a more general manner, we might ask if there is even sense to be made of the idea that agents can be accountable—i.e., “on the hook”—in a positive way. In this paper, I clarify the relationship between gratitude and moral accountability. I suggest that accountability is a matter of engaging with others in a way that is basically concerned with their feelings and attitudes rather than solely a matter of moral demands. Expressions of gratitude are a paradigmatic form of this concerned engagement. I conclude by defending my view from the objection that it leads to an overly generous conception of holding accountable and suggest in reply that moral responsibility skeptics may not help themselves to as many moral emotions as they might have thought. (shrink)

The “puzzle” of emotional plasticity concerns making sense of two conflicting bodies of evidence: evidence that emotions often appear modular in key respects, and evidence that our emotions also often appear to transcend this modularity. In this paper, I argue a developmentalist approach to emotion, which builds on Karmiloff-Smith’s (1986, 1992, 1994, 2015) work on cognitive development, can help us dissolve this puzzle.

If you utter sentence (1) ‘Obama was born in 1961’ now, you say something true about the past. Since the past will always be such that the year 1961 has the property of being a time in which Obama was born, it seems impossible that could ever be false in a future context of utterance. We shall consider the case of a sentence about the past exactly like (1), but which was true when uttered a few years ago and is (...) no longer true now. On this basis, we shall conclude that the past has changed. (shrink)

We present a new puzzle about logical truth, necessity, and moral responsibility. We defend one solution to the puzzle. A corollary of our preferred solution is that prominent arguments for the incompatibility of determinism and moral responsibility are invalid.

Some metaphysicians believe that existence debates are easily resolved by trivial inferences from Moorean premises. This paper considers how the introduction of negative Moorean facts—negative existentials that command Moorean certainty—complicates this picture. In particular, it shows how such facts, when combined with certain plausible metaontological principles, generate a puzzle that commits the proponents of this method to a contradiction.

Why is it that most fictions present one and only one ending, rather than multiple ones? Fictions presenting multiple endings are possible, because a few exist; but they are very rare, and this calls for an explanation. We argue that such an explanation is likely to shed light on our engagement with fictions, for fictions having one and only one ending seem to be ubiquitous. After dismissing the most obvious explanations for this phenomenon, we compare the scarcity of multiple endings (...) in traditional kinds of fiction to their profusion in the case of interactive fictions. This contrast poses a challenge to accounts of our engagement with fictions in terms of games of make-believe. We conclude that solving this puzzle is likely to improve our philosophical understanding of fictions. (shrink)

Works of fiction are often criticized for their historical inaccuracies. But this practice poses a problem: why would we criticize a work of fiction for its historical inaccuracy given that it is a work of fiction? There is an intuition that historical inaccuracies in works of fiction diminish their value as works of fiction; and yet, given that they are works of fiction, there is also an intuition that such works should be free from the constraints of historical truth. The (...) puzzle of historical criticism is that these intuitions are obviously in conflict, and yet we wish to give up neither. In this essay, I address the shortcomings of two seemingly intuitive strategies for solving the puzzle: the puzzle cannot be solved by appealing to historical constraints of a work’s genre, nor can it be explained as an instance of imaginative resistance. Given the failure of these two strategies, I suggest that there is no easy way to account for our conflicting intuitions and that the puzzle is deserving of greater attention. (shrink)

According to traditional Western theism, God is maximally great (or perfect). More explicitly, God is said to have the following divine attributes: omnipotence, omniscience, and omnibenevolence. In this paper, I present three puzzles about this conception of a maximally great (or perfect) being. The first puzzle about omniscience shows that this divine attribute is incoherent. The second puzzle about omnibenevolence and omnipotence shows that these divine attributes are logically incompatible. The third puzzle about perfect rationality and omnipotence (...) shows that these divine attributes are logically incompatible. (shrink)

There are two major puzzles in Hume’s epistemology. The first involves Hume’s fall into despair in the conclusion of Book One of the Treatise. When Hume reflects back upon the results of his research, he becomes so alarmed that he nearly throws his books and papers into the fire. Why did his investigations push him towards such intense skeptical sentiments? What dark discoveries did he make? The second puzzle concerns the way in which Hume emerges from this skeptical crisis (...) and proceeds with his investigations. Why the sudden change of heart? What accounts for the return of hope? Each of these puzzles represents a serious challenge to traditional approaches to Hume’s epistemology. A proper solution to them requires a careful examination of Hume’s claims about the untrustworthiness of our cognitive faculties as well as his strategy for improving their performance. (shrink)

The importation of Lacanian psychoanalysis into film theory in the 1970s and 1980s ushered in a new era of cinema scholarship and criticism. Figures including Raymond Bellour, Laura Mulvey, and Christian Metz are often considered the pioneers of applying Lacanian psychoanalysis in the context of film theory, most notably through their writings in Screen Journal. However, where French and British scholarship on Lacan and film reached its limits, American Lacanianism flourished. When Joan Copjec’s now classic essay “The Orthopsychic Subject: Film (...) Theory and the Reception of Lacan” was published in 1989, the trajectory of Lacanian film theory would become radically altered; as Todd McGowan recently put it, the “butchered operation” on Lacan committed by Mulvey and (quoting Copjec) the “Foucaultianization” of Lacan under the auspices of Screen Journal were finally indicted in one gesture through Copjec’s critique. Copjec and McGowan’s unique American view of Lacan marks a pivotal point in the convergence of psychoanalytic theory and cinema studies; by seeking to wrest Lacan from historist/deconstructionist theories of the subject, and by revisiting Lacan beyond the mirror stage, Copjec and McGowan can be said to have instantiated a resuscitation or even a renaissance of Lacanian theory in film studies in particular and in American scholarship more generally. In this essay, this renaissance of Lacanian theory is examined, focusing on the innovations these two American thinkers brought to psychoanalytic film theory and the multiple paths carved out into other disciplines that followed. First, a detailed summation of the contentions between screen theory and Copjec’s position is introduced, as well as McGowan’s assessment thereof. Then, the trajectory of psychoanalytic film theory after Copjec’s arrival is the focus, including the major innovations in her thought from cinematic subjectivity to sexual difference (most notably from Read My Desire) and the way her position spread to philosophy and ontology. Finally, the article identifies the limitations of Copjec’s and McGowan’s thought and seeks new possibilities through which we may continue to apply psychoanalysis to the cinema in the wake of these two important thinkers. L’importation de la psychanalyse lacanienne dans la théorie du film au cours des années 1970 et 1980 a apporté une nouvelle ère de recherche et de critique cinématographiques. Des figures comme Raymond Bellour, Laura Mulvey et Christian Metz sont souvent considérées comme étant les pionniers dans l’application de la psychanalyse lacanienne au contexte de la théorie du film, surtout dans leurs écrits pour le Screen Journal. Par contre, là où les recherches françaises et britanniques sur Lacan et la cinématographie ont atteint leurs limites, le lacanisme américain a prospéré. La publication en 1989 de « The Orthopsychic Subject: Film Theory and the Reception of Lacan », l’essai classique de Joan Copjec, a complètement changé la trajectoire de la théorie lacanienne du film; comme Todd McGowan l’a récemment exprimé, « l’opération massacrée » commise sur Lacan par Mulvey et (citant Copjec) la « Foucaultisation » de Lacan sous les auspices de Screen Journal avaient finalement été accusées d’un seul coup par la critique de Copjec. Le point de vue uniquement américain de Copjec et de McGowan sur Lacan marque un tournant dans la convergence de la théorie psychanalytique et des études cinématographiques. En cherchant à arracher Lacan des théories historicistes/déconstructivistes du sujet, et en revisitant Lacan au-delà du stade du miroir, Copjec et McGowan ont instancié une ressuscitation, voire une renaissance, de la théorie lacanienne dans les études cinématographiques en particulier et dans les études américaines en général. Dans cet article, cette renaissance de la théorie lacanienne est examinée, mettant l’accent sur les innovations que ces deux penseurs américains ont apportées à la théorie psychanalytique du film et les multiples chemins tracés dans d’autres disciplines subséquentes. Premièrement, un résumé détaillé des différends entre la théorie du film et la position de Copjec est présenté, ainsi que l’évaluation de McGowan à ce sujet. Puis, la trajectoire de la théorie psychanalytique du film après l’arrivée de Copjec est mise de l’avant, notamment les innovations importantes de sa pensée de la subjectivité à la différence sexuelle (particulièrement dans Read My Desire) et la manière dont sa position s’est propagée dans la philosophie et l’ontologie. Finalement, l’article identifie les limites de la pensée de Copjec et de McGowan et cherche de nouvelles possibilités à travers lesquelles nous pourrions continuer d’appliquer la psychanalyse au cinéma après ces deux grands penseurs. (shrink)