This paper provides an account of truth in interactive fiction. Interactive fiction allows the audience to make choices, resulting in many different possible fictions within each interactive fiction, unlike in literary fiction where there is just one. Adequately capturing this feature of interactive fiction requires us to address familiar issues regarding impossible fiction and the nature of time in fiction. Truth in interactive fiction thus requires a complex account to capture its (...) multitude of fictions. It is argued that a full account of truth in interactive fiction requires distinguishing two works for each interactive fiction, which contain distinct fictional truths. The actual work encompasses what is in fact represented as fictional, whilst in the implied work, truth in fiction is governed by authorial intention, hence mistakes are not fictionally true. This dual account best captures our aesthetic evaluation of interactive fictions, for which we often need to distinguish how the work actually is from how it was intended to be. (shrink)

The first section of this article focuses on the treatment of “time travel” in science-fiction literature and film as presented in the secondary literature in that field. The first anthology I will consider has a metaphysical focus, including (a) relating the time travel of science fiction to the banal time travel of all living beings, as we move inexorably toward the future; and (b) arguing for the filmstrip as the ultimate metaphor for time. The (...) second anthology I will consider has a more political focus, arguing that the “special effects” form of science-fiction films, rather than the visual or narrative content of science-fiction-films, is truly imaginative and futural. The second section of this article ties together a variety of concepts and insights between time-travel cinema and Deleuze’s Cinema 1, suggesting (among other things) that (c) time-traveling characters in cinema function as a redoubled phenomenon of the “mobile sections” of Bergsonian duration (in reference to Henri Bergson), and (d) time-travel cinema vividly illustrates the imagistic nature of the entire world. (shrink)

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 article deals with women-centred prose texts of the 1990s and 2000s in Russia written by women, and focuses especially on generation narratives. By this term the author means fictional texts that explore generational relations within families, from the perspective of repressed experiences, feelings and attitudes in the Soviet period. The selected texts are interpreted as narrating and conceptualizing the consequences of patriarchal ideology for relations between mothers and daughters and for reconstructing connections between Soviet and post-Soviet by revisiting and (...) remembering especially the gaps and discontinuities between (female) generations. The cases discussed are Liudmila Petrushevskaia’s ‘povest’ Vremia noch [The Time: Night] (1991), Liudmila Ulitskaia’s novel Medeia i ee deti [Medea and her Children] (1996) and Elena Chizhova’s novel Vremia zhenshchin [The Time of Women] (2009). These novels reflect on the one hand the woman-centredness and novelty of representation in women’s prose writing in the post-Soviet period. On the other hand, the author suggests that they reflect the diverse methods of representing the Soviet era and experience through generation narratives. The texts reassess the past through intimate, tactile memories and perceptions, and their narration through generational plots draws attention to the process of working through, which needs to be done in contemporary Russia. The narratives touch upon the untold stories of those who suffered in silence or hid the family secrets from the officials, in order to save the family. The narration delves into the different layers of experience and memory, conceptualizing them in the form of multiple narrative perspectives constructing different generations and traditions. In this way they convey the ‘secrets’ hidden in the midst of everyday life routines and give voice to the often silent resistance of women towards patriarchal and repressive ideology. The new women’s prose of the 1980s–90s and the subsequent trend of women-centred narratives and generation narratives employ conceptual metaphors of reassessing, revisiting and remembering the cultural, experiential, and emotional aspects of the past, Soviet lives. (shrink)

Indeterminacy in its various forms has been the focus of a great deal of philosophical attention in recent years. Much of this discussion has focused on the status of vague predicates such as ‘tall’, ‘bald’, and ‘heap’. It is determinately the case that a seven-foot person is tall and that a five-foot person is not tall. However, it seems difficult to pick out any determinate height at which someone becomes tall. How best to account for this phenomenon is, of course, (...) a controversial matter. For example, some (such as Sorensen (2001) and Williamson (2002)) maintain that there is a precise height at which someone becomes tall and such apparent cases of indeterminacy merely reflects our ignorance of this fact. Others maintain that there is some genuine – and not merely epistemic – indeterminacy present is such cases and offer various accounts of how best to account for it. Supervaluationists (such as Keefe (2008)), for example, claim that the indeterminacy with respect to vague terms lies in their not having a single definite extension. Rather, each term is associated with a range of possible precise extensions or precisifications such that it is semantically unsettled which is the correct extension. One precisification of ‘tall’ might allow that anyone over five feet ten inches is tall, whereas another would only allow those over six foot to qualify; but no precisification will take someone who is five foot to be tall, and someone who is seven foot will count as tall on all precisifications. Thus – while someone who is seven foot will be determinately tall and someone who is five foot determinately not so – it will be indeterminate whether someone who stands at five foot eleven inches is tall. -/- Yet, it is important to stress that putative cases of indeterminacy are not limited to vague predicates of this kind. Philosophers have invoked indeterminacy in discussions of topics as diverse as moral responsibility (Bernstein (forthcoming)), identity over time (Williams (2014)), and the status of the future (Barnes and Cameron (2009)). In this paper, we focus on two areas where discussion of various kinds of indeterminacy has been commonplace: physics and fiction. We propose a new model for understanding indeterminacy across these domains and argue that it has some notable advantages when compared to earlier accounts. Treating physics and fiction cases univocally also indicates an interesting connection between indeterminacy in these two areas. (shrink)

Limitless is a movie (released in 2011) as well as a novel (published in 2001) about a tormented author who (plagued by a writer’s block) becomes an early user of an experimental designer drug. The wonder drug makes him highly productive overnight and even allows him to make a fortune on the stock market. At the height of his career, however, the detrimental side-effects become increasingly noticeable. In this article, Limitless is analysed from two perspectives. First of all, building on (...) the views of the French novelist Emile Zola, the novel is seen as the report of a closely monitored experiment. Subsequently, building on the phenomenology of Ludwig Binswanger, I will show how the cognitive enhancement drug not only boosts the protagonist’s information processing capacities, but also modifies his experience of space and time, his sense of spatiality, his way of being-in-the-world. On the basis of these (complementary) analyses I will indicate how genres of the imagination (such as movies and novels) may play a significant role in assessing the societal implications of emerging technological developments such as neuro-enhancement, especially during the preparatory or anticipatory stage. (shrink)

The Tannhäuser Gate. Architecture in science fiction films of the second half of the 20th and the beginning of the 21st century as a component of utopian and dystopian projections of the future. -/- The films of science fiction genre from the second half of the 20th and early 21st century contained many visions of the future, which were at the same time a reflection on the achievements and deficiencies of modern times. In 1960s, cinematographic works were (...) dominated by optimism and faith in the possibility of never-ending progress. The disappearance of political divisions between the blocs of states and the joint exploration of the cosmos was foreseen. The designers undertook cooperation with scientists, which manifested itself in showing cosmic constructions far exceeding the real technical capabilities. Starting from the 1970s, pessimism and the belief that the future will bring, above all, the intensification of negative phenomena of the present began to grow in films. Fears of the future were connected with indicating various possible defects and insoluble contradictions between them. When, therefore, some dystopian visions illustrated the threat of increase in crime, others depicted the future as saturated with state control mechanisms and the prevalence of surveillance. The fears shown on the screens were also aroused by the growth of large corporations, especially by their gaining political influence or staying outside the system of democracy. The authors of the films also presented their suspicions related to the creation of new types of weapons by corporations, the use of which might breach the current legal norms. Particular objections concerned research on biological weapons and the possible spread of lethal viruses. The development of robotics and research into artificial intelligence, which must have resulted in the appearance of androids and inevitable tensions in their relations with humans, also triggered fear. Another problem for film-makers has become hybrids that are a combination of people and electronic parts. Scriptwriters and directors likewise considered the development of genetic engineering, which led to the creation of mutant human beings. A number of film dystopias contemplated the possibility of the collapse of democratic systems and the development of authoritarian regimes in their place, often based on broad public support. This kind of dystopia also includes films presenting the consequences of contemporary hedonism and consumerism. The problem is, however, that works critical of these phenomena were themselves advertisements for attractive products. (shrink)

As we await the increasingly likely advent of genuinely intelligent artificial systems, a fair amount of consideration has been given to how we humans will interact with them. Less consideration has been given to how—indeed if—we humans will love them. What would human-AI romantic relationships look like? What do such relationships tell us about the nature of love? This chapter explores these questions via consideration of several works of science fiction, focusing especially on the Black Mirror episode “Be Right (...) Back” and the Spike Jonze's movie *Her*. As I suggest, there may well be cases where it is both possible and appropriate for a human to fall in love with a machine. (shrink)

From Gnỗthi seautόn (‘Know Thyself’) to cognitive theories of the self there has been a long time, but the paradigm has almost remained the same. This article proposes a reconsideration of their rediscovery filtered through Jean Rhys’ post-colonial sensitivity. Between the ‘core self’ and its iridescent, exotic edges, broadly speaking, the thoroughly analyzed facets of cultural identity interpose.

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)

Fictional realists claim that fictional characters like Spiderman really do exist. Against this view, Anthony Everett (2005; 2013) argues that fictional realists cannot determine whether characters α and β are identical if the relevant fiction states that α and β are identical and distinct at the same time. Some fictional realists, such as Ross Cameron (2013) and Richard Woodward (2017), respond to this objection by saying that the sense in which α and β are identical differs from the (...) sense in which they are distinct. In this paper, I argue against Cameron and Woodward, that they cannot handle all cases without undermining the theoretical foundation of their approach, namely, the thesis that the identity of fictional characters must be determined by the content of the relevant fiction. (shrink)

Despite its central role in his important theories of self and external world, Hume’s account of numerical identity has been neglected or misunderstood. The account is designed as a response to a difficulty concerning identity apparently original with Hume. I argue that the problem is real, crucial, and remains unresolved today. Hume’s response to the difficulty enlists his idiosyncratic, empiricist views on time: time consists of discrete, partless moments, some of which coexist with successions of others. Time (...) is more like a wall of variously sized bricks than like a continuous line. Hume’s arguments that time (and space) are not infinitely divisible have met with literal contempt. I show that his unusual views are motivated and consistent. The topic of identity leads naturally to Hume’s account of personal identity and his later retraction--one of the most widely discussed topics in Hume scholarship. I give a new, straightforward explanation of the retraction, by arguing that Hume’s views on consciousness preclude his prior account of the self as a fiction. I then suggest that Hume’s fundamental problem for personal identity is his general difficulty concerning identity. Discussing Hume’s metaphysics raises perhaps the most central and difficult topic in Hume scholarship--how to reconcile the constructive, theoretical Hume with the skeptical Hume. The prevailing view for the last century has been that Hume’s skepticism is limited, leaving room for his theorizing. I argue, rather, that Hume is an unlimited Pyrrhonian skeptic in relevant respects, and that this interpretation of him best reconciles his two sides. (shrink)

This essay will criticize Peter Lamarque’s claim in The Opacity of Narrative that reading for ‘opacity’ is the way to read literature as literature. I will summarize the idea of ‘opacity’ and consider the plausibility of this claim through an examination of Lamarque’s related comments on translation. The argument for ‘opacity’, although it insists on the importance of attention to a work’s form in the apprehension of its content, involves, at the same time, a certain obliviousness to form, indicated (...) in the first instance by an unpersuasive conflation of lyric poetry and prose fiction. Through a comparison of opposing approaches to the translation of a novel written in verse, and an analysis of why the translation of poetry is generally understood to be more challenging than the translation of prose, I will argue that reading for ‘opacity’ does not adequately capture what it means to read literature as literature. (shrink)

The pronoun ‘I’ refers to myself from the first-person perspective and a person (me) from the third person perspective. Essentially there is something common between the two perspectives taken: ‘I’ from the first person perspective refers to ‘self’; from the third person perspective refers to a ‘person’. Now ‘self’ and ‘person’ signify the same concept. ‘Self’ is a term used in context of first-person statements and ‘person’ is a term used in third person contexts. Both the terms refer to the (...) same concept but from different perspectives. Consequently the terms ‘no-person’ and ‘no-self’ will be taken as synonymous in this article. The use of ‘I’ signifies one more thing – that there exists a ‘self’ or ‘person’ that exists through time, in other words, it signifies ‘self-identity’ or ‘personal identity’. The aim of this article is to analyze the notion of ‘self’ or ‘person’ as denoted in the usage of the pronoun ‘I’. This article would examine ‘I’ as a fictitious entity in the background of the two historical theories of personal identity – David Hume’s theory and the Buddhist theory. (shrink)

This paper offers some comments on some metaphysical and epistemological claims of theological realism from the perspective of continental philosophy of religion, thereby taking the work of Soskice and Hick as paradigmatic for this kind of philosophical theology. The first comment regards the fact that theological realism considers religious and theological propositions as ways to depict or represent reality, and hence aims to bring them as much as possible in line with scientific ones. Some contemporary French philosophers criticize such a (...) representing, depicting knowledge of God, because it encapsulates the divine reality in mundane, specifically scientific categories. eventually, theological realism runs the risk of annihilating God’s radical transcendence and reducing religion to an alternative scientific theory. The second comment tries to explore whether one can affirm God’s reality from a practical perspective, as a postulate of reason, and whether such an approach could serve as a common ground for religious and secular ways of life in times of radical pluralism. This comment begins by investigating the regulative character of Kant’s idea of God as the highest idea of reason, which not only orientates our theoretical enquiries, but also our moral actions. Although this idea is only a heuristic fiction for theoretical reason, God’s existence has to be affirmed on practical grounds, as a symbolic reality that gives orientation to people’s lives. (shrink)

This paper suggests that time travelling scenarios commonly depicted in science fiction introduce problems and dangers for the time traveller. If time travel takes time, then time travellers risk collision with past objects, relocation to distant parts of the universe, and time travel-specific injuries. I propose several models of time travel that avoid the dangers and risks of time travel taking time, and that introduce new questions about the relationship between (...) time travel and spatial location. (shrink)

Looking at philosophy—and I mean western philosophy to be more specific—in the course of its historical development that goes back to ancient Greece, it emerged as a thematic phenomenon in the spontaneous course of broadening the scope of the sphere of human intellectual achievements at the time when the ancient Greeks were deeply immersed in and dimly shrouded by the superstitions and mystifications that characterized its mythological religion dominated by the Olympus-based pantheon of gods and goddesses led by the (...) ¨almighty¨ Zeus. If we want now to talk of fiction, ancient mythological Greek religion was hardcore fiction. And the emergence of the first so-called philosophers was a welcome relief in the lives of a people fed up with the exploitative machination of a hyper-superstitious religion enslaving them for so many generations. (shrink)

A planetary panic and almost deserted cities, fear of food shortages, and the growing threat of an invisible virus that does more damage day by day. In the time of the COVID-19 pandemic, many believe that science fiction has now been overtaken by reality. In these times of adversity, what does it take to survive when the world comes crashing down? How do humans stay resilient, manage their growing stress, and somehow navigate through the crisis? More specifically, how (...) do humans cope with isolation and loneliness in the light of a global outbreak? What does science fiction have to tell us about this? For the bewildered population, science fiction has been recognized as an ingredient to understand an unexpected reality. In this article I explain, through the philosophical eye of Francis Lawrence’s movie I Am Legend (2007), how a coping skill such as imagination, in the age of pandemics and social distancing, can mutate into a “Second Reality” that fills the gap left by the former (pre-outbreak) reality. (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)

Many works of fiction include portraits in their storyworlds. Some of these portraits are themselves fictional, such as the portrait of Dorian Gray in Oscar Wilde's novel. Others are real, such as the Darnley portrait of Elizabeth I in A. S. Byatt's The Virgin in the Garden. When authors invent portraits, they expect us to visualise them. When they refer to real portraits, they exploit our familiarity with how they actually look. Like representations of other real entities in (...) class='Hi'>fiction, references to real portraits function to ground the story in the real world. But portraits are more than material entities; they are also representational in their own right. In contrasting the ways real portraits are used in Josephine Tey's The Daughter of Time and Orhan Pamuk's My Name is Red, I argue that authors can be criticised when they mischaracterise the representational features of real portraits. (shrink)

The concept of time-travel is a modern idea which combines the imaginary signification of rational domination, the imaginary signification of technological omnipotence, the imaginary concept of eternity and the imaginary desire for immortality. It is a synthesis of central conceptual schemata of techno-science, such as the linearity and homogeneity of time, the radical separation of subjectivity from the world, the radical separation of the individual from his/her social-historical environment. The emergence of this idea, its spread during the 20th (...) century as a major theme of science fiction literature alongside its dissemination as a scientific hypothesis, its popularity with both the public and the scientific community, are indications of the religious role of techno-science. It is my opinion, finally, that, as a chimera, time-travel is non-feasible and impossible. In order to support my claims, I will briefly outline the origins of the time-travel concept and its epistemological and metaphysical/ontological conditions. If these conditions prove to be absurd, the logical impossibility of time-travel will have been demonstrated. (shrink)

Bringing together literary scholars, computer scientists, ethicists, philosophers of mind, and scholars from affiliated disciplines, this collection of essays offers important and timely insights into the pasts, presents, and, above all, possible futures of Artificial Intelligence. This book covers topics such as ethics and morality, identity and selfhood, and broader issues about AI, addressing questions about the individual, social, and existential impacts of such technologies. Through the works of science fiction authors such as Isaac Asimov, Stanislaw Lem, Ann Leckie, (...) Iain M. Banks, and Martha Wells, alongside key visual productions such as Ex Machina, Westworld, and Her, contributions illustrate how science fiction might inform potential futures as well as acting as a springboard to bring disciplinary knowledge to bear on significant developments of Artificial Intelligence. Addressing a broad, interdisciplinary audience, both expert and non-expert readers gain an in-depth understanding of the wide range of pressing issues to which Artificial Intelligence gives rise, and the ways in which science fiction narratives have been used to represent them. Using science fiction in this manner enables readers to see how even fictional worlds and imagined futures have very real impacts on how we understand these technologies. As such, readers are introduced to theoretical positions on Artificial Intelligence through fictional works as well as encouraged to reflect on the diverse aspects of Artificial Intelligence through its many philosophical, social, legal, scientific, and cultural ramifications. (shrink)

Despite being time-travel adventure series, both classic Doctor Who (1963-1989, 1996) and its reboot (2005-present) have not seen the development of a coherent ontology of time for their fictional universe. As such, it is extremely difficult to review established theories of the nature of time in an attempt to shoe-horn Doctor Who into an existing framework. Difficulties include the evolution of the views of the central character, the alien “Doctor,” from a position that insists “time can’t (...) be rewritten” to its opposite as well as a curious anthropomorphizing of the temporal through show concepts like “fixed points in time.” I argue that one way to draw a coherent philosophy of time from the program is to treat the Time Lords as establishing not only the possibility of time travel but also the universe’s timeline itself. This leads to an examination of four-dimensional realism as characterizing the ontology of Doctor Who’s fictive timeline. (shrink)

We present a theory of truth in fiction that improves on Lewis's [1978] ‘Analysis 2’ in two ways. First, we expand Lewis's possible worlds apparatus by adding non-normal or impossible worlds. Second, we model truth in fiction as belief revision via ideas from dynamic epistemic logic. We explain the major objections raised against Lewis's original view and show that our theory overcomes them.

The God Experiment – Let there be Light -/- The question “What is real?” can be traced back to the shadows in Plato’s cave. Two thousand years later, Rene Descartes lacked knowledge about arguing against an evil´ deceiver feeding us the illusion of sensation. Descartes’ epistemological concept later led to various theories of what our sensory experiences actually are. The concept of ”illusionism”, proposing that even the very conscious experience we have – our qualia – is an illusion, is not (...) only a red-pill scenario found in the 1999 science fiction movie ”The Matrix” but is also a philosophical concept promoted by modern tinkers, most prominently by Daniel Dennett. He describes his argument against qualia as materialistic and scientific. Reflection upon a possible simulation and our perceived reality was beautifully visualized in “The Matrix”, bringing the old ideas of Descartes to coffee houses around the world. Irish philosopher Bishop Berkeley was the father of what has later been coined as “subjective idealism”, basically stating that “what you perceive is real” (e.g., ”The Matrix” is real because its population perceives it). Berkeley then argued against Isaac Newton’s absolutism of space, time, and motion in 1721, ultimately leading to Ernst Mach and Albert Einstein’s respective views. Several neuroscientists have rejected Dennetts’ perspective on the illusion of consciousness, and idealism is often dismissed as the notion that people want to pick and choose the tenets of reality. Even Einstein ended his life on a philosophical note, pondering the very foundations of reality. With the advent of quantum technologies based on the control of individual fundamental particles, the question of whether our universe is a simulation isn’t just intriguing. Our ever-advancing understanding of fundamental physical processes will likely lead us to build quantum computers utilizing quantum effects for simulating nature quantum-mechanically in all complexity, as famously envisioned by Richard Feynman. Finding an answer to the simulation question will potentially alter our very definition and understanding of life, reshape theories on the evolution and fate of the universe, and impact theology. No direct observations provide evidence in favor or against the simulation hypothesis, and experiments are needed to verify or refute it. In this paper, we outline several constraints on the limits of computability and predictability in/of the universe, which we then use to design experiments allowing for first conclusions as to whether we participate in a simulation chain. We elaborate on how the currently understood laws of physics in both complete and small-scale universe simulations prevent us from making predictions relating to the future states of a universe, as well as how every physically accurate simulation will increase in complexity and exhaust computational resources as global thermodynamic entropy increases. Eventually, in a simulation in which the computer simulating a universe is governed by the same physical laws as the simulation and is smaller than the universe it simulates, the exhaustion of computational resources will halt all simulations down the simulation chain unless an external programmer intervenes or isn’t limited by the simulation’s physical laws, which we may be able to observe. By creating a simulation chain and observing the evolution of simulation behavior throughout the hierarchy taking stock of statistical relevance, as well as comparing various least complex simulations under computability and predictability constraints, we can gain insight into whether our universe is part of a simulation chain. -/- Index Terms—Simulation, simulation hypothesis, quantum computing, universe, life, intelligence. (shrink)

This essay aims to coherently introduce a four-dimensional view adapting to the three-spatial-plus-one- temporal-dimensions (3+1) physical world. To orient the discussions, the essay presents several central claims. First, the only description a proper name abbreviates is that of being called, yet a proper name is capable of bringing up the entire object from its birth to its end. Second, there is a crucial difference in the behaviors of proper names and definite descriptions. Third, a co-knowing state may be decisive in (...) exchanging information about the physical world. Lastly, one way to consider the truth value of propositions containing fictional characters is to consider such propositions as about a summarized or entailed property of the physically stored coding texts. On the other hand, fictional worlds typically are well-established four-dimensional simulations. (shrink)

A review of John Woods, Truth in Fiction: Rethinking its Logic. Cham: Springer, 2018.

There is, in some quarters, concern about high–level machine intelligence and superintelligent AI coming up in a few decades, bringing with it significant risks for humanity. In other quarters, these issues are ignored or considered science fiction. We wanted to clarify what the distribution of opinions actually is, what probability the best experts currently assign to high–level machine intelligence coming up within a particular time–frame, which risks they see with that development, and how fast they see these developing. (...) We thus designed a brief questionnaire and distributed it to four groups of experts in 2012/2013. The median estimate of respondents was for a one in two chance that high-level machine intelligence will be developed around 2040-2050, rising to a nine in ten chance by 2075. Experts expect that systems will move on to superintelligence in less than 30 years thereafter. They estimate the chance is about one in three that this development turns out to be ‘bad’ or ‘extremely bad’ for humanity. (shrink)

In this study, we want to analyze the relation between two Romanian internationally-renowned men of culture: Mircea Eliade (often considered one of the greatest historians of religion of all times) and Nicolae Steinhardt (whose name and memory have been mentioned by Pope John the Second in his visit in Romania). Though they had about the same age (a difference of 5 years), they had little connections in the interwar period (a few meetings and, later, Steinhardt’s volume The Way of… the (...) Young [În genul… tinerilor] from 1934, where he parodies Eliade, among others). A strong influence (which changed destinies) occurred during 1958-1960, when Steinhardt was imprisoned for having read and spread writings of Romanians found in exile, including the novel Midsummer Night (The Forbidden Forest) [Noaptea de Sânziene (Pădurea interzisă)] by Eliade. After the release in 1964, Steinhardt was continuously watched by the communist Securitate and reports have been written about him, where his main guilt was his friendship with Mircea Eliade, Emil Cioran, Eugen Ionescu, Virgil Ierunca, Monica Lovinescu, et al. Beyond these biographical intersections between Eliade and Steinhardt, there are also connections with regard to the Romanian culture, literary ideas, and visions on religious life. Steinhardt brings appreciations to the scholar in Chicago for the fact that he presents the beauty of the Romanian culture in the Western desecrated world and considers Eliade – and he’s one of the few who does this – influenced in his thinking by Christian ideals (in this direction, memorable are Steinhardt’s appreciations of the role played by Eliade in the Western culture, especially with his volume From Zamolxis to Genghis-Kahn [De la Zalmoxis la Genghis-Han], but also with his fiction, marking a direct reference to the novella A Fourteen Year Old Photograph [O fotografie veche de 14 ani]). (shrink)

In this article, I use science-fiction scenarios drawn from Dan Simmons’ “Hyperion Cantos” (Hyperion, The Fall of Hyperion, Endymion, The Rise of Endymion) to explore a cluster of issues related to the evolutionary history and neural bases of human moral cognition, and the moral desirability of improving our ability to make moral decisions by techniques of neuroengineering. I begin by sketching a picture of what recent research can teach us about the character of human moral psychology, with a particular (...) emphasis on highlighting the importance of our evolutionary background as social mammals. I then consider how the moral psychology of intelligent machines might differ from our own, and argue that the differences would depend on the extent to which their evolutionary background resembled our own. I offer two very different case studies—the “Technocore AIs” that have evolved from early, parasitic computer programs, and the mysterious “Shrike,” who travels backward through time. I close by looking at the character of Aenea, a messianic figure that is a joint descendant of humans and machines. I argue that while the sort of “moral enhancement” she represents is far beyond the scope of either contemporary neuroscience or artificial intelligence research, it nevertheless represents a worthwhile goal. (shrink)

Do numbers exist? Do properties? Do possible worlds? Do fictional characters? Many metaphysicians spend time and effort trying to answer these and other questions about the existence of various entities. These inquiries have recently encountered opposition: a group of philosophers, drawing inspiration from Aristotle, have argued that many or all of the existence questions debated by metaphysicians can be answered trivially, and so are not worth debating. Our task is to defend existence questions from the neo-Aristotelians' attacks.

The problem of truth in fiction concerns how to tell whether a given proposition is true in a given fiction. Thus far, the nearly universal consensus has been that some propositions are ‘implicitly true’ in some fictions: such propositions are not expressed by any explicit statements in the relevant work, but are nevertheless held to be true in those works on the basis of some other set of criteria. I call this family of views ‘implicitism’. I argue that (...) implicitism faces serious problems, whereas the opposite view is much more plausible than has previously been thought. After mounting a limited defence of explicitism, I explore a difficult problem for the view and discuss some possible responses. (shrink)

This paper argues against a thesis that Shashi Tharoor seems to accept: that R.K. Narayan’s style is bound up with a very specific context, of people left behind by the times in South India. It cannot deal with other subject matter. I present a little fiction to challenge the thesis.

The essays collected in this volume are all concerned with the connection between fiction and truth. This question is of utmost importance to metaphysics, philosophy of language, philosophical logic and epistemology, raising in each of these areas and at their intersections a large number of issues related to creation, existence, reference, identity, modality, belief, assertion, imagination, pretense, etc. All these topics and many more are addressed in this collection, which brings together original essays written from various points of view (...) by philosophers of diverse trends. These essays constitute major contributions to the current debates that the connection between truth and fiction continually enlivens, and give a sense of the directions in which research on this question is heading. Contributors: Fred Adams, Frederick Kroon, Robert Howell, Brendan Murday, Terence Parsons, Graham Priest, Erich Rast, Manuel Rebuschi, Marion Renauld, R.M. Sainsbury, Grant Tavinor, Alberto Voltolini. (shrink)

Most discussions of proper names in fiction concern the names of fictional characters, such as ‘Clarissa Dalloway’ or ‘Lilliput.’ Less attention has been paid to referring names in fiction, such as ‘Napoleon’ or ‘London’. This is because many philosophers simply assume that such names are unproblematic; they refer in the usual way to their ordinary referents. The alternative position, dubbed Exceptionalism by Manuel García-Carpintero, maintains that referring names make a distinctive semantic contribution in fiction. In this paper (...) I offer a positive argument for Non-Exceptionalism, relying on the claim that works of both fiction and non-fiction can express the same singular propositions. I go on to defend my account against García-Carpintero’s objections. (shrink)

Singular terms used in fictions for fictional characters raise well-known philosophical issues, explored in depth in the literature. But philosophers typically assume that names already in use to refer to “moderatesized specimens of dry goods” cause no special problem when occurring in fictions, behaving there as they ordinarily do in straightforward assertions. In this paper I continue a debate with Stacie Friend, arguing against this for the exceptionalist view that names of real entities in fictional discourse don’t work there as (...) they do in simple-sentence assertions, but rather as fictional names do. (shrink)

[This is the short version of: Müller, Vincent C. and Bostrom, Nick (forthcoming 2016), ‘Future progress in artificial intelligence: A survey of expert opinion’, in Vincent C. Müller (ed.), Fundamental Issues of Artificial Intelligence (Synthese Library 377; Berlin: Springer).] - - - In some quarters, there is intense concern about high–level machine intelligence and superintelligent AI coming up in a few dec- ades, bringing with it significant risks for human- ity; in other quarters, these issues are ignored or considered science (...) fiction. We wanted to clarify what the distribution of opinions actually is, what probability the best experts currently assign to high–level machine intelligence coming up within a particular time–frame, which risks they see with that development and how fast they see these developing. We thus designed a brief questionnaire and distributed it to four groups of experts. Overall, the results show an agreement among experts that AI systems will probably reach overall human ability around 2040-2050 and move on to superintelligence in less than 30 years thereafter. The experts say the probability is about one in three that this development turns out to be ‘bad’ or ‘extremely bad’ for humanity. (shrink)

Many philosophers hold that ‘one-instant worlds’—worlds that contain a single instant—fail to contain time. We experimentally investigate whether these worlds satisfy the folk concept of time. We found that ~50% of participants hold that there is time in such worlds. We argue that this suggests one of two possibilities. First, the population disagree about whether at least one of the A-, B-, or C-series is necessary for time, with there being a substantial sub-population for whom the (...) presence of neither an A-, B-, nor C-series, is necessary for time, and hence those folk have a radically more minimal concept of time than has been attributed to them by philosophers. Or, second, the population do not disagree about whether at least one of the A-, B-, or C-series is necessary for time, but disagree about what it takes for a world to fail to contain even a C-series. (shrink)

This paper contains a detailed exposition and analysis of The Philosophy of “As If“ proposed by Hans Vaihinger in his book published in 1911. However, the principal chapters of the book (Part I) reproduce Vaihinger’s Habilitationsschrift, which was written during the autumn and winter of 1876. Part I is extended by Part II based on texts written during 1877–1878, when Vaihinger began preparing the book. The project was interrupted, resuming only in the 1900s. My conclusion is based exclusively on the (...) texts written in 1876-1878: Vaihinger was, decades ahead of the time, a philosopher of modeling in the modern sense – a brilliant achievement for the 1870s! And, in the demystification of such principal aspects of cognition as truth, understanding and causality, is he not still ahead of many of us? According to Vaihinger, what we set beyond sensations is our invention (fiction), the correspondence of which with reality cannot (and need not) be verified in the mystical, absolute sense many people expect. (shrink)

Archaeological facts have a perplexing character; they are often seen as less likely to “lie,” capable of bearing tangible, material witness to actual conditions of life, actions and events, but at the same time they are notoriously fragmentary and enigmatic, and disturbingly vulnerable to dispersal and attrition. As Trouillot (1995) argues for historical inquiry, the identification, selection, interpretation and narration of archaeological facts is a radically constructive process. Rather than conclude on this basis that archaeological facts and fictions are (...) indistinguishable, I identify a number of strategies that archaeologists rely on to make discerning use of “legacy” data – archaeological data recovered and curated over for decades, even centuries, often for very different purposes than those that animate contemporary archaeological inquiry. These include source criticism, secondary retrieval, repositioning and recontextualizing these data in ways that can, sometimes radically shift the “facts” associated with them. The construction of critical genealogies of these facts – the travels and transformations of the material, interpretive and narrative facts of archaeology – is a crucial condition for the successful exploitation of these epistemic possibilities. (shrink)

This essay aims to provide a self-contained introduction to time in relativistic cosmology that clarifies both how questions about the nature of time should be posed in this setting and the extent to which they have been or can be answered empirically. The first section below recounts the loss of Newtonian absolute time with the advent of special and general relativity, and the partial recovery of absolute time in the form of cosmic time in some (...) cosmological models. Section II considers the beginning and end of time in a broader class of models in which there is not an analog of Newtonian absolute time. As we will see, reasonable physical assumptions imply that the universe is finite to the past, and Section III turns to consideration of the “beginning” itself. We critically review conventional wisdom that a “singularity” reveals flaws in general relativity and briefly assess ways of avoiding the singularity. (shrink)

Fiction is often characterized by way of a contrast with truth, as, for example, in the familiar couplet “Truth is always strange/ Stranger than fiction" (Byron 1824). And yet, those who would maintain that “we will always learn more about human life and human personality from novels than from scientific psychology” (Chomsky 1988: 159) hold that some truth is best encountered via fiction. The scrupulous novelist points out that her work depicts no actual person, either living or (...) dead; nonetheless, we use names from fiction in ways that suggest that we take these names to refer. Philosophers who investigate fiction aim to reconcile such apparently incompatible phenomena, and, in general, to account for the myriad ways that we talk, think, and feel about fiction. (shrink)

Analytic just war theorists often attempt to construct ideal theories of military justice on the basis of intuitions about imaginary and sometimes outlandish examples, often taken from non-military contexts. This article argues for a sharp curtailment of this method and defends, instead, an empirically and historically informed approach to the ethical scrutiny of armed conflicts. After critically reviewing general philosophical reasons for being sceptical of the moral-theoretic value of imaginary hypotheticals, the article turns to some of the special problems that (...) this method raises for appraisals of warfare. It examines some of the hypothetical examples employed in the construction of Jeff McMahan’s revisionist just war theory, and finds that they sometimes stipulate incompre- hensible conditions, lead to argumentative impasses of diverging yet uncertain intuitions, and distract attention away from the real problems of war as we empirically know it. In contrast, empirical and historical studies of warfare rein- force the deep connections between facts and values, and compel theorists to face uncomfortable moral ambiguities. Perhaps most importantly, the analytic method of focusing on imaginary hypothetical examples can not only be distracting, but it can also be genuinely dangerous. Hence, the article pays special attention to the way in which a seemingly innocuous fiction like the famous Ticking Time Bomb scenario can come to frame a new paradigm of inhumanity in the treatment of prisoners of war. (shrink)

Readers familiar with the workhorse of cosmology, the hot big bang model, may think that cosmology raises little of interest about time. As cosmological models are just relativistic spacetimes, time is understood just as it is in relativity theory, and all cosmology adds is a few bells and whistles such as inflation and the big bang and no more. The aim of this chapter is to show that this opinion is not completely right...and may well be dead wrong. (...) In our survey, we show how the hot big bang model invites deep questions about the nature of time, how inflationary cosmology has led to interesting new perspectives on time, and how cosmological speculation continues to entertain dramatically different models of time altogether. Together these issues indicate that the philosopher interested in the nature of time would do well to know a little about modern cosmology. (shrink)

This is a comprehensive book on the philosophy of time. Leading philosophers discuss the metaphysics of time, our experience and representation of time, the role of time in ethics and action, and philosophical issues in the sciences of time, especially quantum mechanics and relativity theory.

This article explores the philosophical concept of akrasia, also known as weakness of will, and demonstrates its relevance to clinical practice. In particular, it challenges an implicit notion of control over one’s actions that might impede recovery from substance misuse. Reflecting on three fictional case vignettes, we show how philosophical work on akrasia helps avoid this potentially harmful notion of control by supporting a holistic engagement with people for whom substance misuse is a problem. We argue that such engagement enhances (...) their prospects of recovery by focusing on agency over time, as opposed to individual lapses. (shrink)

Inspired by Farshad Zahedi’s audiovisual essay The Petrified Object and the Poetics of Time in Cinema, this article briefly presents three philosophical approaches to cinema’s ways of expressing time – as articulated by Bergson, Tarkovsky, and Deleuze – and questions how absolute time and chronological time are brought to a state of crisis by this modern form of art.

This is a short, nontechnical introduction to features of time in classical and relativistic physics and their representation in the four-dimensional geometry of spacetime. Topics discussed include: the relativity of simultaneity in special and general relativity; the ‘twin paradox’ and differential aging effects in special and general relativity; and time travel in general relativity.