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)

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)

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)

One of the singularities of Latin exegesis of Aristotle’s Sophistici elenchi, is that it arbitrarily brought together two families of fallacies, the «figure of speech» and the «accident», despite the fact that they are on either side of the divide between sophisms related to expression and sophisms independent of expression, a divide that lays at the heart of Aristotle’s taxonomy of sophistic arguments. What is behind this surprising identification? The talk is meant to show that it actually originates from a (...) curious mistake in Boethius’ translation of Aristotle’s Sophistici elenchi, 22, 178b 36-37 which radically transformed the nature of the argument at stake. While it was originally an example of the fallacies related to the «figure of speech», Boethius’ translation wrongly brings about two arguments instead of one, both related to the «accident». This explains why authors from the Latin tradition came to think that fallacies of «figure of speech» were linked to fallacies of «accident» closely enough to ask whether they actually fell outside expression, even though it does not at first glance appear that such a possibility was allowed or even suggested by Aristotle’s text. This odd question illustrates some of the remarkable features of the medieval archive and how some of its most peculiar problems came to be. It specifically allows us to reconstruct the mechanisms through which a minor disturbance in the letter of the text leads to a whole new way of organising its exegetical material. (shrink)

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)

If you utter sentence ‘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 , 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)

In recent decades much literature has been produced on disagreement; the puzzling conclusion being that epistemic disagreement is, for the most part, either impossible (e.g. Aumann (Ann Stat 4(6):1236–1239, 1976)), or at least easily resolvable (e.g. Elga (Noûs 41(3):478–502, 2007)). In this paper I show that, under certain conditions, an equally puzzling result arises: that is, disagreement cannot be rationally resolved by belief updating. I suggest a solution to the puzzle which makes use of some of the principles (...) of Hintikka’s Socratic epistemology. (shrink)

Richard Foley has presented a puzzle purporting to show that all attempts in trying to find a sufficient condition of rationality are doomed. The puzzle rests on two plausible assumptions. The first is a level-connecting principle: if one rationally believes that one's belief that p is irrational, then one's belief that p is irrational. The second is a claim about a structural feature shared by all promising sufficient conditions of rationality: for any such condition, it is possible that (...) one's belief satisfies it and yet one rationally believes that it doesn’t. With the two assumptions, Foley argues that a sufficient condition of rationality is impossible. I explain how exactly the puzzle goes and I try to offer a solution. If my solution works, all theorists of rationality who accept certain level-connecting principles need to add an extra condition to their favourite rationality-making condition. (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)

Do cinematic representations of the natural world only put us in further remove from nature? A phenomenological approach shows that nature screened can produce a richer understanding of human–nature relations as these unfold in visual contact. If vision accesses the world in a unique relationship of sight, in which our contact with the world is defined by vision prior to any other interaction, the cinema offers a special setting for a phenomenology that seeks to draw-out the significance of human relations (...) with the world of nature that come before utility or action. A detailed analysis of the opening sequence of Terrence Malick’s The New World demonstrates how the act of viewing positions the viewer in relation to what she sees. This position, prior to action and with the impossibility to act is seen here as an ethical position, a position of responsibility in the Levinasian sense. Merleau-Ponty’s phenomenology of vision is put here to use alongside the hermeneutic phenomenology of Heidegger and the existential responsibility of Levinas, while subverting Levinas’ anthropocentrism and rejecting Heidegger’s limiting view of technology. The approach taken in this essay, of bringing phenomenology into productive and reflexive interaction with ecology and with film is dubbed an “eco-film-phenomenology.”. (shrink)

Suppose you’re imagining that it’s raining hard. You then proceed to imagine, as part of the same imaginative project, that you believe that it isn’t raining. Such an imaginative project is possible if the two imaginings arise in succession. But what about simultaneously imagining that it’s raining and that you believe that it isn’t raining? I will argue that, under certain conditions, such an imagining is impossible. After discussing these conditions, I will suggest an explanation of this impossibility. Elaborating (...) on the view outlined in Walton (1990), I will argue that the impossibility follows from the fact that imaginings ‘mimic’ beliefs in aiming at the fictionally true, just as beliefs aim at the true. (shrink)

So-called 'Frege cases' pose a challenge for anyone who would hope to treat the contents of beliefs (and similar mental states) as Russellian propositions: It is then impossible to explain people's behavior in Frege cases without invoking non-intentional features of their mental states, and doing that seems to undermine the intentionality of psychological explanation. In the present paper, I develop this sort of objection in what seems to me to be its strongest form, but then offer a response to (...) it. I grant that psychological explanation must invoke non-intentional features of mental states, but it is of crucial importance which such features must be referenced. -/- It emerges from a careful reading of Frege's own view that we need only invoke what I call 'formal' relations between mental states. I then claim that referencing such 'formal' relations within psychological explanation does not undermine its intentionality in the way that invoking, say, neurological features would. The central worry about this view is that either (a) 'formal' relations bring narrow content in through back door or (b) 'formal' relations end up doing all the explanatory work. Various forms of each worry are discussed. The crucial point, ultimately, is that the present strategy for responding to Frege cases is not available either to the 'psycho-Fregean', who would identify the content of a belief with its truth-value, nor even to someone who would identify the content of a belief with a set of possible worlds. It requires the sort of rich semantic structure that is distinctive of Russellian propositions. There is therefore no reason to suppose that the invocation of 'formal' relations threatens to deprive content of any work to do. (shrink)

Frank Snare had a puzzle. Noncognitivism implies No-Ought-From-Is but No- Ought-From-Is does not imply non-cognitivism. How then can we derive non-cognitivism from No-Ought-From-Is? Via an abductive argument. If we combine non-cognitivism with the conservativeness of logic (the idea that in a valid argument the conclusion is contained in the premises), this implies No-Ought-From-Is. Hence if No-Ought-From-Is is true, we can arrive at non-cognitivism via an inference to the best explanation. With prescriptivism we can make this argument more precise. I (...) develop an account of imperative consequence that underwrites Hare’s principle that you cannot derive imperatives from indicatives. Thus if moral judgments contain an imperative component, it will be impossible to derive moral conclusions from indicative or non-moral premises. Given this account of imperative consequence, we can explain No-Ought-From-Is without appealing to anything as nebulous as the conservativeness of logic. Hence if No-Ought-From-Is is true, we have an inference to the best explanation for prescriptivism. Both lines of argument face problems from Prior. Given Prior’s counterexamples, No-Ought-From-Is as originally conceived is false. The version that survives is No-Non-Vacuous-Ought-From-Is. But the best explanation of this does not include non-cognitivism. With prescriptivism it is worse. For the version of No-Ought-From-Is that prescriptivism ‘explains’ – that is, the version of No-Ought-From-Is that prescriptivism implies – would exclude Prior’s counter-examples to Autonomy as invalid. But they are not invalid. Thus Prior’s counter-examples to No-Ought-From- Is refute prescriptivism. Thus from 1960 onwards R. M.Hare was a dead philosopher walking. But if non-cognitivism cannot be derived from No-Ought-From-Is, this suggests that it is not what Hume was trying to prove. I argue that what Hume was trying to prove is that moral truths are not demonstrable. To be demonstrable, a proposition must be either self-evident or logically derivable from self-evident propositions. By Treatise 3.1.1.27, Hume had proved to his own satisfaction that no moral propositions are self-evident. That leaves open the possibility that they are logically derivable from self-evident but NON-moral propositions. The point of No-Ought-From-Is was to exclude this possibility. If you cannot logically derive moral conclusions from non-moral premises, you cannot demonstrate the truths of morality by deriving them from self-evident but NON-moral truths. I also discuss why Hume abandoned No-Ought-From-Is in the EPM. He had no need of it since he thought he had a proof that (with some exceptions) no nontrivial truths are demonstrable. Hence no non-trivial MORAL truths are demonstrable. No-Ought-From-Is drops out as unnecessary. (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)

How has multiplicity superseded impossibility in philosophical challenges to artificial consciousness? I assess a trajectory in recent debates on artificial consciousness, in which metaphysical and explanatory challenges to the possibility of building conscious machines lead to epistemological concerns about the multiplicity underlying ‘what it is like’ to be a conscious creature or be in a conscious state. First, I analyse earlier challenges which claim that phenomenal consciousness cannot arise, or cannot be built, in machines. These are based on Block’s Chinese (...) Nation and Chalmers’ Hard Problem. To defuse such challenges, theorists of artificial consciousness can appeal to empirical methods and models of explanation. Second, I explain why this naturalistic approach produces an epistemological puzzle on the role of biological properties in phenomenal consciousness. Neither behavioural tests nor theoretical inferences seem to settle whether our machines are conscious. Third, I evaluate whether the new challenge can be managed through a more fine-grained taxonomy of conscious states. This strategy is supported by the development of similar taxonomies for biological species and animal consciousness. Although it makes sense of some current models of artificial consciousness, it raises questions about their subjective and moral significance. (shrink)

This note points out a conflict between some common intuitions about metaphysical possibility. On the one hand, it is appealing to deny that there are robust counterfactuals about how various physically impossible substances would interact with the matter that exists at our world. On the other hand, our intuitions about how concepts like MOUNTAIN apply at other metaphysically possible worlds seem to presuppose facts about ‘solidity’ which cash out in terms of these counterfactuals. I consider several simple attempts to (...) resolve this conflict and note they all fall short. (shrink)

In this article, I argue that it is impossible to complete infinitely many tasks in a finite time. A key premise in my argument is that the only way to get to 0 tasks remaining is from 1 task remaining, when tasks are done 1-by-1. I suggest that the only way to deny this premise is by begging the question, that is, by assuming that supertasks are possible. I go on to present one reason why this conclusion (that supertasks (...) are impossible) is important, namely that it implies a new verdict on a decision puzzle propounded by Jeffrey Barrett and Frank Arntzenius. (shrink)

What are contents? The answer provided by the possible worlds approach is that contents are sets of possible worlds. This approach incurs serious problems and to solve them Jago suggests, in The Impossible, to get rid of the ‘possible’ bit and allowing some impossible worlds to be part of the game. In this note, I briefly consider the metaphysics behind Jago’s account and then focus on whether Jago is right in thinking that his worlds and his worlds only (...) can do the explanatory work he posits them for. (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)

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)

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)

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

A common theological perspective holds that God does not deceive because lying is morally wrong. While Plato denies the possibility of divine deception in the Republic, his explanation does not appeal to the wrongness of lying. Indeed, Plato famously recommends the careful use of lies as a means of promoting justice. Given his endorsement of occasional lying, as well as his claim that humans should strive to emulate the gods, Plato's suggestion that the gods never have reason to lie is (...) puzzling. Our solution to this puzzle centers on the fact that, unlike humans, the gods are self-sufficient. Although lying is good for the souls of neither humans nor gods, human interdependency necessitates lies that will prevent material harms and maintain a just order. In contrast, the self-sufficiency of the gods makes it impossible for them to benefit from deception. (shrink)

This thesis consists of several independent papers in population ethics. I begin in Chapter 1 by critiquing some well-known 'impossibility theorems', which purport to show there can be no intuitively satisfactory population axiology. I identify axiological vagueness as a promising way to escape or at least mitigate the effects of these theorems. In particular, in Chapter 2, I argue that certain of the impossibility theorems have little more dialectical force than sorites arguments do. From these negative arguments I move to (...) positive ones. In Chapter 3, I justify the use of a 'veil of ignorance', starting from three more basic normative principles. This leads to positive arguments for various kinds of utilitarianism - the best such arguments I know. But in general the implications of the veil depend on how one answers what I call 'the risky existential question': what is the value to an individual of a chance of non-existence? I chart out the main options, and raise some puzzles for non-comparativism, the view that life is incomparable to non-existence. Finally, in Chapter 4, I consider the consequences for population ethics of the idea that what is normatively relevant is not personal identity, but a degreed relation of psychological connectedness. In particular, I pursue a strategy based in population ethics for understanding the controversial 'time-relative interests' account of the badness of death. (shrink)

A counterpossible is a counterfactual with an impossible antecedent. Counterpossibles present a puzzle for standard theories of counterfactuals, which predict that all counterpossibles are semantically vacuous. Moreover, counterpossibles play an important role in many debates within metaphysics and epistemology, including debates over grounding, causation, modality, mathematics, science, and even God. In this article, we will explore various positions on counterpossibles as well as their potential philosophical consequences.

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 2004 in Prague, I met Slovak philosopher Miroslav Marcelli, who had attended Foucault's lectures in Paris in 80s. We talked about the legacy of Foucault and contemporary philosophy. Mr. Marcelli taught me philosophy at Comenius University in 1995.. I never visited his lectures, I only passed the exam.. The most interesting point was his answer to my 'provocations' replicating the common prejudice about impracticability of the philosophy. He answered "Do you think that e.g. Descartes didn't know about it?" In (...) fact, people tend to think that philosophers or mathematicians, are "asocial" without "social" intelligence, while their occasional isolation (e.g. Nietzsche) is a product of social exclusion, rather than their choice. In 2013 I applied Foucault's concept of Discontinuity to short 10 minutes movie: Discontinuity, projected in my exhibition "From Animation" in Holland Park, London. The film has 3 parts, ends as it starts to show the significant historical events in 4 windows, when the same idea appears to disappear to re-appear.. Foucault's philosophy doesn't seem to me so unique now, e.g. the idea that many historical changes or progress itself is often illusionary - masking the power structure, had already been explored 515 BC, in depth by Parmenides who concluded: the change is impossible. (shrink)

According to a dogma mainly set up by Heidegger and Horkheimer/Adorno technology prevents the humans from reflecting their own situation in the world. Revealing the conditions of being is not only every humans main task, but even that of philosophy and art. From this point of view the motion picture taken to be merely a piece of technology is not of any worth philosophically and also not considered as art. This dogma is false. It is derived from the assertion that (...) a motion picture has only technical aspects. Indeed it would be impossible to produce it without technology. But a film expresses it‘s director‘s view of the world. This is not systematically different from what an author or composer does with his works. A Film can show why and how artifacts are used and thereby reveal and maybe explain what I call an artifact‘s history of sense. This makes a view of the world understandable. (shrink)

This short paper has two parts. First,we prove a generalisation of Aumann’s surprising impossibility result in the context of rational decision making. We then move, in the second part, to discuss the interpretational meaning of some formal setups of epistemic models, and we do so by means of presenting an interesting puzzle in epistemic logic. The aim is to highlight certain problematic aspects of these epistemic systems concerning first/third-person asymmetry which underlies both parts of the story. This asymmetry, we (...) argue, reveals certain limits of what epistemic models can be. (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)

I present a puzzle – the “puzzle of aesthetic testimony” – along with a solution to it that appeals to the impossibility of testimonial understanding. I'll criticize this solution by defending the possibility of testimonial understanding, including testimonial aesthetic understanding.

Typical puzzles for de se attitudes by Perry and Lewis are laid out and contrasted with the original version of Jackson's Knowledge Argument. It is argued, from an epistemic perspective, that de se attitudes can be explained by looking at the way internal/introspective knowledge is formed without resorting to acquaintance or making assumptions about the Mind/Body problem.

I examine issues in the philosophy of religion at the intersection of what possibilities there are and what a God, as classically conceived in the theistic philosophical tradition, would be able to do. The discussion is centered around arguing for an incompatibility between theism and two principles about possibility and ability, and exploring what theists should say about these incompatibilities. -/- I argue that theism entails that certain kinds and amounts of evil are impossible. This puts theism in conflict (...) with popular principles of modal recombination. However, theists have plausible explanations for the violations of recombination that they posit, and can suitably amend these principles without giving up their usefulness in accounting for what possibilities there are. -/- I also argue that despite the impossibility of these evils, God is able to bring these evils about. This puts theism in conflict with the principle that no one is able to do the impossible. However, theists can give a plausible account of why God is unique in being able to do the impossible, and have distinctive resources to address the arguments in favor of the idea that no one is able to do the impossible. And by denying this principle, theists are able to resolve several otherwise difficult puzzles, including reconciling conflicts between the divine attributes. (shrink)

Scientific realism is the view that our best scientific theories can be regarded as (approximately) true. This is connected with the view that science, physics in particular, and metaphysics could (and should) inform one another: on the one hand, science tells us what the world is like, and on the other hand, metaphysical principles allow us to select between the various possible theories which are underdetermined by the data. Nonetheless, quantum mechanics has always been regarded as, at best, puzzling, if (...) not contradictory. As such, it has been considered for a long time at odds with scientific realism, and thus a naturalized quantum metaphysics was deemed impossible. Luckily, now we have many quantum theories compatible with a realist interpretation. However, scientific realists assumed that the wave-function, regarded as the principal ingredient of quantum theories, had to represent a physical entity, and because of this they struggled with quantum superpositions. In this paper I discuss a particular approach which makes quantum mechanics compatible with scientific realism without doing that. In this approach, the wave-function does not represent matter which is instead represented by some spatio-temporal entity dubbed the primitive ontology: point-particles, continuous matter fields, space-time events. I argue how within this framework one develops a distinctive theory-construction schema, which allows to perform a more informed theory evaluation by analyzing the various ingredients of the approach and their inter-relations. (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)

Curry's paradox for "if.. then.." concerns the paradoxical features of sentences of the form "If this very sentence is true, then 2+2=5". Standard inference principles lead us to the conclusion that such conditionals have true consequents: so, for example, 2+2=5 after all. There has been a lot of technical work done on formal options for blocking Curry paradoxes while only compromising a little on the various central principles of logic and meaning that are under threat. -/- Once we have a (...) sense of the technical options, though, a philosophical choice remains. When dealing with puzzles in the logic of conditionals, a natural place to turn is independently motivated semantic theories of the behaviour of "if... then...". This paper argues that the closest-worlds approach outlined in Nolan 1997 offers a philosophically satisfying reason to deny conditional proof and so block the paradoxical Curry reasoning, and can give the verdict that standard Curry conditionals are false, along with related "contraction conditionals". (shrink)

Maimonides famously holds that, while it is perfectly possible to know (and say) that God exists, it is impossible to know (and say) what God is like because any positive attri- bution contradicts God’s essential oneness. Consequently, pure equivocity obtains between descriptions of the divine and descriptions of any other being. But this raises a puzzle: Knowledge of God seems vacuous if we lack all comprehension of God’s nature - so how can we have any comprehension of the (...) divine without being able to say what it is that we know? In this essay, I defend the substantiality of the concept of knowledge of God on Maimonides’ apophatic picture. Drawing on the concept of non-propositional knowledge, I argue that knowledge and comprehension can come apart, which lends support to Maimonides’ thesis that knowledge of God, though substantial and objective, cannot be expressed. (shrink)

Philosophers often consider problems of free will and moral luck in isolation from one another, but both are about control and moral responsibility. One problem of free will concerns the difficult task of specifying the kind of control over our actions that is necessary and sufficient to act freely. One problem of moral luck refers to the puzzling task of explaining whether and how people can be morally responsible for actions permeated by factors beyond their control. This chapter explicates and (...) assesses skeptical, compatibilist, and libertarian approaches to moral luck. First, I argue that what makes the above problems of free will and moral luck distinct is largely their emphasis on different kinds of luck. Second, I describe and evaluate skeptical arguments from constitutive and circumstantial luck that it is impossible to act freely. Third, I explicate and assess various support and implication relationships between various kinds of compatibilism and libertarianism, on the one hand, and causal, constitutive, circumstantial, and resultant moral luck, on the other. (shrink)

This paper develops a semantic solution to the puzzle of Free Choice permission. The paper begins with a battery of impossibility results showing that Free Choice is in tension with a variety of classical principles, including Disjunction Introduction and the Law of Excluded Middle. Most interestingly, Free Choice appears incompatible with a principle concerning the behavior of Free Choice under negation, Double Prohibition, which says that Mary can’t have soup or salad implies Mary can’t have soup and Mary can’t (...) have salad. Alonso-Ovalle 2006 and others have appealed to Double Prohibition to motivate pragmatic accounts of Free Choice. Aher 2012, Aloni 2018, and others have developed semantic accounts of Free Choice that also explain Double Prohibition. -/- This paper offers a new semantic analysis of Free Choice designed to handle the full range of impossibility results involved in Free Choice. The paper develops the hypothesis that Free Choice is a homogeneity effect. The claim possibly A or B is defined only when A and B are homogenous with respect to their modal status, either both possible or both impossible. Paired with a notion of entailment that is sensitive to definedness conditions, this theory validates Free Choice while retaining a wide variety of classical principles except for the transitivity of entailment. The homogeneity hypothesis is implemented in two different ways, homogeneous alternative semantics and homogeneous dynamic semantics, with interestingly different consequences. (shrink)

Apocalypse, it seems, is everywhere. Preachers with vast followings proclaim the world's end and apocalyptic fears grip even the non-religious amid climate change, pandemics, and threats of nuclear war. But as these ideas pervade popular discourse, grasping their logic remains elusive. Ben Jones argues that we can gain insight into apocalyptic thought through secular thinkers. He starts with a puzzle: Why would secular thinkers draw on Christian apocalyptic beliefs--often dismissed as bizarre--to interpret politics? The apocalyptic tradition proves appealing in (...) part because it theorizes a special relation between crisis and utopia. Apocalyptic thought points to crisis as the vehicle to bring the previously impossible within reach, thus offering apparent resources for navigating challenges in ideal theory, which tries to imagine the best and most just society. By examining apocalyptic thought's appeal and risks, this study arrives at new insights on the limits of ideal theory and utopian hope. (shrink)

The tenth proposition of Spinoza’s Ethics reads: ‘Each attribute of substance must be conceived through itself.’ Developing and defending the argument for this single proposition, it turns out, is vital to Spinoza’s philosophical project. Indeed, it’s virtually impossible to overstate its importance. Spinoza and his interpreters have used EIp10 to prove central claims in his metaphysics and philosophy of mind (i.e., substance monism, mind-body parallelism, mind-body identity, and finite subject individuation). It’s crucial for making sense of his epistemology (i.e., (...) Spinoza’s account of knowledge and response to skepticism) and in resolving puzzles within the Ethics (i.e., explaining human ignorance of all but two attributes). Even those who do not attribute some of the above claims to Spinoza need EIp10 to defend much of what they believe about Spinoza’s system. This paper locates a previously unnoticed argument for this proposition in Spinoza’s Short Treatise on God, Man, and His Well Being. There, Spinoza shows himself concerned with a powerful and underappreciated form of philosophical skepticism, one with surprising echoes in the work of his contemporary Leibniz as well as in the later Wittgenstein. Spinoza’s introduction of E1p10 in the Ethics circumvents this form of skepticism, solving the problem the Short Treatise envisions while also explaining that text’s argument’s absence from the explicit justificatory structure of the Ethics. (shrink)

Schelling’s middle period works have always been a source of fascination: they mark a break with the idealism (in both senses of the word) of his early works and the Fichtean and then Hegelian tradition; while they are not weighed down by the reactionary burden of his late lectures on theology and mythology. But they have been equally a source of perplexity. The central work of this period, the Essay on Human Freedom (1809) takes as its topic the moral problem (...) of freedom, but spends much of its time telling a mystical-metaphysical story about the creation of the world that attempts to paint a picture of a kind of irreducible metaphysical contingency in nature. What is the relation between the moral and the metaphysical elements of the Freedom essay? It has never been obvious. But some recent Anglophone scholarship suggests an answer. In her Freedom and Reason in Kant, Schelling and Kierkegaard (2006) Michelle Kosch presents a strong case for the view that Schelling’s Freedom essay is motivated by a critique of Kant’s conception of autonomy in ethics. The idea is that Kant’s problems start not if he fails to show that it is rational to be moral, but if he succeeds. For if he does, then it is irrational to be immoral, and hence it is impossible for a rational agent to act immorally: an act not in conformity with duty is evidence of irrationality (perhaps one’s rational agency has been thwarted by pathological inclinations). This is broadly the Socratic position: evil, as a knowing immoral act, is not possible. Officially Kant rejects the classical view, most explicitly in his 1793 Religion with the Bounds of Mere Reason, for a Christian position in which freedom is understood as the freedom to choose between good and evil without thereby abandoning one’s agency. But he has no obvious means for doing so. Kosch attempts to show that Schelling comes, by 1809, to identify his early work with something like this Kantian dilemma: we are as badly off when it comes to our freedom if we are pushed around by reasons as if we are pushed around by causes: the Hegelian ruse of reason is as inimical to our agency as phenomenal determinism. The Freedom essay is the result of Schelling’s attempt to defend a muscular, Christian conception of the possibility of evil. Nevertheless, for Kosch, Schelling’s move to the metaphysical level is still problematic: just where one would expect an account of norms that does not infer them from our rational autonomy, we get, puzzlingly, a cosmology. I will argue that Kosch’s matrix for interpreting Schelling in fact does give us a way of understanding Schelling’s metaphysics of contingency. In broad outline, Schelling’s argument is that our choice of metaphysical schema is constrained by a correct understanding of agency: the world cannot be causally determined because that is inconsistent with our understanding of ourselves as agents; but equally the world cannot be rationally determined, and for the same reason. Schelling’s metaphysics of contingency is an unpacking of the consequences of this inference, and not a botched attempt to ground values outside of rational autonomy. (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)

How do we live, then, so that all of nature bows down and we are in despair? “We wanted to change the world and the world changed us", says Nino Manfredi in Ettore Scola's film, C'eravamo tanto amati, something so expressive of this vital mode that dominates us. But to try not to be transformed by what we live seems impossible, even unfortunate, because a man always lives in his present, and in doing so lives with his fellow men. (...) Only in this way is it possible to live in a political society, to create a public sphere. Politics is born of sharing together, of words and deeds, as Hannah Arendt reminds us (3). (shrink)

What the rational thing to do in the face of disagreement by an epistemic peer is has been much discussed recently. Those who think that a peer’s disagreement is itself evidence against one’s belief, as many do, are committed to a special form of epistemic dependence. If such disagreement is really evidence, it seems reasonable to take it into account and to adjust one’s belief accordingly. But then it seems that the belief one ends up with depends, in part, on (...) what someone else believes, even if one does not know why that someone believes what he does. While the practical impossibility of finding actual cases of peer disagreement has been often noted, its conceptual possibility has gone unquestioned. Here we challenge this consensus and argue, first, that, strictly speaking, peer disagreement is impossible and, second, that cases of – all-too-common – near-peer disagreement present no special puzzle and require nothing more than adhering to standard principles of sensible epistemic conduct. In particular, we argue that in such cases there is no good reason to adopt the widely accepted principle that evidence of evidence is evidence. If so, even if one takes a near-peer’s disagreement as a reason for reexamining one’s belief, one is not epistemically dependent in the sense one would be if that disagreement were evidence concerning the matter in question. (shrink)

A material simple is a material object that has no proper parts. Some philosophers have argued for the possibility of extended simples. Some have even argued for the possibility of heterogeneous simples or simples that have intrinsic variations across their surfaces. There is a puzzle, though, that is meant to show that extended, heterogeneous simples are impossible. Although several plausible responses have been given to this puzzle, I wish to reopen the case against extended, heterogeneous simples. In (...) this paper, I briefly canvass responses to this puzzle which may be made in defense of extended, heterogeneous simples. I then present a new version of this puzzle which targets simples that occupy atomic yet extended regions of space. It seems that none of the traditional responses can be used to successfully save this particular kind of extended simple from the new puzzle. I also consider some non-traditional defenses of heterogeneous extended simples and argue that they too are unsuccessful. Finally, I will argue that a substantial case can be made against the possibility of extended heterogeneous simples of any kind. (shrink)

John MacFarlane has recently argued that his brand of truth relativism – Assessment Sensitivity – provides the best solution to the puzzle of future contingents: statements about the future that are metaphysically neither necessary nor impossible. In this paper, we show that even if we grant all of the metaphysical, semantic and pragmatic assumptions in terms of which MacFarlane sets and solves the puzzle, Assessment Sensitivity is ultimately self-refuting.

What does it feel like to be a bat? Is conscious experience of echolocation closer to that of vision or audition? Or do bats process echolocation nonconsciously, such that they do not feel anything about echolocation? This famous question of bats' experience, posed by a philosopher Thomas Nagel in 1974, clarifies the difficult nature of the mind–body problem. Why a particular sense, such as vision, has to feel like vision, but not like audition, is totally puzzling. This is especially so (...) given that any conscious experience is supported by neuronal activity. Activity of a single neuron appears fairly uniform across modalities and even similar to those for non-conscious processing. Without any explanation on why a particular sense has to feel the way it does, researchers cannot approach the question of the bats' experience. Is there any theory that gives us a hope for such explanation? Currently, probably none, except for one. Integrated information theory has potential to offer a plausible explanation. IIT essentially claims that any system that is composed of causally interacting mechanisms can have conscious experience. And precisely how the system feels is determined by the way the mechanisms influence each other in a holistic way. In this article, I will give a brief explanation of the essence of IIT. Further, I will briefly provide a potential scientific pathway to approach bats' conscious experience and its philosophical implications. If IIT, or its improved or related versions, is validated enough, the theory will gain credibility. When it matures enough, predictions from the theory, including nature of bats' experience, will have to be accepted. I argue that a seemingly impossible question about bats' consciousness will drive empirical and theoretical consciousness research to make big breakthroughs, in a similar way as an impossible question about the age of the universe has driven modern cosmology. (shrink)

Hauser argues that his pocket calculator (Cal) has certain arithmetical abilities: it seems Cal calculates. That calculating is thinking seems equally untendentious. Yet these two claims together provide premises for a seemingly valid syllogism whose conclusion - Cal thinks - most would deny. He considers several ways to avoid this conclusion, and finds them mostly wanting. Either we ourselves can't be said to think or calculate if our calculation-like performances are judged by the standards proposed to rule out Cal; or (...) the standards- e.g., autonomy and self-consciousness- make it impossible to verify whether anything or anyone (save oneself) meets them. While appeals to the intentionality of thought or the unity of minds provide more credible lines of resistance, available accounts of intentionality and mental unity are insufficiently clear and warranted to provide very substantial arguments against Cal's title to be called a thinking thing. Indeed, considerations favoring granting that title are more formidable than is generally appreciated. Rapaport's comments suggest that, on a strong view of thinking, mere calculating is not thinking (and pocket calculators don't think), but on a weak, but unexciting, sense of thinking, pocket calculators do think. He closes with some observations on the implications of this conclusion. (shrink)

Fish Night, an episode of LOVE DEATH + ROBOTS (S01E12, 2019) based on a 1982 short story by Joe R. Lansdale, can be interpreted as an allegory of the impossibility of immersive experience: if real, it is deadly, because the images are no longer such or ghosts but living beings present in a shared environmental habitat, acting with but also against the subject, in turn no longer a spectator. Comparing the story and film, and ancient ekphrastic literature, I discuss, in (...) a trans-medial imaginary genealogical perspective, the symptoms of this cultural topos and of the regressive desire for immersion and for transparent immediacy that shapes and drives it, dwelling in particular on the ambivalent phenomenological and ontological relations between living bodies, pictures and media as deep time-bending. (shrink)