The paper is an examination and critique of the philosophy of science fiction horror of seminal American horror, science fiction and fantasy writer H.P. Lovecraft (1890-1937). Lovecraft never directly offers a philosophy of science fiction horror. However, at different points in his essays and letters, he addresses genres he labels “interplanetary fiction”, “horror”, “supernatural horror”, and “weird fiction”, the last being a broad heading covering both supernatural fiction and science fiction. Taken together, a (...) philosophy of science fiction horror emerges. Central to this philosophy is the juxtaposition of the mysterious, unnatural and alien against a realistic background, in order to produce the emotion that Lovecraft calls “cosmic fear”. This background must not only be scientifically accurate, but must accurately portray human psychology, particularly when humans are faced with the weird and alien. It will be argued that Lovecraft’s prescriptions are overly restrictive and would rule out many legitimate works of science fiction horror art. However, he provides useful insights into the genre. (shrink)

The proposed theoretical motivation for legal fictionalism begins by focusing upon the seemingly supernatural powers of creation and control that mere mortals exercise over legal things, as a subclass of socially constructed things. This focus brings to the fore a dilemma of uncharitableness concerning the ontological commitments expressed in the discourse of whole societies about such things. Either, there is widespread equivocation as to the fundamental concept expressed by terms such as ‘existence’ or our claims about legal and other institutional (...) things are never really true. When stated as a dilemma, rather than assuming either horn from the outset, our broader social practice of fiction-telling yields a reason to prefer the fictionalist horn. -/- I differentiate three grades of legal fictionalism and contrast strong legal fictionalism with Horacio Spector’s weak form. Only the stronger form has it that engagement in a fictional discourse of law can provide reasons for legal decision-making independent of moral opinions or policy considerations. This stance relies on the claim that maintaining a fictional discourse with respect for its integrity justifies inferences to conclusions about a fictional domain beyond what is described in existing expressions of the discourse. Focusing on ontology allows an analogy between a fictional discourse of law and literary or popular fiction, in which context such inferences are more obviously persuasive. I argue that this notion of respect for the integrity of such a discourse saves legal formalist jurisprudence from the indeterminacy objections of legal realists. (shrink)

Popular culture continues fuelling public imagination with things, human and non-human, that we might beco-me or confront. Besides robots, other significant tropes in popular fiction that generated images include non-human humans and cyborgs, wired into his-torically varying sociocultural realities. Robots and artificial intelligence are re-defining the natural order and its hierar-chical structure. This is not surprising, as natural order is always in flux, shaped by new scientific discoveries, especially the reading of the genetic code, that reveal and (...) redefine relationships between life forms. However, for the first time, a new, artificial, species is being introduced into the existing diagrams, and, for the first time, it appears to hybridise the anthro-pocentric natural world order. (shrink)

The article relates to “empirical ecocriticism” and has attracted the attention of many academics, political circles, and social groups for the global living environment. Schneider and Mayerson explore the topic of “climate fiction,” a literary genre focusing on climate related themes that has grown in popularity over the last decade. It is generally believed that this genre can create positive ecological-political impacts by providing climate information to the readers and helping them recognize the urgency of climate change.

Abstract: Many, if not most philosophers, deny that a sentence like ‘Sherlock Holmes smokes’ could be true. However, this attitude conflicts with the assignment of true to that sentence by natural language speakers. Furthermore, this process of assigning truth values to sentences like ‘Sherlock Holes smokes’ seems indistinguishable from the process that leads speakers to assign true to other sentences, those like ‘Bertrand Russell smokes’. I will explore the idea that when speakers assign the value true to the first sentence, (...) they are not mistaken or confused — that we ought to take these assignments at face value. I show how the most popular alternative to this idea is inadequate for explaining various sentences involving fictional names. In addition, I offer evidence that these truth value assignments to sentences are tracking semantic content rather than pragmatic effects. (shrink)

In contrast to film, theater, and literature, audiences typically sing along with popular songs. This can encourage a first-person mode of engagement with the narrative content. Unlike mere spectators, listeners sometimes imagine acting out the content when it is recited in the first-person. This is a common mode of engaging with popular music. And it can be uniquely morally problematic. It is problematic when it involves the enjoyment of imaginatively doing evil. I defend a Moorean view on the (...) issue: It is wrong to enjoy evil whether real or merely fiction. I develop my position through an examination of the controversially song "Mind of a Lunatic" (1990) by the Houston based rap group Geto Boys. (shrink)

I argue against two popular claims. The first is a descriptive, empirical thesis about the nature of ordinary human experience: ‘each of us constructs and lives a “narrative” . . . this narrative is us, our identities’ (Oliver Sacks); ‘self is a perpetually rewritten story . . . in the end, we become the autobiographical narratives by which we “tell about” our lives’ (Jerry Bruner); ‘we are all virtuoso novelists. . . . We try to make all of our (...) material cohere into a single good story. And that story is our autobiography. The chief fictional char- acter . . . of that autobiography is one’s self’ (Dan Dennett). The second is a normative, ethical claim: we ought to live our lives narratively, or as a story; a ‘basic condition of making sense of ourselves is that we grasp our lives in a narrative’ and have an understanding of our lives ‘as an unfolding story’ (Charles Taylor). A person ‘creates his identity [only] by forming an autobiographical narrative – a story of his life’, and must be in possession of a full and ‘explicit narrative [of his life] to develop fully as a person’ (Marya Schechtman). (shrink)

As we enter the 21st century, we do well to consider the values implicit in science fiction, the principal arena of future speculation in popular culture. This study explored whether consumption of science fiction (SF) is correlated with distinctive socio-ethical views. SF tends to advocate the extension of value and rights to all forms of intelligence, regardless of physical form; enthusiasm for technology; and social and economic libertarianism. This suggests that consumers with these socio-ethical views would be (...) attracted to the SF genre, and that amount of SF consumption would be correlated with adoption of these views. -/- Groups of respondents involved in medical ethical and environmental issues were surveyed in 1992 (N=278). SF consumption was found, at first-order correlation and controlling for covariates, to be associated with: greater support for extending rights to animal and machine intelligence; greater enthusiasm for technology, and rejection of limits to human endeavors; and greater social libertarianism. SF consumption was not associated with specific views on the cognitively and physically disabled; support for abortion rights; or economic libertarianism. (shrink)

The term ‘posthumanism’ has been employed to describe a diverse array of phenomena ranging from academic disciplines and artistic movements to political advocacy campaigns and the development of commercial technologies. Such phenomena differ widely in their subject matter, purpose, and methodology, raising the question of whether it is possible to fashion a coherent definition of posthumanism that encompasses all phenomena thus labelled. In this text, we seek to bring greater clarity to this discussion by formulating a novel conceptual framework for (...) classifying existing and potential forms of posthumanism. The framework asserts that a given form of posthumanism can be classified: 1) either as an analytic posthumanism that understands ‘posthumanity’ as a sociotechnological reality that already exists in the contemporary world or as a synthetic posthumanism that understands ‘posthumanity’ as a collection of hypothetical future entities whose development can be intentionally realized or prevented; and 2) either as a theoretical posthumanism that primarily seeks to develop new knowledge or as a practical posthumanism that seeks to bring about some social, political, economic, or technological change. By arranging these two characteristics as orthogonal axes, we obtain a matrix that categorizes a form of posthumanism into one of four quadrants or as a hybrid posthumanism spanning all quadrants. It is suggested that the five resulting types can be understood roughly as posthumanisms of critique, imagination, conversion, control, and production. -/- We then employ this framework to classify a wide variety of posthumanisms, such as critical, cultural, philosophical, sociopolitical, and popular (or ‘commercial’) posthumanism; science fiction; techno-idealism; metahumanism; neohumanism; antihumanism; prehumanism; feminist new materialism; the posthumanities; biopolitical posthumanism, including bioconservatism and transhumanism (with specialized objective and instrumental typologies offered for classifying forms of transhumanism); and organizational posthumanism. Of particular interest for our research is the classification of organizational posthumanism as a hybrid posthumanism combining analytic, synthetic, theoretical, and practical aspects. We argue that the framework proposed in this text generates a typology that is flexible enough to encompass the full range of posthumanisms while being discriminating enough to order posthumanisms into types that reveal new insights about their nature and dynamics. (shrink)

This paper uses virtue ethics to discuss the COVID-19 outbreak, Hollywood science-fiction/pandemic films, and the environmental crisis. We outline the ideas of hubris and nemesis and argue that responding to the COVID-19 pandemic requires that we develop virtues. We will explore these ethical issues through an eco-reading (Hiltner 2018) of two popular films cinematic representation of pandemics, The Andromeda Strain (1971) and Contagion (2011). Fictional narratives are particularly adept at celebrating the moral and intellectual virtues of individuals (as (...) is standard in Hollywood cinema) and dramatizing the tensions inherent in human scientific and technological civilisation. Using examples from our texts and with reference to COVID-19, we begin with a discussion of virtues and vices, both individual and collective, we then explore the concept of flourishing and apply this framework to collective action problems such as climate change and COVID-19. Thus, science fiction can provoke new forms of environmental philosophising and ethical engagement, while addressing the most important challenges facing humanity at present. (shrink)

The Introduction provides a historical and literary context for the examination of Albert Camus’s 1947 fictional novel, The Plague, to suggest its relevance to our own lived experiences of the 2021 Covid-19 pandemic that brought the routines and expectations of our normal, daily lives to an unprecedented halt. Details of Camus’s life and work inform our reading of the narrative that give rise to multiple interpretations as well as intriguing questions of scholarly inquiry: How realistic are the characters? Does solidarity (...) eventually triumph over isolation? Does the popular novel inspire social change or fail in its aspirations? Facing the absurdity of a similarly unwelcome and unpredictable disease, have we managed our fear of death more successfully than the citizens of Oran? An overview of authors’ contributions sets the stage for new and unique perspectives: an invitation for readers to reflect upon our communal experience of immense grief. (shrink)

Within science fiction the topic of ‘first contact’ is a popular theme. How will an encounter with aliens unfold? Will we succeed in communicating with them? Although such questions are present in the background of many science fiction novels, they are not always explicitly dealt with and even if so, often in a poor way. In this article, I will introduce a typology of five dominant types of solutions to the problem of first contact in science (...) class='Hi'>fiction works. The first four solutions are the more dominant, but also the least interesting ones. There is a fifth category that addresses the question of first contact in a more interesting way, exemplified by the work of Stanisław Lem. This fifth option defines itself as a critique of the four previous categories, or of their shared assumption of what Lem (1967) has called ‘the myth of cognitive universality’. Lem is sceptical of the common optimism that first contact will always be successful. In books such as Solaris (1961), His Master’s Voice (1967) and Fiasco (1986), humanity makes first contact with an alien phenomenon, but fails to comprehend the phenomenon. Fundamentally, it will be argued that Lem’s work shows that in such an encounter we will typically not only lack the right answers to our questions, but that we also often lack the correct questions: we simply do not have the right categories or instruments to even recognize, let alone meaningfully interrogate, the alien phenomenon. The article ends with an exploration of the implications of Lem’s pessimism and whether it is the most plausible option for first contact. Moreover, the article will draw some lessons for philosophy of science, by exploring the parallel with the confrontation of novel or deviant phenomena in science. Lem’s work is helpful here because it succeeds in articulating what has not always been appreciated in the philosophy of science, namely that the right questions by which to interrogate scientific phenomena are not given, but that their articulation always requires work. (shrink)

In 2010s, the love story between Sidapa and Bulan, two oft-described as male gods, widely circulated online and eventually became a folkloric representation about the LGBTQIA+ during the pre-colonial Philippines. But in 2019 this queer mythological romance was exposed to be a hoax. However, instead of dismissing the story altogether for being a hoax, especially given the story’s already irreversible circulation in popular culture today, this paper rather examines the “mythification” of Sidapa-Bulan queer romance as a case for historical (...) rethinking. Drawing from a bricolage of digital, ethnohistorical, and historiographical materials, this paper is divided into four sections. The first section dissects this paper’s conceptual tools: the use of seemingly anachronistic categories of “queer” and “LGBTQIA+,” and how these categories intersect with the concepts of “myth-making” as a sociological (and by extension, historical) phenomenon, and what came to be known as “neo-archiving” (i.e., the use of fiction in response to the gaps in history). The second section explains the paper’s methodology and sources, specifically its use of four historical thinking skills in dissecting the Sidapa-Bulan myth. The third section examines the Sidapa-Bulan myth as a historical case, specifically in terms of sourcing and close reading, corroborating, and contextualizing. And the fourth section attempts to offer, albeit in broad strokes, some potential ways to move forward from the damages caused by the Sidapa-Bulan myth. As such, this paper argues that only by maintaining transparency over its own history, that the Sidapa-Bulan queer romance, as a case of contemporary myth-making (where queer artists, authors, and allies did not merely passively consume the story, but rather actively re-define and appropriate it), can become useful and integral in rethinking and, thus, enriching the Philippine LGBTQIA+ past. But in a practical sense, this paper demonstrates how historical thinking skills can empower the public to detect, dissect, and dispel disinformation today. (shrink)

Why do people seemingly want to be scared by movies and feel pity for fictional characters when they avoid situations in real life that arouse these same negative emotions? Although the domain of relevant artworks encompasses far more than just tragedy, the general problem is typically called the paradox of tragedy. The paradox boils down to a simple question: If people avoid pain then why do people want to experience art that is painful? I discuss six popular solutions to (...) the paradox: conversion, control, compensatory, meta-response, catharsis, and rich experience theories. (shrink)

Wormhole is a popular tool for interstellar travel in science fiction. It connects two different space-time points directly although such an astrophysical object is not yet observed, but in 2015, researchers in Spain created a tiny magnetic wormhole for the first time ever. They used it to connect two regions of space so that a magnetic field could travel 'invisibly' between them. This article presents a model of making a wormhole of light on the principle of conversion of (...) energy so that light going from one end could come out of another end; hence it can be called a wormhole of light. Materials including solar cell, amplified speaker, one way walkie talkie, alligator clips, light emitting diode, transistors and clapping switch have been used. The method of conversion of energy is used and light is transferred into sound first and then back into light. The preparation of such wormhole of light is split into two parts. One end includes a circuit that would accept light through a box and the other end would provide light coming from another box. In order to utilize a wormhole of light to two locales of room the goal was to make light travel between them. Sound made from light would travel the distance between the two boxes. For this purpose a one way walkie-talkie will provide the connection between the two boxes and thus as a whole it would work as a wormhole of light. (shrink)

The aim of this paper is to create dialectical space for a hitherto under-discussed option in the philosophy of conspiracy theories. The extant literature on the topic almost exclusively assumes that conspiracy theories are a type of explanation. The typical mental attitude towards explanations is belief, a representational attitude that can be assessed as true, false, warranted or unwarranted. I call models based on this assumption alethic models. Alethic models can’t pick out conspiracy theories as a distinct class of mental (...) attitudes without latching onto their negative epistemic properties. The extant literature therefore finds itself in an unfortunate situation. It either has to presume that conspiracy theories are epistemically defective in general (generalism). Or it has to deny that conspiracy theories are a distinct class of mental attitudes. Conspiracy theories are then nothing more than theories, theories about conspiracies, and should be assessed on a case-by-case basis (particularism). Instead, this paper motivates the research program of narrative models. According to narrative models, conspiracy theories are first and foremost stories – structured fictions. And their relevant mental attitudes are the attitudes of fiction – make-believe and imagination. Fictions are not subjects to epistemic norms. They are neither rational nor irrational. Narrative models can therefore pick out conspiracy theories as a distinct class of mental attitudes without labeling them as defective in general. In addition, they are able to explain certain features of conspiracy discourse particularly well, and they offer new perspectives on the popularity of conspiracy theories and the means of intervention we have at our disposal. (shrink)

The moral error theory has become increasingly popular in recent decades. So much so indeed that a new issue emerged, the so-called “now-what problem”: if all our moral beliefs are false, then what should we do with them? So far, philosophers who are interested in this problem have focused their attention on the mode of the attitudes we should have with respect to moral propositions. Some have argued that we should keep holding proper moral beliefs; others that we should (...) replace our moral beliefs with fictional attitudes, beliefs in natural facts, or conative attitudes. But all these philosophers have set aside an important question about the content of these attitudes: which moral propositions, and more generally which moral theory, should we accept? The present paper addresses this neglected issue, arguing that moral error theorists should adopt a utilitarian moral fiction. In other words, they should accept the set of moral principles whose general acceptance would maximize overall well-being. (shrink)

The thesis that mental states are physical states enjoys widespread popularity. After the abandonment of typeidentity theories, however, this thesis has typically been framed in terms of state tokens. I argue that token states are a philosopher’s fiction, and that debates about the identity of mental and physical state tokens thus rest on a mistake.

The materialist approach to the body is often, if not always understood in ‘mechanistic’ terms, as the view in which the properties unique to organic, living embodied agents are reduced to or described in terms of properties that characterize matter as a whole, which allow of mechanistic explanation. Indeed, from Hobbes and Descartes in the 17th century to the popularity of automata such as Vaucanson’s in the 18th century, this vision of things would seem to be correct. In this paper (...) I aim to correct this inaccurate vision of materialism. On the contrary, the materialist project on closer consideration reveals itself to be, significantly if not exclusively, (a) a body of theories specifically focused on the contribution that ‘biology’ or rather ‘natural history’ and physiology make to metaphysical debates, (b) much more intimately connected to what we now call ‘vitalism’ (a case in point is the presence of Théophile de Bordeu, a prominent Montpellier physician and theorist of vitalism, as a fictional character and spokesman of materialism, in Diderot’s novel D’Alembert’s Dream), and ultimately (c) an anti-mechanistic doctrine which focuses on the unique properties of organic beings. To establish this revised vision of materialism I examine philosophical texts such as La Mettrie’s Man a Machine and Diderot’s D’Alembert’s Dream; medical entries in the Encyclopédie by physicians such as Ménuret and Fouquet; and clandestine combinations of all such sources (Fontenelle, Gaultier and others). (shrink)

The oft-told story of Leibniz’s doctrine of the best world, or optimism, is that it enjoyed a great deal of popularity in the eighteenth century until the massive earthquake that struck Lisbon on 1 November 1755 destroyed its support. Despite its long history, this story is nothing more than a commentators’ fiction that has become accepted wisdom not through sheer weight of evidence but through sheer frequency of repetition. In this paper we shall examine the reception of Leibniz’s doctrine (...) of the best world in the eighteenth century in order to get a clearer understanding of what its fate really was. As we shall see, while Leibniz’s doctrine did win a good number of adherents in the 1720s and 1730s, especially in Germany, support for it had largely dried up by the mid-1740s; moreover, while opponents of Leibniz’s doctrine were few and far between in the 1710s and 1720s, they became increasing vocal in the 1730s and afterwards, between them producing an array of objections that served to make Leibnizian optimism both philosophically and theologically toxic years before the Lisbon earthquake struck. (shrink)

Predictions about autonomous weapon systems are typically thought to channel fears that drove all the myths about intelligence embodied in matter. One of these is the idea that the technology can get out of control and ultimately lead to horrifi c consequences, as is the case in Mary Shelley’s classic Frankenstein. Given this, predictions about AWS are sometimes dismissed as science-fiction fear-mongering. This paper considers several analogies between AWS and other weapon systems and ultimately offers an argument that nuclear (...) weapons and their effect on the development of modern asymmetrical warfare are the best analogy to the introduction of AWS. The fi nal section focuses on this analogy and offers speculations about the likely consequences of AWS being hacked. These speculations tacitly draw on myths and tropes about technology and AI from popular fi ction, such as Frankenstein, to project a convincing model of the risks and benefi ts of AWS deployment. (shrink)

This essay offers a revisionist defense of classical utilitarianism from an infamous objection to it, which is derived from American science fiction writer, Ursula Le Guin’s, short story, “The Ones Who Walk Away from Omelas.” To that effect, the reply takes inspiration from Le Guin and John Stuart Mill in appealing to the natural law theoretical concept of conscience. I argue that a conscientious utilitarian ethic can escape Le Guin’s objection more satisfactorily than other popular utilitarian ethics. Along (...) the way, this essay discusses at length conscience and its place in moral epistemology, both as it occurs in the natural law tradition and in Mill. The natural law account of conscience is defended and Mill’s account is critiqued. Consequently, this paper also provides an interesting synthesis of utilitarianism with natural law ethics. (shrink)

Designer babies are often presented in the popular media as a kind of apocalyptical spectre of things to come in a brave new world where reproduction is the province of white coated scientists and potential parents in pursuit of trophy children. In this realm physical, intellectual, and social perfection is sought through the manipulation of genes and selection of favoured traits and attributes to the detriment of individuals who cannot compete and of society more generally through the loss of (...) natural selection. It is therefore a pleasure to discover a short readable book that sets out the discussion and its many nuances in concise and accurate terms that will be accessible to all and should help to dispel some of these science fiction myths through scholarly debate.This volume is part of a collection of books under the title Debating Matters that sprang out of a series of public debates organised by the Institute of Ideas. The conferences were intended to reinvigorate debate and the contestation of ideas and contemporary issues the Institute regards as “too frequently sidelined”. The arguments are presented by an authoritative who’s who of commentators who offer their own insightful readings of various aspects of the debate. Each essayist confirms the fact that the term “ designer babies ” is an inaccurate reflection of the current ability of science to actively fashion children with selected characteristics, and as a result …. (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)

Indian Philosophy has reached across the globe. It is popular for its practical way towards life. Study of Indian philosophy should be part of all streams of education. Film is effective tool of communication. It attracts all generations and makes strong impression in the mind. Film is always considered as an effective tool in Pedagogy. Philosophy deals with abstract concepts, their correlation and logical reasoning. It deals with the complex problem of reality. People have notion that philosophy is a (...) dry and theoretical subject. Students can understand complex philosophical ideas if they are demonstrated through films. There are films based on biographies of philosophers, life picture of great people, incidences in life of philosophers. But it can attract only limited number of audience. Some popular Hollywood films have amalgamation of science fiction, super natural elements, fantastic story guided by some philosophical principles. Such films attract audience from different strata. Viewer is totally captivated by extra ordinary super natural and fictional elements in the film. As a result, certain philosophical principles are taught to audience without their conscious effort. (Kantāsammita upadeśa) Teaching philosophy with the means of such films can be definitely effective tool in Pedagogy. Such practise will not only create liking for Indian Philosophy but will result in effective understanding of complex ideas. It can create awareness that Indian Philosophy is embraced across the globe, there are no boundaries for philosophical deliberations and there are certain common threads in different philosophical schools. Paper will take example of popular movie ‘Matrix’ to explain the principles of Advaita Vedānta. The Matrix is a 1999 science fiction film written and directed by The Wachowskis, starring Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, and Joe Pantoliano. It states the journey of hero of the film ‘Neo’ who is aspiring for reality. He is struggling between illusory world and the real world which is presented through the means of science fiction. This paper will analyse Matrix from the perspective of Advaita Vedānta. Māyā projects the illusory world (vikṣepa) in place of Brahman (āvaraṇa). Film portrays digital world as illusory world. One sees this world as real due to limitations of body, mind and intellect. Neo goes to the real world and realises his true nature. True reality is beyond senses and sense objects (atindrīya). Concepts of Advaita Vedānta can be explained with this film. Such movies can be shown to students along with Vedanta discourses. Paper will explore ‘Film and Philosophy’ as an effective pedagogical model. (shrink)

In recent decades, philosophers of science have devoted considerable efforts to understand what models represent. One popular position is that models represent fictional situations. Another position states that, though models often involve fictional elements, they represent real objects or scenarios. Though these two positions may seem to be incompatible, I believe it is possible to reconcile them. Using a threefold distinction between different signs proposed by Peirce, I develop an argument based on a proposal recently made by Kralemann and (...) Lattman (in Synthese 190:3397–3420, 2013) that shows that the two aforementioned positions can be reconciled by distinguishing different ways in which a model representation can be used. In particular, on the basis of Peirce’s distinction between icons, indices and symbols, I argue that models can sometimes function as icons, sometimes as indexes and sometimes as symbols, depending on the context in which they are considered and the use that they are developed for because they all have iconic, indexical and symbolic features. In addition, I show that conceiving models as signs enables us to develop an account of scientific representation that meets the main desiderata that Shech (in Synthese 192:3463–3485, 2015) presents. (shrink)

Nausea by Jean-Paul Sartre is often interpreted as an ideal textbook summarising the main points of Sartre’s quite technical argumentation in his academic writings; it illustrates his theoretical views on the nature of time, while it presents a philosophical justification of art through the adventures of the novel’s hero, who is none other than the author in disguise. I show that, despite its popularity, this interpretation is incorrect. I provide an alternative reading of the novel that would identify its core (...) themes, in a way that illuminates the reflective distance between the fictional agent and the philosophical narrator. (shrink)

The good Doctor has a lot to say about philosophy.

The combination of sex and horror may be disquieting to many, but the two are natural (if perhaps gruesome) bedfellows. In fact, sex and horror coincide with such regularity in contemporary horror fiction that the two concepts appear to be at least partially intertwined. The sex–horror relationship is sometimes connotative rather than overt; examples of this relationship range from the seduction overtones of 'Nosferatu' and the juxtaposition of nudity and horror promised by European exploitation filmmakers to the sadomasochistic iconography (...) of 'Hellraiser'. In other cases, sex and horror are balanced in a manner that thoroughly blurs the distinction between porn and horror. The sustained presence of sex-horror in film suggests that these two elements fit together and the combination is a source of pleasure (entertainment, fascination, intellectual stimulation and so forth) for many. Yet sex-horror is broadly perceived to be disturbing and these negative reactions indicate that sex-horror is a source of trepidation, moral disdain or disgust for some. Thus, it appears that sex-horror inspires directly competing responses. One might conclude that sex-horror itself is paradoxical; that it holds two directly oppositional meanings simultaneously. However, as I will illustrate in this chapter, these dual responses are not as contradictory as they might first appear to be. (shrink)

From a behaviorist perspective, the desire to upload “minds” is already being realized on a mass, hyper-industrial scale thanks to the convergence of cognitive computing and Big Data. The accusation is that the “mind” is not an entity that exists intracranially. Instead, it is conceived as a process of individuation, which occurs in different modes and numbers. Some narratives of mind-uploading and technics in popular culture are explored: Transcendence (2014, dir. Wally Pfister) and Player Piano by Kurt Vonnegut. The (...) discussed issues consider Bernard Stiegler’s phenomenological notion of originary default and Thierry Bardini’s analysis of junk. Several questions are raised regarding miscalculations, accidents, in addition to Nicolas Agar’s discussion on the end of humanity, and Daniel Dennett’s Multiple Drafts theory within the context of exteriorization, which is considered as constitutive of interiority. (shrink)

By considering the movies in the Marvel Cinematic Universe as a case study, I bring Tolkien’s explication of mythopoesis in “On Fairy Stories” to bear on the current popularity of superhero films to argue that such works qualify as cinematic examples of Tolkienesque fantasy tales. After summarizing Tolkien’s criteria for the genre in Nietzschean aesthetic terms, I both demonstrate how the builders of the MCU have crafted a sub-created fictional world and defend the existence of fairy stories in visual media (...) from Tolkien’s own criticism of such a possibility. (shrink)

The main focus of this paper is to explore the role of African myths, folklore and popular wisdom in discovering self-identity, which are arguably deployed in the novels of the Nobel Prize winning African-American writer and thinker, Toni Morrison, who is quite frequently labelled as a mythical symbolist. In Song of Solomon, Morrison stirs together folk and fairy tale, magic and root medicine, history and imagination, flight and naming for a distinctive fictional concoction. In this novel, she shows impact (...) of slavery on the identity of African Americans and suggests how a strong and complete identity can be constructed. Thus Morrison demonstrates that both an understanding of one’s heritage and ancestral past is necessary and helps to unite with own community. So the paper examines the transformation of the character, Milkman, from an unconcerned man into culturally aware African American and how the sources of Myths, folklore and cultures lay the stepping stone for the development of a complete and coherent identity. (shrink)

When this article was first planned, writing was going to be exclusively about two things - the origin of life and human evolution. But it turned out to be out of the question for the author to restrict himself to these biological and anthropological topics. A proper understanding of them required answering questions like “What is the nature of the universe – the home of life – and how did it originate?”, “How can time travel be removed from fantasy and (...) science fiction, to be made scientific and practical?”, and “How can the proposed young age of genus Homo be made to actually be reasonable – when simply stating it would be solid ground for instant rejection and dismissal?” The result is that the article also talks about subjects like Artificial Intelligence, General Relativity, and cosmology. -/- From where did life originate? God? Evolution? Panspermia? If the tendency of humans and scientists to regard undiscovered science as pseudoscience can be overcome, Einstein gave another alternative to consider when he introduced General Relativity. Time isn’t linear – progressing in a straight line from past to present to future. That assumption ignores Relativity which states that space AND TIME are curved. Where did life and the genetic code come from? Can the answer build AI? -/- The first question can be answered by the section of this article titled SETI, Evolution, and Time which says life (possibly multicellular and intelligent) and the genetic code came from humans acquiring knowledge of these things over the centuries, then applying that knowledge – via terraforming, accumulation of raw materials like amino acids and nucleic acids, genetic engineering - to a time in the past when life didn’t exist. From that origin, life evolved through innumerable mutations and adaptations, with humans once again acquiring knowledge of it in cyclic (nonlinear) time. -/- The second question is answered by saying artificial intelligence (AI) as the product of life is only half of the equation. The other half refers to Relativity’s curved space-time and violation of the notion that time always travels from past to future. We have always lived in an artificially intelligent, non-probabilistic universe where everything in time and space is connected into one thing by quantum entanglement – making the brain and genes products of binary-digit activity or artificial intelligence (life is not merely dependent on biology’s “lock and key” mechanisms but also possesses AI). -/- The earliest documented representative of the genus Homo is Homo habilis, which evolved around 2.8 million years ago. Scientists used to believe there was a straight line from H. habilis to us, Homo sapiens. This article will use the “advanced” waves loved by Physics Nobel laureate Richard Feynman, view the history of science through the lens of Conic Sections applied to Relativity’s curved space-time, and incorporate the necessity of so-called imaginary time * – popularized by Prof. Stephen Hawking. While the evolutionary proposals are more in agreement with this early straight line than with modern theories, Albert Einstein’s General Relativity is used to transform the straight line into a curved line, ultimately concluding that Homo habilis (H. habilis) originated only (and unbelievably, as far as today’s science and technology is concerned) ~250,000 years ago. Other branches and dead ends of Homo – e.g. Neanderthals – are the result of mutations and adaptations, with the resultant modifications to anatomy and physiology. The surprisingly young age of H. habilis allows nearly 200,000 years for habilis, or one of its descendants, to reach Australia … if this country’s indigenous Aboriginal population did, as claimed, reach this “island continent” 60,000 years ago. -/- * The ultraviolet catastrophe, also called the Rayleigh–Jeans catastrophe, is a failure of classical physics to predict observed phenomena: it can be shown that a blackbody - a hypothetical perfect absorber and radiator of energy - would release an infinite amount of energy, contradicting the principles of conservation of energy and indicating that a new model for the behaviour of blackbodies was needed. At the start of the 20th century, physicist Max Planck derived the correct solution by making some strange (for the time) assumptions. In particular, Planck assumed that electromagnetic radiation can only be emitted or absorbed in discrete packets, called quanta. Albert Einstein postulated that Planck's quanta were real physical particles (what we now call photons), not just a mathematical fiction. From there, Einstein developed his explanation of the photoelectric effect (when quanta or photons of light shine on certain metals, electrons are released and can form an electric current). So it appears entirely possible that another supposed mathematical trickery (imaginary time and the y-axis of Wick rotation) will find practical application in the future. -/- The article includes mathematical references to cosmology (spoiler alert – you’ll read about things like Vector-Tensor-Scalar Geometry, topology, the “eternal present”, Einstein’s Unified Field, the inverse-square law, and there being no Big Bang and no multiverse - but there will also be no equations). -/- The other subheadings in this essay are – -/- NONLINEAR TIME AND ELECTRICAL ENGINEERING (about a 2009 electrical engineering experiment at America’s Yale University, and cosmic wormholes) -/- BITS AND TOPOLOGY (base-2 maths aka Binary digiTS, Mobius strips, and figure-8 Klein bottles) -/- WICK ROTATION, CAUSALITY, AND UNITING TIME (do past, present and future co-exist in an “eternal present”?) -/- DIGITAL BRAIN, DIGITAL UNIVERSE (if the brain and the universe are ultimately composed of binary digits, we'll someday be able to do the same things with the brain and universe that we now do with computers) -/- PROPOSAL: HUMAN AND ANIMAL INSTINCTS ARE THE RESULT OF THE UNIVERSE BEING UNIFIED BY BINARY DIGITS (AND TOPOLOGY) (If everything in the universe is ultimately composed of electronic BITS, then the universe must possess Artificial Intelligence - some prefer the term Cosmic Consciousness) -/- INFORMATION THEORY CONQUERS A RED GIANT (preserving Earth by keeping the Sun near today’s level of activity forever). 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The Joker both fascinates and repels us. From his origin in Detective Comics in 1940, he has committed obscene crimes, some of the worst the Batman universe has ever known, and, conversely, fans have made him the topic of erotic and pornographic “fan fiction.” Speculation about the Joker abounds, where some fans have even claimed that the Joker is “queer coded.” This work explores various popular claims about the Joker, and delves into the history of comic books, and (...) of other popular media from a semiotic viewpoint to understand “The Clown Prince of Crime” in the contexts in which he existed to understand his evolution in the past. From his roots as a “typical hoodlum,” The Joker even starred in his own eponymous comic book series and he was recently featured in a non-canonical movie. This work examines what it is about the Joker which fascinates us. (shrink)

Based on the 1985 science fiction novel by the astronomer Carl Sagan, Contact tells the story of what a first encounter between humans and intelligent extraterrestrial beings might be like. It also details the complexities of faith and belief in a world where religion and science often come into conflict—a favorite theme of Sagan's, and a major subject in the history of philosophy. This chapter explores tangles of faith and belief through the lens of philosophy and the characters and (...) concepts of Contact. We pay special attention to Sagan's mouthpiece Ellie Arroway, who embodies the practice of doubting as essential to living a life rich in insight and meaning. While this is far from the sole philosophic quandary raised by the film, it is perhaps the central one. (shrink)

Science fiction fandoms tend to contain significant numbers of fans who feel angry and resentful about the handling of the franchise they are fans of, because of the stories the franchises owners have told. The paper addresses the question of when, if ever, such anger and resentment are justified. Special attention will be paid to Star Trek fandom, but other fandoms will be considered, including those for Star Wars and Doctor Who. Various proposed justifications for anger and resentment will (...) be considered, including that franchise owners have misled fans about the stories they would tell, have wasted opportunities to produce good art, have reduced the value of older art, have engaged in a form of cultural appropriation by repurposing old characters, have caused needless offense of a sort akin to the offense of religious sensibilities, have offended against the principle of utility, and have taken advantage of unjust copyright laws. The paper does not champion a conclusion about when, if ever, fan anger and resentment are justified. However, it is concluded that, contrary to what is often assumed, it is not obvious that fan anger and resentment are always unjustified, and so fan anger and resentment cannot always be dismissed out of hand. (shrink)

In this paper I confront what I take to be the crucial challenge for fictional realism, i.e. the view that fictional characters exist. This is the problem of accounting for the intuition that corresponding negative existentials such as ‘Sherlock Holmes does not exist’ are true (when, given fictional realism, taken literally they seem false). I advance a novel and detailed form of the response according to which we take them to mean variants of such claims as: there is no concrete (...) x such that x is Sherlock Holmes. (shrink)

Several philosophers including Kripke have contended that fictional entities do exist as abstract objects, and fictional names refer to such abstract entities. Kripke and Thomasson compare fictional entities to existing social entities. Kripke also reflects on fictions inside fictions to support his view. Many philosophers appeal to the apparent fact that we quantify over fictional entities. Such arguments in favor of the existence of fictional entities are critically scrutinized. It is argued that they are much less compelling than their proponents (...) suggest and involve various obscurities. (shrink)

The verb 'imagine' admits of perspectival modification: we can imagine things from above, from a distant point of view, or from the point of view of a Russian. But in such cases, there need be no person, either real or imagined, who is above or distant from what is imagined, or who has the point of view of a Russian. We call this the puzzle of perspectival displacement. This paper sets out the puzzle, shows how it does not just concern (...) language, but also states of imagining themselves, and then presents a solution. The solution draws on the idea that many reports of imagining conceal a distinctive kind of question, and such concealed questions have an extra argument place for (what we will call) an experiencer from whose perspective things are imagined. This solution has a range of advantages over other proposals in the literature, and helps to advance two debates concerning perspectival engagement with fiction. (shrink)

Science and fiction seem to lie at opposite ends of the cognitive-epistemic spectrum. The former is typically seen as the study of hard, real-world facts in a rigorous manner. The latter is treated as an instrument of play and recreation, dealing in figments of the imagination. Initial appearances notwithstanding, several central features of scientific modeling in fact suggest a close connection with the imagination and recent philosophers have developed detailed accounts of models that treat them, in one way or (...) another, as akin to fictions. This chapter will critically discuss the fictions approach as an epistemology of scientific modeling. (shrink)

If science fiction is a genre, then attempts to think about the nature of science fiction will be affected by one’s understanding of what genres are. I shall examine two approaches to genre, one dominant but inadequate, the other better, but only occasionally making itself seen. I shall then discuss several important, interrelated issues, focusing particularly on science fiction : what it is for a work to belong to a genre, the semantics of genre names, the validity (...) of attempts to define genres, and the connections between genre and normativity. One important but neglected clue to the nature of genres lies in the kinds of disagreements they generate over the assignment of works to genres. I conclude by explaining why these disagreements tell us something about the nature of genres, and discussing in some detail two famous cases of disagreement about whether some work or works are science fiction. (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)

Despite widespread evidence that fictional models play an explanatory role in science, resistance remains to the idea that fictions can explain. A central source of this resistance is a particular view about what explanations are, namely, the ontic conception of explanation. According to the ontic conception, explanations just are the concrete entities in the world. I argue this conception is ultimately incoherent and that even a weaker version of the ontic conception fails. Fictional models can succeed in offering genuine explanations (...) by correctly capturing relevant patterns of counterfactual dependence and licensing correct inferences. Using the example of Newtonian force explanations of the tides, I show how, even in science, fiction can be a vehicle for truth. (shrink)

This paper considers the medium of videogames from a goodmanian standpoint. After some preliminary clarifications and definitions, I examine the ontological status of videogames. Against several existing accounts, I hold that what grounds their identity qua work types is code. The rest of the paper is dedicated to the epistemology of videogaming. Drawing on Nelson Goodman and Catherine Elgin's works, I suggest that the best model to defend videogame cognitivism appeals to the notion of understanding.

Impossible fictions are valuable evidence both for a theory of fiction and for theories of meaning, mind and epistemology. This article focuses on what we can learn about fiction from reflecting on impossible fictions. First, different kinds of impossible fiction are considered, and the question of how much fiction is impossible is addressed. What impossible fiction contributes to our understanding of "truth in fiction" and the logic of fiction will be examined. Finally, our (...) understanding of unreliable narrators and unreliable narration in fiction needs to accommodate stories that, on the face of it, cannot possibly be true. (shrink)

A fictional text is commonly viewed as constituting an invitation to play a certain game of make-believe, with the individual sentences written by the author providing the propositions we are to imagine and/or accept as true within the fiction. However, we can’t always take the text at face value. What narratologists call ‘unreliable narrators’ may present a confused or misleading picture of the fictional world. Meanwhile there has been a debate in philosophy about so-called ‘imaginative resistance’ in which we (...) are inclined to resist imagining (or even accepting as true in the fiction) what’s explicitly stated in the text. But if we can’t take the text’s word for it, how do we determine what’s true in a fiction? We propose an account of fiction interpretation in a dynamic setting (a version of DRT with a mechanism for opening, updating, and closing temporary ‘workspaces’) and combine this framework with belief revision logic. With these tools in hand we turn to modelling imaginative resistance and unreliable narrators. (shrink)

Can fictions make genuine assertions about the actual world? Proponents of the ‘Assertion View’ answer the question affirmatively: they hold that authors can assert, by means of explicit statements that are part of the work of fiction, that something is actually the case in the real world. The ‘Nonassertion’ View firmly denies this possibility. In this paper, I defend a nuanced version of the Nonassertion View. I argue that even if fictions cannot assert, they can indirectly communicate that what (...) is recounted as fictional is actually true. I show that this view is supported by independent linguistic data, and that it is able to defuse the objections that are typically raised against the Nonassertion View. I conclude by showing that this position has some interesting implications for testimonial cognitivism about fiction. (shrink)

If there are no fictional characters, how do we explain thought and discourse apparently about them? If there are, what are they like? A growing number of philosophers claim that fictional characters are abstract objects akin to novels or plots. They argue that postulating characters provides the most straightforward explanation of our literary practices as well as a uniform account of discourse and thought about fiction. Anti-realists counter that postulation is neither necessary nor straightforward, and that the invocation of (...) pretense provides a better account of the same phenomena. I outline and assess these competing theories. (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)