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

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

The article will be divided into three parts: 1. Explain the literary origins of the nesting pattern and its relationship to cinema narrative, and analyse the nesting tactics commonly used in films under Hollywood’s classical narrative. 2. Describe the variations in nested structures in films made in the 1990s, focusing on self-reflexive nesting, which emerged as a new model beyond conventional nesting during this period. 3. Distinguish the literary style of embedded narratives from the visual recognition mode and (...) provide an example of how the latter is used in films to create impossible puzzles. (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)

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)

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)

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

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

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

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

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

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)

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

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

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

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

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

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

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

What is it for a film to be realistic? Of the many answers that have been proposed, I review five: that it is accurate and precise; that is has relatively few prominent formal features; that it is illusionistic; that it is transparent; and that, while plainly a moving picture, it looks to be a photographic recording, not of the actors and sets in fact filmed, but of the events narrated. The number and variety of these options raise a deeper question: (...) what is realism, if these are all to count as species of it? In answer, I articulate a sort of picture we have of realism, not just in film but in representations in general. I then ask how far each of the candidate realisms fares, when compared with that image. (shrink)

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

This paper brings Merleau-Ponty’s phenomenological approach to Sasha Waltz’s dance film S, which focuses on the relation between sexuality and language. Maintaining that movement in cinema takes place in the viewers and not the film, the paper considers how the visual can be deepened to include the ways we move and are moved. Saussure’s insights into language are brought to the sensible, which is here understood in terms of divergences from norms. Though film would seem to privilege vision, viewing this (...) film helps to elucidate Merleau-Ponty’s claim that a film succeeds when it engages the viewer’s embodied understanding, and shifts the norms of the corporeal schema. (shrink)

Recent work by Ian Aitken and others has sought to re-establish a "Realist approach" to the documentary film in reaction to the postmodernist, pragmatist approach popular in the 1970s and 80s. The Saussurian/Lacanian orientation o f the semiotics that played a large role in the older film theory is rejected and replaced by an analytic theory of representation based on the work of Mary Hesse, Hilary Putnam and W.V.O. Quine. Although this may seem a setback vis-a-vis semiotics, it actually opens (...) up Realist Film Theory to an application o f the doctrine of signs more closely aligned to traditional realism, that of Pierce and Poinsot. This presentation outlines how Realist Film Theory can be enriched and developed by such an application. In particular, Aitken's model for the processing of the truth-value communicated through a documentary film can be strengthened in this manner. We will look at a short filmic example to illustrate the resulting development of the theory, manifesting how the documentary film is anchored in both reliablyrepresenting reality and creatively organizing and construing it. (shrink)

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

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

In this paper we present a solution to Saul Kripke’s Puzzle About Belief Meaning and use, Dordrecht, 1979) based on Kaplan’s metaphysical picture of words. Although it is widely accepted that providing such a solution was one of the main incentives for the development of Kaplan’s theory, it was never presented by Kaplan in a systematic manner and was regarded by many as unsatisfactory. We agree with these critiques, and develop an extension of Kaplan’s theory by introducing the notion (...) of “conservative” word uses, as well as arguing for the restriction of Kripke’s Disquotational Principle only to such uses. This restriction allows us to solve Kripke’s Puzzle by arguing that the assent of the puzzle’s protagonist does not allow disquotation and ascription of corresponding inconsistent belief, as it contains the non-conservative use of a proper name. At the end of the paper, we defend two of Kaplan’s theses that we find essential for our argument to work: that individuation of word tokens involves taking into account the intention of the speaker, and that different uniquely referring proper names of the same shape should be regarded as different homonymous words. (shrink)

This essay is my review of the classic TV series, Route 66. It was a classic “buddy movie,” with two young men who tour the country in a gorgeous 1956 Chevy Corvette, staying in various towns and working at various blue-collar jobs. The acting was generally superb, and the scripts were mainly written by the fine script writer Stirling Silliphant, and produced by the famous producer Herbert Leonard. I suggest that this 50-year-old series tells us a lot about cultural change (...) in America during that time. I suggest also that it helps demonstrate that the charge made by a famous cultural critic of the time—Newton Minow, who was Chairman of the Federal Communications Corporation from 1961 to 1963—that this period of commercial TV was a “vast wasteland” was not merely arrogantly elitist, but was in fact patently false. The 1950s and early 1960s saw many amazingly good series in a wide variety of genres. (shrink)

This essay is my review of Erwin Leiser’s excellent documentary film Germany Awake. This classic film first aired in Germany in 1968, and remains to this day one of the best surveys of major Nazi-era movies and exactly what messages they were meant to convey. The film underscores the emphasis the regime put on film as one of the premier mechanisms of propaganda, though Leiser’s film points out that most of the cinema produced by the Nazi regime was not pure (...) propaganda, but mainly entertainment. In the review, I put forward a list of criteria for evaluating the degree of the deceptiveness of propaganda, and why cinema is so apt to exploit those criteria. (shrink)

Heidegger's philosophical project is generally seen as atheoretical and anti-logical because he remarked on the subjective conditions of knowledge and the everydayness of human behaviors. To him, Dasein's everyday reasoning is coercively and inevitably framed by the present-at-hand modes of understanding. Heidegger alerts us about the possible origins of present-at-hand modes of everyday experience. One of them is Das Man that, is associated with a categorical otherness for Heidegger. It can be regarded as an origin of the primordial scheme of (...) experiences for Dasein that takes those experiences for granted as an axiological ground for their lives in the World. Heidegger sees that process as an inauthentic condition for Dasein's fundamental character. Everyday reasoning generates a variety of present-at-hand instruments to understand and interpret the World and Dasein itself; thus, Dasein moves between Das Man and authentic modes. With a Heideggerian approach, this article observes how the characters in the film Druk take themselves out of Das Man and go into the authentic mode and how they do this through alcohol. The primary data source is Druk and the four teacher characters in the film. In the movie, alcohol is not a ready- to-hand object but a tool motivating its users and pushing them to perform. It is an example equivalent to the Heideggerian analogy of the hammer. The movie is a well-fitting example of the Heideggerian position with the story of four teachers who experiment with having a certain amount of alcohol in their blood to achieve a better version of themselves. (shrink)

This paper discusses a puzzle, the heart of which is this question: How is it that real individuals can resemble fictional individuals? It seems that any answer given by one who has taken a stand on the ontology of fictional individuals will come with significant drawbacks. An Anti-Realist will have to explain, or explain away, the apparent truth of our positive assertions of resemblance, while a Realist will have to explain how we are to understand resemblance in light of (...) either the further claim that fictional characters are not associated with properties in the same way real individuals are, or that fictional characters are nonexistent or nonactual. I here survey the different Realist and Anti-Realist strategies in hopes that reflection on (mainly the drawbacks of) each will aid those who are curious about ontologies which may include fictionalia. (shrink)

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

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

Academics have increasingly used video and other electronic methods to collect data and capture reflections from participants. But, until recently, it’s been less common to use film as way of disseminating the results of research. That’s beginning to change. Film can be a powerful way to share research findings with a broad audience. This is particularly true when academics are combining) the traditions of ethnography, documentary filmmaking, and storytelling. -/- Film and cinema are increasingly being used in environmental humanities to (...) complement – or challenge – text-based research. The filmmakers in the arts, sciences and humanities see potential in using the moving images within political philosophy, environmental politics, postcolonial studies, human geography, urban ecology, postcolonial studies, design and literature. An example of this is the film One Table Two Elephants. It is a cinematic ethnography created by two Swedish researchers and filmmakers Jacob von Heland and Henrik Ernstson. Based on years of research in Cape Town, it was filmed in 2015 as part of a longer-term research and film-project . The documentary deals with race, nature and knowledge politics in Cape Town as part of the ways of knowing urban ecologies research project. -/- . (shrink)

The paper argues that the view to the effect that one should suspend judgment in the face of a disagreement with a recognised epistemic peer results in a puzzle when applied to disagreements in which one party is agnostic. The puzzle is this: either the agnostic party retains her suspension of judgment, or she suspends it. The former option is discarded by proponents of the agnostic response; the latter leads the agnostic response to undermine itself.

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

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

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

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

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

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

Inspired by the philosophy of Wittgenstein and his idea that the purpose of real philosophical thinking is not to discover something new, but to show in a strikingly different light what is already there, this book provides philosophical readings of a number of ‘arthouse’ and Hollywood films. Each chapter contains a discussion of two films—one explored in greater detail and the other analyzed as a minor key which reveals the possibility for the book's ideas to be applied across (...) different films, registers, and genres. The readings are not only interpretive, but they offer a way of thinking and feeling about, with, and through films which is genuinely transformative. Rupert Read’s main contention is that certain films can bring about a change in how we see the world. He advocates an ecological approach to film-philosophy analysis, arguing that film can re-shape the viewer’s relationship to the environment and other living beings. The transformative 'wake-up call' of these films is enlightenment in its true sense. The result is a book that ambitiously aims to change, though film, how we think of ourselves and our place in the world, at a time when such change is more needed than ever before. (shrink)

Joseph Raz’s obituary of H.L.A. Hart for Utilitas raises certain puzzles, especially for readers coming from the research area analytic political philosophy. I present three puzzles.

I present a puzzle about inquiry and discuss two potential solutions. The puzzle stems from two equally compelling sets of data suggesting that, on the one hand, there’s something epistemically defective with inquiring into questions that don’t have true answers. On the other hand, however, there can be scenarios in which we are epistemically permitted to inquire into questions that don’t have true answers. How is it that inquiries into questions that don’t have true answers can both be (...) defective and permissible from an epistemic point of view? The first solution I consider maintains that inquiries into questions that don’t have true answers are always impermissible but can be excusable. The second solution maintains that inquiries into questions that don’t have true answers are bad inquiries that can be conducted by inquirers we can legitimately trust. I argue against the former and in favor of the latter. (shrink)

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

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

Enkratic reasoning—reasoning from believing that you ought to do something to an intention to do that thing—seems good. But there is a puzzle about how it could be. Good reasoning preserves correctness, other things equal. But enkratic reasoning does not preserve correctness. This is because what you ought to do depends on your epistemic position, but what it is correct to intend does not. In this paper, I motivate these claims and thus show that there is a puzzle. (...) I then argue that the best solution is to deny that correctness is always independent of your epistemic position. As I explain, a notable upshot is that a central epistemic norm directs us to believe, not simply what is true, but what we are in a position to know. (shrink)

Há muito tempo, o filme noir americano tem sido objeto de estudos críticos, que buscam decifrar a sua estética enigmática e a mensagem desafiadora. Trilhando sobre o lado mais negativo da vida humana, a questão central que ele propõe é: o que o noir representa, como forma singular de arte cinematográfica? Ora, compreender o filme noir passa pela necessidade de vê-lo no âmbito da matriz histórica de produção que lhe serviu de berço. Essa matriz é o chamado cinema clássico hollywoodiano, (...) à luz do qual iniciaremos a nossa investigação do significado desse ciclo de filmes, com base em um sumário desenvolvido pelo professor David Bordwell, autoridade em narrativa clássica. Para tanto, nós buscaremos subsídios conceituais em uma corrente de pensamento igualmente ampla, a fenomenologia hermenêutica, que, acreditamos, poderá nos proporcionar alguma elucidação semântica, tendo em vista o notório esforço dos filósofos dessa tradição para clarificar o propósito da obra de arte, no ser da existência. Assim, ao estabelecer como termos comparativos o cinema clássico e a inquirição hermenêutica, conseguiremos padrões de referência sólidos para a nossa atividade exegética, que tanto se aplica ao conjunto dos filmes noir - especialmente aos da fase clássica, dos anos 1940 e 50 - quanto a um longa-metragem individual. Nessa empreitada, porém, não partiremos do zero, como se o cinema houvesse começado ontem. Antes, nos servirá de fio condutor certa teoria explicativa da técnica cinematográfica, em cujos esteios figuram nomes como André Bazin, Ismail Xavier e Marcia Ortegosa, além de Bill Nichols, o principal expoente dos estudos sobre documentários. Tal explanação de teor linguístico e semiótico, com ênfase nos aspectos lógicos-metadiscursivos do filme noir, será discriminada logo no início do trabalho, para que possamos firmar parâmetros de julgamento crítico, tendo em vista a reflexão semântica e fenomenológica que se seguirá. O objetivo dessa reflexão é entender o assim chamado dark cinema no seio do nosso próprio modo de ser no mundo. Dessa forma, se conseguirmos trazer um pouco de luz às trilhas obscuras do mundo noir, este autor se dará por recompensado. (shrink)

In this paper, I motivate a puzzle about epistemic rationality. On the one hand, there seems to be something problematic about frequently changing your mind. On the other hand, changing your mind once is often permissible. Why do one-off changes of mind seem rationally permissible, even admirable, while constant changes seem quintessentially irrational? The puzzle of fickleness is to explain this asymmetry. To solve the puzzle, I propose and defend the Ratifiable Reasoning Account. According to this solution, (...) as agents redeliberate, they gain two types of evidence. First, they gain inductive evidence that they will not stably settle their belief. Second, this inductive evidence affords higher-order evidence that they are unreliable at assessing the matter at hand. The fact that fickle agents gain this higher-order evidence explains why fickleness can be epistemically—not just practically—irrational. In addition to solving the puzzle, my account captures a wide range of contextual factors that are relevant for our judgments. (shrink)

Anslem raised a puzzle about mercy: How can anyone (God, say, or a judge) be both just and merciful at the same time? For it seemed to Anselm that justice requires giving people what they deserve, while being merciful involves treating people less harshly than they deserve. This puzzle has led to a number of analyses of mercy. But a strange thing emerges from discussions of this topic: people seem to have wildly divergent intuitions about putative cases of (...) mercy. Examples that are taken by some to be paradigm cases of mercy are seen by others to be clear instances of non-mercy. This phenomenon gives rise to a new puzzle: Why is it that people seem to have such wildly divergent intuitions about putative examples of mercy? This paper proposes a new analysis of mercy that provides solutions to both of these puzzles about mercy. (shrink)