This chapter contains sections titled: 1 2 3 4 Acknowledgment Notes.

How do scientific models represent in a way that enables us to discover new truths about reality and draw inferences about it? Contemporary accounts of scientific discovery answer this question by focusing on the cognitive mechanisms involved in the generation of new ideas and concepts in terms of a special sort of reasoning—or model-based reasoning—involving imagery. Alternatively, I argue that answering this question requires that we recognise the crucial role of the propositional imagination in the construction and development of (...) models for the purpose of generating hypotheses that are plausible candidates for truth. I propose simple fictionalism as a new account of models as Waltonian games of make-believe and suggest that models can lead to genuine scientific discovery when they are used as representations that denote real world phenomena and generate two main kinds of theoretical hypotheses, model-world comparisons and direct attributions. (shrink)

Our goal is to show how science fiction films have dealt with the augmentation of bodily and cognitive faculties. These cinematographic imaginaries allow us to question the interest of such innovations. They depict a world in which the artificialization and mechanization of many activities leads to a loss of control over them. This would mean that we would run the risk, in the long term, of being deprived of our human qualities. However, we will show that these films do (...) not question the viability of this type of society. Indeed, these fictions do not insist on the constraints that these transformations nevertheless impose on the environment. Faced with the ecological crisis, the hold of technological innovations on all societies, far from appearing as the solution, risks on the contrary being identified as part of the problem. (shrink)

A well-known theory about under which circumstances a statement is true in a fiction is The Reality Principle, which originate in the work of David Lewis: (RP) Where p1... pn are the primary fictional truths of a fiction F , it is true in F that q iff the following holds: were p1 ... pn the case, q would have been the case (Walton 1990: 44). RP has been subjected to a number of counterexamples, up to a (...) point where, in the words of Stacie Friend “it is widely recognized that the Reality Principle […] cannot be a universal inference rule for implied story-truths” (Friend 2017: 33). This chapter argues that the strength of these counterexamples is widely overestimated, and that they do not, on closer scrutiny, constitute reasons for rejecting RP. (shrink)

Today, new artistic practices incorporate scientific techniques linked to medical research that modify the body’s biological performance in vivo, transforming it into a singular laboratory object. In this way, some artists are making works of their bodies by subjecting them to various biotechnological procedures, often invasive. Augmented, the biological body of these performance artists becomes a site for experimentation. DIY (Do It Yourself) enthusiasts or accompanied by biologists and doctors, are these ‘bio-artists’ evidence of the changes brought about by a (...) new mechanisation of the human body, the complexity of which we are only just beginning to understand? Could there be, in the name of art, reasons that justify the creation of utopian bodies that are not eschatological, and that could make us believe in the worst or the best of all worlds? Based on performances by Stelarc, Yann Marussich, Marion Laval-Jeantet and the Quimera Rosa duo, our aim is to analyse what is at stake in this new fabrication of the body outside its biological limits. (shrink)

This paper defends a theory of fictional truth. According to this theory, there is a fact of the matter concerning the number of hairs on Sherlock Holmes' head, and likewise for any other meaningful question one could ask about what's true in a work of fiction. We argue that a theory of this form is needed to account for the patterns in our judgments about attitude reports that embed fictional claims. We contrast our view with one of the dominant (...) approaches to fictional truth, which originates with David Lewis. Along the way we explore the relationship between fiction, counterfactuals, and vagueness. (shrink)

Are the objects and events that take place in Virtual Reality genuinely real? Those who answer this question in the affirmative are realists, and those who answer in the negative are irrealists. In this paper we argue against the realist position, as given by Chalmers (2017), and present our own preferred irrealist account of the virtual. We start by disambiguating two potential versions of the realist position—weak and strong— and then go on to argue that neither is plausible. We (...) then introduce a Waltonian variety of ictionalism about the virtual, arguing that this sort of irrealist approach avoids the problems of the realist positions, fits with a unifying theory of representational works, and offers a better account of the phenomenology of engaging in virtual experiences. (shrink)

This paper revisits the concept of fiction employed in recent debates about the reality of theoretical entities in the philosophy of science. From an anti-realist perspective the dependence of evidence for some scientific entities on mediated forms of observation and modelling strategies reflects a degree of construction that is argued to closely resemble fiction. As a realist’s response to this debate, this paper provides an analysis of fictional entities in comparison to real ones. I argue that the (...) distinction between fictional and real entities is reflected in their different relations toward their representations. This is particularly evident when it comes to the investigation of properties not explicitly given in a representation but that rely on knowledge external to it. A comparison of the resulting difference in the interpretation of fictional and real entities is then shown to provide guidelines for the assessment of when a realist claim can be made for model-based inferences to theoretical entities in science. At the end of this paper I advocate a pluralistic view on scientific realism by showing that representational pluralism, far from posing a problem for a realist interpretation of scientific practice, serves as an indicator for the reality of scientific entities. (shrink)

This chapter contains sections titled: Sources.

PurposeThis paper aims to examine information and communication science, knowledge and power in relation to a TV “docu‐fiction”. In particular, it will look at the decision‐making processes of individuals and groups.Design/methodology/approachCore information behaviour such as selection and evaluation are examined.FindingsSome concepts from the fields of information or communication studies are critically examined, e.g. “gatekeeper” or “classification” and re‐analysed in a TV and multi‐channel broadcasting environment.Practical implicationsPositive conclusions show the possible impact of expanding information culture, competence and selection skills, whereby (...) attention is paid to the ethical consequences of information mise en scène.Originality/valueThe obvious, popular and close example of the RTBF “docu‐fiction” can be a model to re‐think and reflect many information programmes and narratives. (shrink)

Neurophysiological research suggests our mental life is related to the cellular processes of particular nerves. In the spirit of Occam’s razor, some authors take these connections as reductions of psychological terms and kinds to molecular- biological mechanisms and patterns. Bickle’s ‘intervene cellularly/molecularly and track behaviourally’ reduction is one example of this. Here the mental is being reduced to the physical in two steps. The first is, through genetically altered mammals, to causally alter activity of particular nerve cells, i.e. neurons, at (...) the molecular level and then, under controlled experimental conditions, to use generally-accepted rules of behaviour within psychology to monitor the results of these manipulations. In this article, we argue that Bickle’s case example for molecular reduction, i.e. the reduction of long-term memory to its cellular-molecular mechanisms, cannot support his claims, because it turns out that his chosen molecular pathway is neither a sufficient nor a necessary condition for the memory consolidation switch, and thus, instead of rejecting the multiple realization argument, Bickle’s argument actually speaks in favour of it. Therefore the idea of reductive connections between our mental life and the activity of particular nerves is, at present, still more fiction than reality. (shrink)

Imaginary worlds are not a consequence of humans' exploratory tendencies as argued in the target article but a recent spinoff of a strong human tendency to create imaginary realities, that is, versions of how the world works that are fabricated (although we believe they are real) in order to allow us to believe we understand it and can control it.

Augmented reality blends the virtual and physical worlds such that the virtual content experienced by a user of AR technology depends on the user’s geographical location. Games such as Pokémon GO and technologies such as HoloLens are introducing an increasing number of people to augmented reality. AR technologies raise a number of ethical concerns; I focus on ethical rights surrounding the augmentation of a particular physical space. To address this I distinguish public and private spaces; I also separate (...) the case where we access augmentations via many different applications from the case where there is a more unified sphere of augmentation. Private property under a unified sphere of augmentation is akin to physical property; owners retain the right to augment their property and prevent others from augmenting it. Private property with competing apps is more complex; it is not clear that owners have a general right to prevent augmentations in this case, assuming those augmentations do not interfere with the owner’s use of the property. I raise several difficult cases, such as augmenting a daycare with explicit sexual or violent images. Public property with competing apps is relatively straightforward, and most augmentation is ethical; those apps simply function like different guidebooks. Under a unified sphere of augmentation it is unclear whether augmentations should be treated more like public speech or graffiti or some of each. Further consideration is needed to determine what kinds of augmentations we view as ethical. (shrink)

There is a global shortage of organs for transplantation and despite many governments making significant changes to their organ donation systems, there are not enough kidneys available to meet the demand. This has led scientists and clinicians to explore alternative means of meeting this organ shortfall. One of the alternatives to human organ transplantation is xenotransplantation, which is the transplantation of organs, tissues, or cells between different species. The resurgence of interest in xenotransplantation and recent scientific breakthroughs suggest that genetically-engineered (...) pigs may soon present a realistic alternative as sources of kidneys for clinical transplantation. It is therefore important for nurses and allied health professionals to understand what is involved in xenotransplantation and its future implications for their clinical practices. First, we explore the insufficiency of different organ donation systems to meet the kidney shortage. Second, we provide a background and a summary of the progress made so far in xenotransplantation research. Third, we discuss some of the scientific, technological, ethical, and economic issues associated with xenotransplantation. Finally, we summarise the literature on the attitudes of healthcare professionals toward xenotransplantation. (shrink)

This is an empirical phenomenological interview study into the experiences of professional actors as they create and perform roles for the stage. Prior research was inadequate for capturing actors’ changing life worlds over time. Analyzing the interviews using the descriptive phenomenological method yielded general structural descriptions and pointed to the relevance of Schütz’s description of multiple realities. Being cast in a role changes the pace and goals of actors’ everyday worlds and leads the actors intermittently and with intention to enter (...) other realities—fictional, theoretical, and/or pictorial. A province unique to acting is the drama world in which the actors live incarnate as their characters. The drama world is infused pre-reflectively with discoveries from other provinces of meaning, unfolds spontaneously, and, in performance, has the audience as horizon. The drama world and the experiences that give rise to it provide new material for comparative phenomenological analysis of various forms of imagining. (shrink)

Everything is Something is a book about Stoic metaphysics. It argues that the Stoics are best understood as forging a bold new path between materialism and idealism, a path best characterized as non-reductive physicalism. To be sure, only individual bodies exist for the Stoics, but not everything there is exists — some things are said to subsist. However, this is no Meinongian move beyond existence, to the philosophy of intentionality (as the language of subsistence might suggest), but a one-world metaphysics (...) that both counts its entities by logical criteria, and grounds them in body by physical principles, yielding a tightly ordered ontology in which everything is Something and nothing is not. -/- This last phrase is not innocent. It invokes the Stoic innovation of Something (ti) as the highest genus of reality, and takes the stand that it is not only principled and coherent, but comprehensive — anything that is not Something is nothing at all (for the initiated: there is no class of Not-Somethings between Something and nothing). Further, everything that is Something is either itself a body, or ontologically dependent on body. Herein lies the Stoics’ non-reductive physicalism, and the beating heart of their response to the Battle of Gods and Giants in Plato’s Sophist: a one-world metaphysics. -/- The foundation of Stoic metaphysics is their ground-breaking corporealism, which introduces an alternative to both atomism and hylomorphism. The Stoics are continuum physicists for whom body as such, i.e. solid, three-dimensional extension, is homogeneous, partless, uniform, and infinitely divisible without reaching minima (atoms). And because body is not conceived along hylomorphic lines, i.e. as a composite of matter and form, the Stoics are free to make body fundamental. Out of two basic bodies, then (the archai), and by the tantalizing mechanism of through and through blending (krasis di’ holou), Stoic physics constructs the cosmos (and every body it contains) in completely corporealist terms, composing one thing out of many. And once those bodies are built, Stoic logic gives an account of their identity conditions, kinds, and qualities according to the vexed schema of the Categories, making now many out of one by the constitution relation, as a statue is constituted by its clay. With these distinct mereological relations of composition and constitution, Stoic corporealism artfully divides the labor of Plato’s Forms between physics and logic. -/- Next in the ontological order, with bodies as their foundation, are the incorporeals (asōmata): space (place, room, and surface), time, void, and the (awkwardly named) sayables, or lekta (roughly, though controversially, the meanings of our words). These entities do not exist; they do, however, subsist, inheriting their physical properties and, hence, their subsistence, from the bodies on which they depend. For example, place depends for its three-dimensional (non-solid) extension on the bodies that occupy or delimit it. The ontological dependence of space, time, and their novel semantic entities (the lekta) on body, is what takes Stoic metaphysics beyond corporealism to non-reductive physicalism, beyond a merely sorted ontology to an ordered, one-world metaphysics. Each incorporeal counts as Something according to the Stoic criterion for subsistence (hence, the theory is non-reductive), and what they have in common as incorporeals (and what makes the account physicalist), is their dependence on underlying body. -/- In addition to the incorporeals, the Stoics also recognize the subsistence of things like creatures of fiction and geometrical limits, which they classify as neither corporeal nor incorporeal. What these entities have in common is that they are products of thought; and since thoughts are themselves bodies according to Stoic corporealism, this remains a physicalist account. As before, the account is not Meinongian; neither all objects of thought, nor all products of thought count as Something. Indeed, the Stoics’ eliminative treatment of universals (and Forms) turns on their denying concepts (ennoēmata) a place on the ontological map altogether — concepts are simply not Somethings (and, again, not some further category of Not-Somethings, intermediate between Something and nothing at all). If all this is right, then the Stoics are not flat-footed materialists or ersatz Platonists, as so often assumed, but our first non-reductive physicalists. (shrink)

Ethics, Value, and Reality is a collection of essays written after Kolnai settled in England in 1955. These essays from Kolnai's mature years sit atop a remarkable gestation of moral and political thinking. At the heart of his thought is the special role of privilege in a good social order. Kolnai relies heavily on the work of late nineteenth- and early twentieth-century value theorists such as Alexius Meinong, Nicolai Hartmann, and Max Scheler. He blends this continental tradition of ethics (...) with British intuitionism and Scottish Enlightenment articulations. For Kolnai, ethical life cannot be adequately understood except by reference to moral emphasis, and thus, Kolnai can be thought of as a liberal conservative. He acknowledges myriad values, moral and non-moral, and accepts that all can have some claim upon us. Low values as much as high values have a legitimate claim. His is a tolerant conservatism though not for a moment does he forgo the necessity of judgment: a readily graspable hierarchy keeps the respective demands of values in proportion. Kolnai welcomes the call to seriousness, which is the hallmark of existentialism. The ground of Kolnai's thought is the idea of emotion as cognitive. He saw the typical analytical philosopher's fascination with simplicity of explanation not only thoroughly refuted by the gains in understanding wrought by phenomenological method, with its deference to the richness of phenomena, but sensed in the monistic inclination he dreaded a harbinger of totalitarianism. Never denying his emotionalism, he nonetheless made his points well enough by adopting an analytical approach to philosophy and ethics. This is a major work crossing moral and political philosophy. (shrink)

The main aim of this essay is to show that, for Stevens, the concept of reality is very fluctuating. The essay begins with addressing the relationship between poetry and philosophy. I argue, contra Critchley, that Stevens’ poetic work can elucidate, or at least help us to understand better, the ideas of philosophers that are usually considered obscure. The main “obscure” philosophical work introduced in and discussed throughout the essay is Schelling’s System of Transcendental Idealism. Both a (shellingian) philosopher and (...) a (stevensian) poet search for reality. In order to understand Stevens’ poetry better, I distingush several concepts of reality: initial reality (the external world of the common sense), imagined reality (a fiction, a product of one’s mind), final reality (the object of a philosopher’s and a poet’s search) and total reality (the sum of all realities, Being). These determinations are fixed by reason (in the present essay), whereas in Stevens’ poetic works, they are made fluid by the imagination. This fluidity leads the concept of reality from its initial stage through the imagined stage to its final stage. Throughout this process, imagined reality must be distinguished from both a mere fancy and its products. Final reality is, however, nothing transcendent. It is rather a general transpersonal order of reality created by poetry/the imagination. The main peculiarity of final reality is that it is a dynamic order. It is provisional at each moment. Stevens (and Schelling too) characterizes this order as that of a work of art which is a finite object, but has an infinite meaning. Stevens calls this order “the central poem” or the “endlessly elaborating poem”. If ultimate reality is a poem created by the imagination, one may ask who is the imagining subject. I argue that this agent is best to be thought as total reality, that is, as Being. Stevens, however, maintains that if there were such an agency, it would be an inhuman agency, “an inhuman meditation”. The essay concludes, in a Derridian manner, with the claim that this agency cannot have any name; it is the “unnamed creator of an unknown sphere, / Unknown as yet, unknowable, / Uncertain certainty” (OP: 127). It is best thought as an X, as an unknown variable. Being has no name. (shrink)

A popular argument goes thus: This is a construction, hence it is not real. Adding an appropriate adjective (social, mental, human, …) in front of “construction” or cognate terms like “(legal) fiction” yields a whole family of related arguments, all of which, or so I will argue, are fallacious. Contrary to popular opinion, these arguments fail both on the epistemic and the ontic sense of construction. Ontic constructions exist at least at one point in time, while epistemic constructions may (...) well correspond to reality. The motivation behind these fallacious arguments can often be found in a misconceived conception of ontology and reality. A full theory of reality must take constructed entities into account because important domains of reality (mental life, social reality, technical artefacts, art and fiction) essentially depend on mental or social constructions. (shrink)

The term “virtual reality” was first coined by Antonin Artaud to describe a value-adding characteristic of certain types of theatrical performances. The expression has more recently come to refer to a broad range of incipient digital technologies that many current philosophers regard as a serious threat to human autonomy and well-being. Their concerns, which are formulated most succinctly in “brain in a vat”-type thought experiments and in Robert Nozick's famous “experience machine” argument, reflect a fundamental misunderstanding of the way (...) that such technologies would probably have to work. They also considerably underestimate the positive contributions that virtual reality technologies could make to the growth of human knowledge. Here, we examine and critique Nozick's claim that no reasonable person would want to plug into his hypothetical experience machine in light of a broadly enactivist understanding of how future VR technologies might be expected to function. We then sketch out a tentative theory of the phenomenon of truth in fiction, in order to characterize some of the distinct epistemic opportunities that VR technologies promise to provide. (shrink)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and (...) made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Considering the war context and the emergence of the avant-garde in the early twentieth century, I base on this work the reasons why the presence of the concept of nivola, attributed by Miguel de Unamuno to refer to the literary technique used in his novel Mist (1914), provokes a possible confrontation between universes composed of elements of reality and the virtual. In that sense, it will be appropriate to explain the procedure that originates that collision of established plans. For (...) this, I will resort to literary categories that support the theories of fiction, according to the perception of Thomas Pavel and Marie-Laure Ryan. (shrink)

A lie is neither a false proposition, nor a mistake, nor a mere fiction; it is a type of fiction, an act, and precisely an intentional act. An act calls for a subject, and therefore a lie is inseparable from its subject. Together, they make up a real object: it has to be real, since a lie produces effects, and the cause-effect relationship only holds between real beings. Like every real object, a lie unfolds in a context. But (...) there is more: it identifies a context. Laz nije ni pogresna tvrdnja, ni greska, niti pak puka fikcija; ona predstavlja odredjeni tip fikcije, cin - tacnije - intencionalni cin. Cinu je potreban subjekat, te je stoga laz neodvojiva od svog subjekta. Oni zajedno cine stvaran objekat: on mora biti stvaran,buduci da laz proizvodi posledice, a odnos uzroka i posledice vazi jedino izmedju stvarnih bica. Kao i svaki objekat, laz se obelodanjuje u kontekstu. Ali to nije sve, ona identifikuje kontekst. (shrink)

Architectural experience and creation is studied through a selection of projects, each driven by an obsessive creator towards particular levels of architectural experience, both physical and virtual. The article investigates the processes of turning dreams into physical space, exemplified by four extraordinary creators and collectors of space, each one a pursuer of obsessive architectural activities, all haunted by transitive dreams: Baron Des Esseintes, Joris-Karl Huysmans’ fictional character in the novel À Rebours (Against Nature) from 1884; Kurt Schwitters, the dadaist painter (...) and constructor of the Merzbau created in Hannover between 1919 and 1937; Sir John Soane, the architect and collector, who arranged his home as a museum from 1790 until 1837; and the German artist Gregor Schneider, whose home in Rheydt since 1985 is slowly folding in on itself under the name Haus Ur. Whereas Des Esseintes is a fictional builder of dreams in physical form; Schwitters, Soane and Schneider are real builders of dreams in physical form - the author Huysmans is a real builder of dreams in fictional form. Three of the four selected projects introduce layers of hybrid existence into ordinary building shells, and one represents the virtual architecture of narrative space. Their creators are driving architectural space into different ontological states, providing a field of perceptional and representational problems. The architects of parallel realities are subsequently challenging our basic understanding of architectural organization, aesthetics and methods. This erratic field of subjective and obsessive architecture serves my purposes of investigating architectural imagination as the main asset of virtual space. (shrink)

Imaginative pretend play is often thought of as the domain of young children, yet adults regularly engage in elaborated, fantastical, social-mediated pretend play. We describe imaginative play in adults via the term “pretensive shared reality;” Shared Pretensive Reality describes the ability of a group of individuals to employ a range of higher-order cognitive functions to explicitly and implicitly share representations of a bounded fictional reality in predictable and coherent ways, such that this constructed reality may be (...) explored and invented/embellished with shared intentionality in anad hocmanner. Pretensive Shared Reality facilitates multiple individual and social outcomes, including generating personal and group-level enjoyment or mirth, the creation or maintenance of social groups, or the safe exploration of individual self-concepts (such as alternative expression of a players sexual or gender identity). Importantly, Pretensive Shared Reality (both within the specific context of table-top role-playing games, and other instances) are primarily co-operative and co-creative. We draw on multiple examples, and focus on Table-Top Role Playing games (TTRPG) – and specifically, the most popular and enduring table-top role-playing games, Dungeons & Dragons (D&D) – as a primary example of such play. Our conception of “pretensive shared reality” links the widespread existence and forms of adult imaginative play to childhood pretense, places it within a developmental and evolutionary context, and argues that pretensive shared realities – which underpin many forms of imaginative culture – are an important topic of study unto themselves, and may be utilized to provide methodological insight into a variety of psychological domains. (shrink)

In the contemporary era of urban design, the advent of big data and digital technologies has ushered in innovative approaches to exploring urban spaces. This study focuses on the application of Augmented Reality (AR) and Extended Reality (XR) technologies in the metropolitan areas of Houston and Amsterdam. These technologies create immersive 'Phygital Installations' that blend physical and digital elements, effectively capturing people's perceptions and enhancing urban design proposals. By fostering human-centered planning, AR and XR technologies make urban design (...) more interactive and accessible to the public. Houston, with its rapid industrial growth and diverse socio-economic landscape, provides a unique setting to examine the impacts of these technologies on urban form and socio-environmental dynamics. In contrast, Amsterdam, with its rich historical layers and socio-cultural diversity, offers insights into the integration of AR/XR technologies in urban planning, particularly in the realm of historical preservation and contemporary urban development. This research contributes to the emerging field of AR/XR in urban design by highlighting the transformative potential of these technologies in enhancing the understanding and engagement in urban design and spatial planning. (shrink)

RNA modifications have recently emerged as an important regulatory layer of gene expression. The most prevalent and reversible modification on messenger RNA (mRNA), N6‐methyladenosine, regulates most steps of RNA metabolism and its dysregulation has been associated with numerous diseases. Other modifications such as 5‐methylcytosine and N1‐methyladenosine have also been detected on mRNA but their abundance is lower and still debated. Adenosine to inosine RNA editing is widespread on coding and non‐coding RNA and can alter mRNA decoding as well as protect (...) against autoimmune diseases. 2′‐O‐methylation of the ribose and pseudouridine are widespread on ribosomal and transfer RNA and contribute to proper RNA folding and stability. While the understanding of the individual role of RNA modifications has now reached an unprecedented stage, still little is known about their interplay in the control of gene expression. In this review we discuss the examples where such interplay has been observed and speculate that with the progress of mapping technologies more of those will rapidly accumulate. (shrink)

In the course of a career that spans half a century, from the Vietnam era to the America of Barack Obama, Sam Shepard has often been labelled as a “quintessentially American” playwright. According to Leslie Wade, “[d]rawing from the disparate image banks of rock and roll, detective fiction, B-movies, and Wild West adventure shows,” Shepard’s texts “function as a storehouse of images, icons, and idioms that denote American culture and an American sensibility”. The article addresses Shepard’s work in the (...) 1990s, when—as suggested by Stephen J. Bottoms—the writer’s prime concern was with depicting “a Faustian nation mired in depravity and corruption”. The discussion centres primarily upon a brief anti-war play first presented by the American Place Theatre in New York City on 30 April 1991, States of Shock, whose very title appears to sum up much of the dramatist’s writing to date, aptly describing the disturbing atmospheres generated by his works and the sense of disorientation frequently experienced by both Shepard’s characters and his audiences. The essay seeks to provide an insight into this unsettling one-act play premiered in the wake of the US engagement in the First Gulf War and deploying extravagant, grotesque theatricality to convey a sense of horror and revulsion at American military arrogance and moral myopia. It investigates how Shepard’s haunting text—subtitled “a vaudeville nightmare” and focusing on a confrontation between a peculiar male duo: an ethically crippled, jingoistic Colonel and a wheelchair-using war veteran named Stubbs—revisits familiar Shepard territory, as well as branching out in new directions. It demonstrates how the playwright interrogates American culture and American identity, especially American masculinity, both reviewing the country’s unsavory past and commenting on its complicit present. Special emphasis in the discussion is placed on Shepard’s preoccupation with the aesthetics of performance and the visual elements of his theatre. The essay addresses the artist’s experimental approach, reflecting upon his creative deployment of dramatic conventions and deliberate deconstruction of American realism. (shrink)

This paper traces the shift from the age of realism to the age of virtualism we are currently witnessing. To do so, I draw on older theories announcing this advent (mostly Baudrillard in Simulacra and simulation. Transl. Sheila Glaser. University of Michigan, Ann Arbor, 1994 [1981]; Serres in Atlas. Édition Julliard, Paris, 1994; Virilio in The vision machine. Transl. Rose J. Indiana UP, Bloomington, 1994). I will describe how AI destabilizes fundamental distinctions upon which reality is built—such as the (...) difference between truth and fiction, between existence and simulation, between the actual and the potential, between game and everyday life, between person and avatar. Against the backdrop of a broader notion of the virtual (drawing on Deleuze in The actual and the virtual. Transl. Eliot Ross Albert in Parnet C Dialogues. Bloomsbury, London, pp 148–152, 2006 [1996]), I will read current realist theories (Chalmers in Reality plus—virtual worlds and the problems of philosophy. Allen Lane, London in 2022; Gabriel in Why the world does not exist. Transl. Gregory S. Moss. Polity, Cambridge, 2015; Ferraris in Positive realism. Zero Books, Arlesford, 2015; Meillassoux in After finitude—an essay on the necessity of contingency. Transl. Brassler R. Bloomsbury, London, 2008) as symptoms of the ongoing shift (rather than countermeasures against it), because they result in an inability to do justice to the epistemic and existential changes resulting from the erosion of the foundations of reality. The consequences of this shift are hard to predict and can only partially be outlined in this paper, which will end in a cautious attempt to do so (chapters 5 and 6). Starting off with a brief overview on this topic (chapter 1), I will trace the reasons for my diagnosis focusing first on what I call the “age of reality” currently coming to an end (chapter 2), then on why virtuality cannot be subsumed under reality (chapter 3), then how virtuality is currently replacing reality (chapter 4). (shrink)

What would you do if you suddenly became rich? Michael O’Meara had never asked himself this question. A high school history teacher in Maryland, Michael is content- until, after a freak accident, he unexpectedly finds himself the beneficiary of a million dollars that disrupt his life and leave him questioning everything he had and everything he thought he wanted. _The Extinction of Desire_ blends Buddhist philosophy and fiction to maps the course of one man’s voyage to uncover the fundamental (...) truths about what is really valuable in life. An engaging novel that seeks to portray a philosophical depiction of the author’s worldview theory Addresses core topics in philosophy and religion - knowledge, reality, self and others, value-in narrative form Confronts the place of materialism and instant gratification in our world views Includes a foreword by Charles Johnson, winner of the American National Book Award for fiction in 1990, for his book _Middle Passage_ Accompanied by a supporting website offering a wealth of additional resources, including discussion points for reading groups and a teachers’ guide: www.blackwellpublishing.com/publicphilosophy/boylan. (shrink)

This paper presents a Peircean take on Wittgenstein's famous rule-following problem as it pertains to 'knowing how to go on in mathematics'. I argue that McDowell's advice that the philosophical picture of 'rules as rails' must be abandoned is not sufficient on its own to fully appreciate mathematics' unique blend of creativity and rigor. Rather, we need to understand how Peirce counterposes to the brute compulsion of 'Secondness', both the spontaneity of 'Firstness' and also the rational intelligibility of 'Thirdness'. (This (...) is a written version of a presentation I gave at the “Peirce’s Mathematics” conference, Universidad Nacional de Colombia, November 25-27, 2015, which was organized by Professor Fernando Zalamea. The piece owes much to the inspiration of Prof. Zalamea's writings on philosophy of mathematics.). (shrink)

Not only does Hoffman claim that we do not see reality as it is, but that unperceived brains, trees and moons do not exist. His “interface theory of perception” is a peculiar blend of metaphorical ontology (objects are icons, space-time is a desktop) and mathematical modelling (the game-theoretical argument that fitness trumps truth. Conflating abstractions with concrete experience, evolution is used to refute everything (including evolution itself. Hoffman’s sweeping iconoclasm then lands where it took off: addressing the problem of (...) consciousness. After arguing against reality, he will tell us what it is. (shrink)

When Paul Ricoeur died in 2005, the New York Times described him as "one of the most eminent philosophers of the twentieth century." In his lifetime, Ricoeur published influential works on language, memory, identity, and history, creating an innovative blend of hermeneutics and phenomenology. Despite his major interest in the imagination, however, he never wrote a complete text on the topic. The present volume, Lectures on Imagination, fills this gap, providing an indispensable resource for philosophically inclined readers from all backgrounds. (...) Over the course of these lectures, Ricoeur examines classical and contemporary philosophical theories of imagination, ranging from thinkers such as Aristotle, Pascal, Spinoza, Hume, and Kant to Husserl, Wittgenstein, Sartre, and Ryle. He argues that, with few exceptions, Western philosophy has focused on reproductive rather than productive imagination, thus diminishing the creative capacity of the human mind. For Ricoeur, productive imagination is a form of fiction-a new dimension of reality generated by the human mind. His theory has far-reaching implications. In all domains, we are not restricted by existing structures or institutions, because the productive imagination has the power to break through and transform our sense of our own horizons. (shrink)

In working his way through his complex conception of the relation of fiction and reality, [Henry] James thus found the unconscious moral dimension inextricably embedded within "realism" itself. In following the threads of realism back to consciousness itself, James invariably found there intertwined with its roots those aspects and elements that other theorists kept carefully separate. By exploring experience to its source, he found imagination. By following objective life from "out there" to conception, he found individual vision. By (...) following the seeming oneness of the passing show back to perception, he found infinite variation and multiplicity. By following the uncolored flux and flow of events to their embodiment in the fictional medium, he found coloration of personality. And by following the "felt life" back to the artist's "prime sensibility", James found there the "moral sense" and the "enveloping air of the artist's humanity"—that which gives "the last touch to the worth of a work." James E. Miller, Jr., professor of English at the University of Chicago, is the author of A Critical Guide to Leaves of Grass; Walt Whitman; F. Scott Fitzgerald: His Art and His Technique; J.D. Salinger; Theory of Fiction: Henry James; and numerous articles on American literature and education. He contributed "Catcher In and Out of History" to Critical Inquiry, Spring 1977. (shrink)

In this paper I probe the narratively constructed self as a _proper object of negation_ in the Madhyamaka. The paper borrows idioms and tropes from Western theories of the narrative self to illuminate and contemporize the discussion. Since Mādhyamikas reject the two-tiered interpretation of the Buddhist two truths, they are philosophically unobligated to reduce the self. Although both Mādhyamikas and Ābhidharmikas would accept the conceptually constructed self as conventionally real, they would disagree about its ontological significance. For the latter, the (...) narrative self as a conceptual construct necessitates reduction. Mādhyamikas, who reject the _svabhāva-dharma_ architecture, can be less dismissive of the conventional self. Their conventional self is a narrative construct, but of what kind? The paper tries to answer that question by bringing Mādhyamikas into interlocution with select modern narrative self theorists. It divides into two sub-sections. Each pivots on a theme about the narrative self in contemporary discourse. The first asks how important is ethics for the constitution of the conventional self. The second discusses fictionality of the self in the Madhyamaka. (shrink)

Documentary film, in the words of Bill Nichols, is one of the "discourses of sobriety" that include science, economics, politics, and history-discourses that claim to describe the "real," to tell the truth. Yet documentary film, in more obvious ways than does history, straddles the categories of fact and fiction, art and document, entertainment and knowledge. And the visual languages with which it operates have quite different effects than does the written text. In the following interview conducted during the winter (...) of 1997, historian Ann-Louise Shapiro raises questions about genre-the relationship of form to content and meaning-with documentary filmmaker Jill Godmilow.In order to explore the possibilities and constraints of non-fiction film as a medium for representing history, Godmilow was asked: What are the strategies and techniques by which documentary films make meaning? In representing historical events, how does a non-fiction filmmaker think about accuracy? authenticity? invention? What are the criteria you have in mind when you call a film like The Wonderful, Horrible Life of Leni Riefenstahl "dishonest"? How does the tension between making art and making history affect documentary filmmaking? Should documentary filmmakers think of themselves, in the phrase of Ken Burns, as "tribal storytellers"? What kind of historical consciousness is produced by documentary film? (shrink)

As the technological phenomenon known as the worldwide web permeates civilization, it creates some cultures and destroys others. In this pioneering book, philosopher Thomas Langan explores "virtual reality"Can inherently contradictory phrase"and the effects of technology on our very being. In our present-day high- technology environment, making simple, everyday decisions is difficult because the virtual world we've created doesn't necessarily operate according to the old "common sense." To retain our intellectual fitness, we must, Langan argues, consider these essential questions: If (...) virtual reality is, in fact, reality, what is this life that we are caught up in? What is _being_ within the context of virtual reality? How can we establish a system for distinguishing truth from fiction? Although technology minimizes distances between people and makes the information they seek more accessible, it simultaneously blurs the line dividing fact from falsehood and real from virtual. An individual's intellectual survival is threatened as technological advancement challenges our collective understanding of what reality is. Because much of the information that is presented as fact simply works to fulfill a specific agenda, we cannot accept as truth everything that appears on the internet or in the media. To survive, we must learn to manage our lives and resources despite the flood of information we are bombarded with daily. Addressing the general educated reader, _Surviving the Age of Virtual Reality_ expertly interweaves the worlds of technology and philosophy, pushing the analysis of this technological and human phenomenon to new depths. (shrink)

This article focuses on the social construction of femininity in a reality television program, America's Most Wanted. The program blurs fact and fiction in reenactments of actual crimes. The analysis focuses on its depiction of women crime victims. A prior study argues that the program empowers women to speak about their victimization. Other research suggests that such programs make women fearful. The authors compare episodes from the 1988-1989 and the 1995-1996 seasons. Although women spoke about their victimization, men (...) spoke more often and presented master narratives about the crimes. In both seasons, the program imagery emphasized feminine vulnerability to violence from strange, devious, and brutal men and masculine technical expertise and authority as women's protection from such violence. (shrink)

We refine a line of feminist criticism of pornography that focuses on pornographic works' pernicious effects. A.W. Eaton argues that inegalitarian pornography should be criticized because it is responsible for its consumers’ adoption of inegalitarian attitudes toward sex in the same way that other fictions are responsible for changes in their consumers’ attitudes. We argue that her argument can be improved with the recognition that different fictions can have different modes of persuasion. This is true of film and television: a (...) satirical movie such as Dr. Strangelove does not morally educate in the same way as a realistic series such as The Wire. We argue that this is also true of pornography: inegalitarian depictions of sex are not invariably responsible for consumers' adoption of inegalitarian attitudes toward sex in reality. Given that pornographic works of different genres may harm in different ways, different feminist criticisms are appropriate for different genres of pornography. (shrink)

Christopher Nolan’ Inception is more than its folding cityscapes and mind-bending ambiguous ending. It’s a film that makes its viewer question the very nature of reality. Not only is it possible that the entire movie is a dream, but multiple viewings of Inception leaves one wondering whether the same might be true of one’s experience. Indeed, according to the author of “The Fiction of Christopher Nolan” Todd McGowan, Inception calls its viewers to abandon any concern they have for (...) knowledge of reality and instead choose to believe what they want. But does this moral hold up? Is it philosophically defensible? In this chapter, after a close inspection of the movie itself, this moral will be identified and evaluated. An examination of a number of related arguments by important philosophers will reveal that, although knowledge of reality is sometimes difficult to attain, it should always be sought. (shrink)

In the last century, science fiction has become an incredibly powerful tool in depicting alternative social imaginaries, particularly those of the future. Extending beyond their fictious nature is a commentary on the stark realities of modern society. The ‘cyberpunk’ subgenre, for example, offers a dystopian critique on the dangers of technological dependence and hypercapitalism. In studying science fiction, future imaginaries can be developed as utopian goals for governance systems to strive for. In contrast to cyberpunk, the subgenre of (...) ‘solarpunk’ depicts a utopian society where humanity lives locally, sustainably, and in harmony with nature. This paper deconstructs solarpunk media to describe three guiding principles of solarpunk: anarchism, ecology, and justice. As an anarchist community, solarpunk strives for a post-scarcity, post-capitalist society devoid of hierarchy and domination. As an ecological community, solarpunk strives for local, self-sufficient, and sustainable living where both the human and non-human flourish. Finally, as a just community, solarpunk strives to rid society of marginalization and celebrate authenticity. These three principles can be used to guide humanity towards a utopian, solarpunk future. (shrink)

We offer an original argument for the existence of universal fictions—that is, fictions within which every possible proposition is true. Specifically, we detail a trio of such fictions, along with an easy-to-follow recipe for generating more. After exploring several consequences and dismissing some objections, we conclude that fiction, unlike reality, is unlimited when it comes to truth.

This paper attempts a partial, critical look at the construction and use of case studies in ethics education. It argues that the authors and users of case studies are often insufficiently aware of the literary nature of these artefacts: this may lead to some confusion between fiction and reality. Issues of the nature of the genre, the fictional, story-constructing aspect of case studies, the nature of authorship, and the purposes and uses of case studies as "texts" are outlined (...) and discussed. The paper concludes with some critical questions that can be applied to the construction and use of case studies in the light of the foregoing analysis. (shrink)

What is the relationship between consciousness and our brain? Are they one and the same? Who are we really? The Consciousness Network presents a novel account of one of the greatest scientific challenges of the 21st century: understanding the connection between brain and mind. The book explores remarkable cases of patients who demonstrate how our impression of reality is created by the brain. Age-old questions about dreams, colour perception, phantom sensations and hallucinations are illuminated by surprising discoveries from the (...) latest brain research. How does consciousness differ from memory, emotions and behaviour? How did it develop during the evolution of life on earth, and does it serve a purpose? Does the brain leave room for free will? In this unique blend of philosophy, history, psychology and neuroscience, Cyriel Pennartz breaks new ground by presenting an original theory of brain and mind, substantiated by brain research in patients and healthy people. This theory, inspired by the 17th century philosopher Spinoza, goes significantly deeper than current thinking based on computer models or artificial intelligence. The Consciousness Network is essential reading for students working at the interface of neuroscience, cognitive psychology, philosophy of mind and cognitive science, as well as anyone interested in consciousness and the brain. (shrink)

Contents: 1. Testosterone is not the only Game in Town: The Transgender Woman Athlete 2. Queer Language Lessons: The Confusion over ‘My Pronouns’ 3. Legal Fictions: Changing Sex by Changing Gender 4. More than a Feeling: Rock Stars, Heroines and Transwomen 5. To Compete, or not to Compete, that is the Question: Which is Nobler for Transwomen Athletes? 6. The Power of Words 7. Feminism, Conceptual Engineering, and Trans Identit.