The last two years have seen the publication of two books in the genre of how-to fiction writing manuals that use science both as a selling point and as a genuine analytical par­adigm. The Science of Storytelling by Will Storr and The Science of Screenwriting by Paul Joseph Gulino and Connie Shears use insights from the cognitive sciences and evolution­ary psychology, while retaining their practical, how-to character. This review article goes through some of the main clusters of advice shared (...) by the two books, dealing with infor­mation processing, attention allocation, the implications of human sociality for fiction, and story structure, while fitting their takes on these issues within the fields of biocultural criticism and cultural evolution. Despite containing occasional flaws and confusions about theory common in pioneering works, these books could be harbingers of change for the genre and an important step in the bottom-up infusion of biocultural theory into literary studies. (shrink)

This paper argues that Maimon’s metaphilosophy presents a distinctive view on what the scientific role and method of philosophy should consist in: in the production of fictions of systematicity. It shows how Maimon’s philosophy of science links to metaphilosophical views, and ultimately leads him to adopt the so-called “method of fictions” to transform philosophy into a proper science. By connecting his remarks on scientific fictions and their methodological role with Kant’s doctrine of regulative ideas and the latter’s conception (...) of systematicity, the paper develops a systematic account of the method of fictions, its employment in theoretical philosophy and the scientific image resulting from this view. (shrink)

Taking the visual appeal of the ‘bell curve’ as an example, this paper discusses in how far the availability of quantitative approaches (here: statistics) that comes along with representational standards immediately affects qualitative concepts of scientific reasoning (here: normality). Within the realm of this paper I shall focus on the relationship between normality, as defined by scientific enterprise, and normativity, that result out of the very processes of standardisation itself. Two hypotheses are guiding this analysis: (1) normality, as (...) it is defined by the natural and the life sciences, must be regarded as an ontological, but epistemological important fiction and (2) standardised, canonical visualisations (such as the ‘bell curve’) impact on scientific thinking and reasoning to a significant degree. I restrict my analysis to the epistemological function of scientific representations of data: This means identifying key strategies of producing graphs and images in scientific practice. As a starting point, it is crucial to evaluate to what degree graphs and images could be seen as guiding scientific reasoning itself, for instance in attributing to them a certain epistemological function within a given field of research. (shrink)

According to estimates more than 400 biobanks currently operate across Europe. The term ‘biobank’ indicates a specific field of genetic study that has quietly developed without any significant critical reflection across European societies. Although scientists now routinely use this phrase, the wider public is still confused when the word ‘bank’ is being connected with the collection of their biological samples. There is a striking lack of knowledge of this field. In the recent Eurobarometer survey it was demonstrated that even in (...) 2010 two-thirds of the respondents had never even heard about biobanks. The term gives the impression that a systematic collection of biological samples can constitute a ‘bank’ of considerable financial worth, where the biological samples, which are insignificant in isolation but are valuable as a collection, can be preserved, analysed and put to ‘profitable use’. By studying the practices of the numerous already existing biobanks, the authors address the following questions: to what extent does the term ‘biobank’ reflect the normative concept of using biological samples for the purposes of biomedical research? Furthermore, is it in harmony with the so far agreed legal–ethical consensus in Europe or does it deliberately pull science to the territory of a new, ambiguous commercial field? In other words, do biobanks constitute a medico-legal fiction or are they substantively different from other biomedical research protocols on human tissues? (shrink)

José A. Díez examines the reasons for claiming that models involve fictions. He opposes the claim that, in order to account for some key features of the practice of modeling in science, such as the existence of unsuccessful representations and also of successful yet inaccurate or idealized ones, it is necessary to accept fictional entities. In resisting such a view, he sketches an account of scientific modeling and argue that according to such account there is no need for strong (...) factionalism, only a weak, unproblematic fictionalist component is needed. (shrink)

In this article I explore some implications of the correspondence that went on between Ludwig Wittgenstein and the logician and mathematician Gottlob Frege. Part of this exchange was focused on the envisaged publication of Wittgenstein’s Tractatus Logico-Philosophicus, and on the philosophical or literary character of that work. The problem discussed concerned the question of whether the Tractatus should be seen not as a scientific but as an artistic achievement. My first goal is to present what, given Frege’s writings, his (...) phrase “an artistic rather than a scientific achievement” could be understood to mean in terms of the Tractatus itself. Secondly, I seek to determine the extent to which traces of Frege’s understanding of such terms as “mock thoughts,” “fiction,” “elucidation,” “paintings” and “colouring” are to be found in the language of the Tractatus. This should then make it possible to show how Wittgenstein’s work, viewed from a Fregean perspective, can be seen as furnishing a logic and semantics not only for the languages of logic and natural science, but also for something that is “an artistic rather than a scientific achievement”, while also indicating that the content of the Tractatus as a whole could not have been captured independently of the unified form Wittgenstein himself gave it. (shrink)

The ethics of human enhancement has been a hotly debated topic in the last 15 years. In this debate, some advocate examining science fiction stories to elucidate the ethical issues regarding the current phenomenon of human enhancement. Stories from science fiction seem well suited to analyze biomedical advances, providing some possible case studies. Of particular interest is the work of screenwriter Andrew Niccol (Gattaca, S1m0ne, In Time, and Good Kill), which often focuses on ethical questions raised by the (...) use of new technologies. Examining the movie In Time (2011), the aim of this paper is to show how science fiction can contribute to the ethical debate of human enhancement. In Time provides an interesting case study to explore what could be some of the consequences of radical life-extension technologies. In this paper, we will show how arguments regarding radical life-extension portrayed in this particular movie differ from what is found in the scientific literature. We will see how In Time gives flesh to arguments defending or rejecting radical life-extension. It articulates feelings of unease, alienation and boredom associated with this possibility. Finally, this article will conclude that science fiction movies in general, and In Time in particular, are a valuable resource for a broad and comprehensive debate about our coming future. (shrink)

The paper attempts to clarify a fundamental similarity and some relevant differences between empirical-scientific and fictional thought experiments. For this purpose, the second section of the paper provides a brief outline of a quasi-Kantian account of thought experiments (TE) in the empirical sciences from the viewpoint of a radically functional, strictly not material, a priori. On the basis of this account, a fundamental similarity and two main differences between empirical-scientific and narrative thought experiments are brought to the fore: (...) the counterfactual construction of idealised scenarios is a fundamental characteristic that is shared by scientific and fictional thought experiments (and, more generally, by science and art). The differences depend on the different intentionalities to which this construction is subordinated. Fictional TEs, instead of resolving the dimension of counterfactuality in real empirical facts or processes, use it to transpose certain cultural contents (thoughts, feelings, possible courses of action, etc.) into a dimension outside any particular space and time, which are able to produce a symbolic shelter that protects us from the particular adverse events of concrete life. This, on the one hand, generates in us the feeling of pleasure or enjoyment that tradition has so often linked to artistic enjoyment and, on the other, urges us, implicitly or explicitly, to re-enact those contents in the first person and to take an evaluative stance towards them. (shrink)

Popular culture can play a significant role in shaping the acceptance of evolving technologies, with nanotechnology likely to be a case in point. The most popular fiction work to date in this arena has been Michael Crichton's techno-thriller Prey, which fuses together nanotechnology science with science fiction. Within the context of Prey, this article examines the role that scientists and popular culture play in educating society, and one another, about emerging technologies. In di ferentiating fact from fiction, (...) the article reflects on how such distinctions may be important in proactive public dialogue projects. The article concludes that popular culture will be a key factor in informing citizen beliefs about the coming nano-age. Accordingly, governments, in conjunction with the scientific community, will need to be proactive in distinguishing science fact from science fiction for the benefit of their citizens. (shrink)

Even if the “value-free ideal of science” (VFI) were an unattainable goal, one could ask: can it be a useful fiction, one that is beneficial for the research community and society? This question is particularly crucial for scholars and institutions concerned with research integrity (RI), as one cannot offer normative guidance to researchers without making some assumptions about what ideal scientific research looks like. Despite the insofar little interaction between scholars studying RI and those working on values in (...) science, the overlap of topics and interests make collaboration between the two fields promising for understanding research and its ethics. Here, we identify—for the use of RI scholars—the non-epistemic reasons (societal, political, professional) for and against the VFI considered in the literature. All of these are concerned with the beneficial or detrimental consequences that endorsing the VFI would have on society, policy-making, or the scientific community, with some authors appealing to the same principles to argue for opposite positions. Though most of the reviewed articles do not endorse the VFI, it is generally agreed that some constraints have to be put on the use of non-epistemic values. Disagreement on the utility of the VFI lies both on the different epistemic-descriptive positions taken by different authors, and on the scarcity of relevant empirical studies. Engaging critically with the reasons here identified and more in general with the values in science debate will help the RI community decide whether the VFI should be included in future codes of conduct. (shrink)

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)

What accounts for the apocalyptic angst that is now so clearly present among Americans who do not subscribe to any religious orthodoxy? Why do so many popular television shows, films, and music nourish themselves on this very angst? And why do so many artists—from Coldplay to Tori Amos to Tom Wolfe—feel compelled to give it expression? It is tempting to say that America’s fears and anxieties are understandable in the light of 9/11, the ongoing War on Terror, nuclear proliferation, and (...) the seemingly limitless capacity of science to continually challenge our conceptions of the universe and ourselves. Perhaps, too, American culture remains so permeated by Protestant Christianity that even avowed skeptics cannot pry themselves from its grip. In _A Consumer’s Guide to the Apocalypse,_ Eduardo Velásquez argues that these answers are too pat. Velásquez’s astonishing thesis is that when we peer into contemporary artists’ creative depiction of our sensibilities we discover that the antagonisms that fuel the current cultural wars stem from the same source. Enthusiastic religions and dogmatic science, the flourishing of scientific reason and the fascination with mystical darkness, cultural triumphalists and multicultural ideologues are all sustained by the same thing: a willful commitment to the basic tenets of the Enlightenment. Velásquez makes his point with insightful readings of the music of Coldplay, Tori Amos, and Dave Matthews and the fiction of Michael Frayn’s _Copenhagen,_ Chuck Palahniuk’s _Fight Club,_ and Tom Wolfe’s _I Am Charlotte Simmons._ Written with grace and humor, and directed toward the lay reader, _A Consumer’s Guide to the Apocalypse_ is a tour de force of cultural analysis. (shrink)

What has fiction to do with science? At first glance, the two activities seem to have entirely different aims and products. Science aims at truth, while fiction can deviate wildly from it. Science produces theories, which we are asked to believe. Fiction produces stories, which we are asked to imagine. Given these differences, associating science and fiction might seem like a serious mistake, or even a threat to science. And yet many authors have tried to understand (...) science by looking to fiction. This article will consider three strands of thought on the topic: Hans Vaihinger’s classic work on fictions; fictionalist views, especially van Fraassen’s constructive empiricism; and recent work on models and fiction. As we will see, none of these strands pose a threat to science. Instead, each tries to understand the nature of scientific knowledge by drawing on fiction in different ways, and for different theoretical purposes. (shrink)

Many philosophers have drawn parallels between scientific models and fictions. In this paper I will be concerned with a recent version of the analogy, which compares models to the imagined characters of fictional literature. Though versions of the position differ, the shared idea is that modeling essentially involves imagining concrete systems analogously to the way that we imagine characters and events in response to works of fiction. Advocates of this view argue that imagining concrete systems plays an ineliminable (...) role in the practice of modeling that cannot be captured by other accounts. The approach thus leaves open what we should say about the ontological status of model-systems, and here advocates differ among themselves, defending a variety of realist or anti-realist positions. I argue that this debate over the ontological status of model-systems is misguided. If model-systems are the kinds of objects fictional realists posit, they can play no role in explaining the epistemology of modeling for an advocate of this approach. So they are at best superfluous. Defenders of the approach should focus on developing an account of the epistemological role of imagining model-systems. (shrink)

The author analyzes fictions of legal positivist philosophy and their role in the scientific legitimation of modern law and political domination. The original function of legalist fictions was the establishment of legal science, which would be autonomous and independent of other social sciences and public morality. In the second half of the 20th century, legal positivist philosophy has nevertheless adopted the fiction of the just law as its scientific legitimation fiction and incorporated moral and political discourse (...) into legal science, again.Legal positivism and its critiques within the discourse of the sociology of law and critical legal science keep the image of a hierarchical and centralized legitimation of law. Paradoxically, current legal philosophy and theory searching for a universally valid legitimation scheme is full of many different legitimations and reveals their growing plurality and the impossibility of establishing one sovereign legitimation scheme in the current social, theoretical and political condition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content: American Pragmatism: An Introduction by Albert R. Spencer. Polity Press, 2020. Reviewed by: Lee A. McBride III -/- American Pragmatism: An Introduction is a judicious and stimulating read, comprising an introduction and five numbered chapters. The introduction orients the book, offering various ways of conceiving American Philosophy and American pragmatism. Spencer explains that it is difficult to discern the national and cultural variables that make a philosophy an (...) American philosophy. Not all philosophers who practice philosophy in the United States claim the descriptor "American Philosophy." And, within the group that embraces the descriptor, some take American pragmatism to be, in essence, a theory of truth (or a method by which we can make our ideas clear); others take pragmatism to be a method of experience, a pluralistic approach to knowledge creation and social amelioration (2). It is a complicated picture, and Spencer affords ample care and attention to the disparate camps of pragmatism. Chapter 1: "Fallibilism and the Classical Pragmatists" is largely devoted to Charles S. Peirce and William James. Peirce and James, as fallibilists, are contrasted against Descartes and Hume, respectively. Peirce and James diverge in regard to style and their commitments to (scholastic) realism. Spencer discusses Josiah Royce briefly at the closing of the chapter, noting how Royce's work can serve as a foil for both Peircean and Jamesian pragmatisms. Chapter 2: "Meliorism and the Chicago Pragmatists" highlights the pragmatist philosophical contributions of Jane Addams and John Dewey. In this chapter, Spencer emphasizes sympathetic knowledge, cooperative intelligence, the pattern of experimental inquiry, and social amelioration. Spencer deserves kudos for introducing Addams's pragmatist contributions first, then explaining the ways in which her work in community-building and social amelioration influenced Dewey. Chapter 3: "Pluralism and the Harvard Pragmatists" highlights the work of a motley crew: George Santayana, W. E. B. Du Bois, Horace Kallen, and Alain Locke. This chapter draws attention to the pluralism one can detect in Santayana's detached cosmopolitanism, Du Bois's double consciousness, Kallen's cultural pluralism, and Locke's democratic pluralism. We are introduced to a Spaniard, two African American men, and a Jewish man, all of whom had spent time abroad. Each offers a critical perspective that falls outside the conventional view of the purported democratic culture of the United States. Chapter 4: "Verification and the Analytic Pragmatists" turns to the philosophers of the logico-linguistic turn, [End Page 108] featuring C. I. Lewis, W. V. O. Quine, and Richard Rorty. Here, we see a pronouncedly analytic approach to the analysis of propositions, inference, and semantic content—a heightened attention to shoring up defensible conceptions of truth and the real. The goal is to articulate a coherent conceptual pragmatic position that evades both scientistic reductionism and Fregean transcendental presuppositions, all the while offering a feasible conception of truth. Chapter 5: "Hope and the Contemporary Pragmatists" surveys how pragmatists have engaged with various traditions in the twentieth and twenty-first centuries to potentially bolster their positions and find hope. Spencer highlights three promising strands. The first strand is that of Jürgen Habermas. Habermas arose out of Frankfurt School critical theory but appropriated pragmatist insights from Peirce, Dewey, and Mead to formulate his conceptions of communicative action and communitive rationality (208). Habermas reconstructed the reductive dialectical materialism of the Frankfurt School, developing a sophisticated theory of democracy as public discourse. Spencer asserts that "ultimately Habermas is the best demonstration of pragmatism's potential when compared with critical theory during the Cold War" (208). Spencer also finds the work of Huw Price promising. Price, in an effort to defuse the tension between neopragmatism's antirealism and scientific realism, offers a tenable theory of truth: truth as a (postulated) practical norm, or "truth as a convenient fiction" (217). Truth, as a practical norm, gives normative structure and impetus to various forms of inquiry. And, to close this chapter on hope and contemporary pragmatism, Spencer delineates a third promising strand. He writes that "perhaps the most promising development among pragmatists results from their increasing engagement with American Indian philosophy and other philosophical traditions throughout the Americas" (219). American pragmatists, following Scott L. Pratt and Bruce Wilshire, are increasingly recognizing... (shrink)

This paper explores alternative approaches to the conception of scientific literacy, drawing on cultural studies and emerging practices in language arts as its framework. The paper reviews historic tensions in the understanding of scientific literacy and then draws on the multiliteracies movement in language arts to suggest a scientific multiliteracy. This is explored through analyzing the writing practices of groups other than scientists who for a variety of reasons must engage science. Specifically the paper examines zine writers (...) who are ‘professional’ human research subjects, i.e. derive a part of their annual income by signing up for psychological and medical experiments, and science fiction fans, who produce their own texts in response to the narratives they love. The paper argues that these literacy practices add to traditional notions of scientific literacy possibilities of history, fiction, critique, as well as more traditional empiricism embraced by national standards. The paper concludes by considering the ambivalence towards science in both of these popular scientific literacy communities’ writings, arguing that what multiliteracies offers is a possibility of a more nuanced, more appropriately ambivalent, and more politically and ethically engaged subject of science than offered by the current version of literacy dominating science educational discourse. (shrink)

In 1856, Peter Andreas Hansen, one of the leading mathematical astronomers on the Continent, proposed a theory of the moon which included the possibility of an atmosphere and even of life on the far side. The theory was quickly endorsed by many in the scientific community, allowing in its brief life speculation about life on the far side to flourish. It attracted the attention of such notables as Sir John Herschel and was exciting enough to play a large role (...) in Jules Verne's fiction about the moon. The hypothesis met its end around 1870 when assumptions behind it were questioned by Simon Newcomb and others. (shrink)

In my “Creatures of Fiction, Objects of Myth” (2014), I present and defend an argument for thinking that mythical creationism—the view that mythical objects like phlogiston and Vulcan are abstract artifacts—is false. One intriguing sort of objection to my argument has been recently put forth by Zvolenszky (2016); she claims that a crucial premise is seen to be unjustified once one considers the phenomena of inadvertently created abstracta—specifically, inadvertently created fictional characters. I argue here that even if we admit (...) inadvertently created abstracta into our ontology, my argument survives. I ultimately defend a view on which fictional characters (if real) may be countenanced as created abstracta whether purposefully created or not, yet mythical objects are best taken to be discoverable, Platonic abstracta (if real). We can see that such a hybrid ontology is justified once we take proper note of the nature of the sorts of authorial activities involved in fictional storytelling and scientific hypothesizing. (shrink)

The very idea of narrative explanation invites two objections: a methodological objection, stating that narrative structure is too far from the form of a scientific explanation to count as an explanation, and a metaphysical objection, stating that narrative structure situates historical practice too close to the writing of fiction. Both of these objections, however, are illfounded. The methodological objection and the dispute regarding the status of historical explanation can be disposed of by revealing their motivating presupposition: the plausibility (...) of an exclusivist explication of explanation which appeals either to the unity-of-method thesis or some implicit notion of analytic equivalence, both problematic philosophical doctrines. The metaphysical objection fails with the rejection of the idea, in Mink's phrase, of an "untold story." The argument against history as an "untold story" develops from Danto's image of an Ideal Chronicler recording ideal events. A consequence of rejecting this view is that it no longer makes sense to speak of historical narratives as true or false. However, this failure engenders no special problem for assessing the objectivity or explanatory utility of narratives qua explanations. (shrink)

The increasingly lively controversy over scientific realism has become one of the principal themes of recent philosophy. 1 In watching this controversy unfold in the rather technical way currently in vogue, it has seemed to me that it would be useful to view these contemporary disputes against the background of such older epistemological issues as fallibilism, scepticism, relativism, and the traditional realism/idealism debate. This, then, is the object of the present book, which will recon sider the newer concerns about (...) scientific realism in the context of these older philosophical themes. Historically, realism concerns itself with the real existence of things that do not "meet the eye" - with suprasensible entities that lie beyond the reach of human perception. In medieval times, discussions about realism focused upon universals. Recognizing that there are physical objects such as cats and triangular objects and red tomatoes, the medievels debated whether such "abstract objects" as cathood and triangularity and redness also exist by way of having a reality indepen dent of the concretely real things that exhibit them. Three fundamen tally different positions were defended: (1) Nominalism. Abstracta have no independent existence as such: they only "exist" in and through the objects that exhibit them. Only particulars (individual substances) exist. Abstract "objects" are existents in name only, mere thought fictions by whose means we address concrete particular things. (2) Realism. Abstracta have an independent existence as such. (shrink)

It is commonly accepted that theatrical fictional worlds could serve as a potent tool for increasing man’s understanding of his own world. This research connects insights that have been developed in such diverse areas of thought as semiotics of theater and drama, philosophical logic and ontology, epistemology, and philosophy of science, so as to establish a model that suggests an explication of this epistemic effect and thereby a new observation of the theatrical enterprise. The theory advanced in this study states (...) that fictional worlds are a kind of thought experiment through which spectators’ theories about their own world may be tested, amended or even invented. (shrink)

Resumen El lamento por el fin de la utopía que expresa la novela futurista, Cría terminal (2014), expone la crisis de un ideal ético: la pérdida de la posibilidad de un mundo mejor. Las bases del contrato moral implícitas en la amenaza de su disolución en un futuro cercano serán el objeto de indagación de este trabajo, que toma a la filosofía de Hans Jonas como principal referencia teórica. Se buscará, por consiguiente, precisar la relación entre la barbarización de la (...) cultura (con sus comportamientos y personajes modélicos) y los procesos económico-políticos tendientes a la dominación biotecnológica del medio humano. La perspectiva modalizadora de la acción y la intriga narrativas y su adecuación a un interés de tipo ético por establecer un modelo de vida óptimo para la sociedad, defraudado por la civilización técnica del futuro, serán motivo de análisis. Abstract The lament for the end of utopia which expresses the futuristic novel, Cría Terminal (2014), exposes the crisis of an ethical ideal: the loss of the possibility of a better world. The bases of the moral contract implicit in the threat of its dissolution in the near future will be the object of investigation of this work, which considers the philosophy of Hans Jonas as the main theoretical reference. Therefore, it will be sought to specify the relationship between the barbarization of culture (with its exemplary behaviors and characters) and the economic-political processes tending to the biotechnological domination of the human environment. The modalizing perspective of the narrative action and intrigue and its adaptation to an ethical interest in establishing an optimal life model for society, disappointed by the technical civilization of the future, will be the subject of analysis. (shrink)

Critics of contemporary metaphysics argue that it attempts to do the hard work of science from the ease of the armchair. Physics, not metaphysics, tells us about the fundamental facts of the world, and empirical psychology is best placed to reveal the content of our concepts about the world. Exploring and understanding the world through metaphysical reflection is obsolete. In this paper, I will show why this critique of metaphysics fails, arguing that metaphysical methods used to make claims about the (...) world are similar to scientific methods used to make claims about the world, but that the subjects of metaphysics are not the subjects of science. Those who argue that metaphysics uses a problematic methodology to make claims about subjects better covered by natural science get the situation exactly the wrong way around: metaphysics has a distinctive subject matter, not a distinctive methodology. The questions metaphysicians address are different from those of scientists, but the methods employed to develop and select theories are similar. In the first section of the paper, I will describe the sort of subject matter that metaphysics tends to engage with. In the second section of the paper, I will show how metaphysical theories are classes of models and discuss the roles of experience, common sense and thought experiments in the construction and evaluation of such models. Finally, in the last section I will discuss the way these methodological points help us to understand the metaphysical project. Getting the right account of the metaphysical method allows us to better understand the relationship between science and metaphysics, to explain why doing metaphysics successfully involves having a range of different theories, to understand the role of thought experiments involving fictional worlds, and to situate metaphysical realism in a scientifically realist context. (shrink)

This volume showcases the best of recent research in the philosophy of science. A compilation of papers presented at the EPSA 13, it explores a broad distribution of topics such as causation, truthlikeness, scientific representation, gender-specific medicine, laws of nature, science funding and the wisdom of crowds. Papers are organised into headings which form the structure of the book. Readers will find that it covers several major fields within the philosophy of science, from general philosophy of science to the (...) more specific philosophy of physics, philosophy of chemistry, philosophy of the life sciences, philosophy of psychology, and philosophy of the social sciences and humanities, amongst others. This volume provides an excellent overview of the state of the art in the philosophy of science, as practiced in different European countries and beyond. ​It will appeal to researchers with an interest in the philosophical underpinnings of their own discipline, and to philosophers who wish to explore the latest work on the themes explored. (shrink)

The article reviews the regular international scientific conference on science fiction – Stanisław Lem Readings. The conference is held since 2007 by the Department of Philosophy in collaboration with the Department of Russian and Foreign Literature and Public Relations of the Samara National Research University. The summary shows the history of the conference, formulates the main definitions of the category of science fiction, proposed by its participants, demonstrates the topics, genres, and key approaches that make up the (...) problem field, lists its most eminent speakers. Lem Readings are currently an international platform for a regular interdisciplinary dialogue between philosophers of technology and futurologists, active engineers and scientists, anthropologists and sociologists. The basic principles of the conference – freedom of expression, professionalism, striving for the synthesis of heterogeneous systems – remain unchanged during the years, and they correspond to the idea of the science fictional as a possibility that can be realized. (shrink)

One can view the recent science fiction films Gravity, Interstellar, and The Martian as a three-part dialogue concerning the existential relationship between humanity, technology, and the science employed to create said technologies. Pitched into the deep of space, each film’s protagonist must seek to find technological answers to save their own existence. Each film’s exploration of these themes essentially questions the importance of technology as a product of scientific-calculative thinking and the validity of this thinking as the primary (...) mode of understanding the world. In this article, I explore the existential dialogue crafted between these films through Walter Benjamin and Martin Heidegger. Through Benjamin, we will see how the medium of film is completely dependent upon technology to present its art and how this transforms the stories it tells, while also transforming the audience and the audience’s reality. Consequently, understanding the popular reception of these films becomes just as important as the films themselves for our present study. Through Heidegger, we will see how technology provides a space where we can find a truth about ourselves and our reality. However, modern technology’s increasing scientific complexity, created by scientists who in turn employ modern technology to further science, also conceals just as much as it reveals. These films provide us with an opportunity to explore a truth about our dependence upon technology even though, as technologically dependent works of art, they may also conceal how dependent upon science we have become when constructing our reality. (shrink)

The usual question, “Are models fictions?” is replaced by the question, “Should scientific models be regarded as works of fiction?” This makes it clear that the issue is not one of definition but of interpretation. First one must distinguish between the ontology of scientific models and their function in the practice of science. Theoretical models and works of fiction are ontologically on a par, their both being creations of human imagination. It is their differing functions in (...) practice that makes it inappropriate to regard scientific models as works of fiction. Three reasons for thinking scientific models should be regarded as works of fiction are rejected. First, scientists themselves sometimes invoke the idea of fictions in their discussions of specific models. Second, many scientific models are physically impossible to realize in the real world. Third, regarding scientific models as works of fiction supports a general fictionalist understanding of scientific theories. It is concluded that promoting the general idea that scientific models are works of fiction unnecessarily supports attacks on the legitimacy of science itself. (shrink)

Many philosophers are very sanguine about the cognitive contributions of fiction to science and philosophy. I focus on a case study: Ichikawa and Jarvis’s account of thought experiments in terms of everyday fictional stories. As far as the contribution of fiction is not sui generis, processing fiction often will be parasitic on cognitive capacities which may replace it; as far as it is sui generis, nothing guarantees that fiction is sufficiently well-behaved to abide by the constraints (...) of scientific and philosophical discourse, not even by the minimum requirements of conceptual and logical coherence. (shrink)

Recent work on the development of a dialogical approach to the logic of fiction stresses the notion of existence as choice. Moreover, this approach to existence has been combined with the notion of ontological dependence as deployed by A. Thomasson’s artifactual theory of fiction. In order to implement such a combination within the dialogical frame several predicates of ontological dependence have been defined. However, the definition of such predicates seems to lean on a model-theoretic semantics for modal logic (...) after all. The main aim of the present paper is to set a dialogical frame for the study of fictions in the context of the dialogical approach of CTT recently developed by S. Rahman and N. Clerbout where a fully-interpreted language is unfolded. We will herewith develop the idea that in such a setting fictional entities are understood as hypothetical objects, that is, objects (functions) the existence of which is dependent upon one or more hypotheses that restrict the scope of choices available. We will finish the paper by suggesting that this provides both a natural and genuinely dialogical way to understand R. Frigg’s take on scientific models as fictions and a new perspective on Thomasson’s notion of generic ontological dependence. Keywords: fiction, dialogues, dialogical logic, hypothetical objects, scientific models. (shrink)

The most recent tool for acting on the world, the exosomatization of cognitive activities, is often considered an autonomous and objective replacement of knowledge construction. We show the intrinsic limits of the mechanistic myths in AI, from classical to Deep Learning techniques, and its relation to the human construction of sense. Human activities in a changing ecosystem – in their somatic and sensible dimensionalities proper to any living experiences – are at the core of our analysis. By this, we stress (...) the key role of the knowing subject, far away from any allegedly objective big collections of data. The production of organized structures of physics, biology and in societal analysis will be compared and distinguished by trying to set on more robust grounds the constructive as well as the disruptive roles of entropic, negentropic, anti-entropic dynamics that are different concepts in different domains, to be handled with care: the use of machine learning and optimization methods as tools and models to analyse and manage human activities in view of their scientific and political ideology of technoscientific governance. They suppose that which they try to produce is objective, that is, standardized and controllable behaviours. In this dialogue we stress a mirror symmetry between the lack of theoretical interpretation of scientific data and the lack of democracy in this fiction of neutrality. Moreover, bad analogies constitute an obstacle to grasp the anteriority of biological and ecological constraints which enable and limit all artificial products of human intelligence. We will thus stress biological specificity, the role of normativity and constraints in evolution, of labour in structuring the human historical construction of sense by common activities. (shrink)

Some fictionalist approaches to the notion of scientific model are based on the concept of game of make-believe developed by Kendall Walton, without proposing a similar interpretation of it. The distinction between authorized and unauthorized games can be one of the sources of those divergences. In relation to the distinction made by Walton, the de dicto and de re modalities of the fiction-operator reflect different epistemological engagements concerning objects which satisfy properties. This paper aims at following up on (...) the proposals formulated by Roman Frigg and Adam Toon by using some modal logic concepts, notably by defining the identities of properties in modal contexts in terms of world-lines. Applying a model to a target-system consists in transposing fictional truths into actual situations, through an extrapolation that goes beyond the games of make-believe. (shrink)

Anti-utopia as a genre of literature has always attracted scientific interest. The result of this interest is a number of definitions of the term ‘anti-utopia‘, none of which is universally accepted, and singling out of peculiar characteristics of such literature. The term ‘young adult anti-utopia‘ and specific features of such novels present a scientific lacuna. Having studied the language means creating the fictional world picture in modern anti-utopian young adult trilogies, the author identifies 15 main features typical of (...) the genre. The results of the research lead to the conclusion that some of the features are universal for the genre of anti-utopia in general: description of a totalitarian state, geographical limitation, vague identification of the past, suffering of the poor, a brave protagonist trying to shatter the existing government, etc. But some other features, mainly, the ones connected with teenage self-identification and alleviation of adolescent stand against the worlds of childhood and adulthood, are typical of young adult anti-utopias: young adult as a protagonist, importance of beauty, ability to sacrifice, a deem hope of a better future preconditioned by evolution of the human race. (shrink)

Este artigo aponta alguns dilemas e desafios colocados ao trabalho do historiador, hoje, pela longa tradição histórica cientificista herdada do século XIX, que pôs a História e Literatura em campos disciplinares rigorosamente separados. Através da análise dos procedimentos de composição e criação literária de João Guimarães Rosa em seu livro Grande Sertão:Veredas, este artigo procura argumentar em torno do valor de textos literários como textos que podem ajudar os historiadores na suplantação daqueles dilemas e desafios.

How far apart are humans from animals—even the “vampire squid from hell”? Playing the scientist/philosopher/provocateur, Vilém Flusser uses this question as a springboard to dive into a literal and a philosophical ocean. “The abyss that separates us” from the vampire squid “is incomparably smaller than that which separates us from extraterrestrial life, as imagined in science fiction and sought by astrobiologists,” Flusser notes at the outset of the expedition. Part scientific treatise, part spoof, part philosophical discourse, part fable, (...) _Vampyroteuthis Infernalis_ gives its author ample room to ruminate on human—and nonhuman—life. Considering the human condition along with the vampire squid/octopus condition seems appropriate because “we are both products of an absurd coincidence... we are poorly programmed beings full of defects,” Flusser writes. Among other things, “we are both banished from much of life’s domain: it into the abyss, we onto the surfaces of the continents. We have both lost our original home, the beach, and we both live in constrained conditions.” Thinking afresh about the life of an “other”—as different from ourselves as the vampire squid/octopus—complicates the linkages between animality and embodiment. Odd, and strangely compelling, _Vampyroteuthis Infernalis_ offers up a unique posthumanist philosophical understanding of phenomenology and opens the way for a non-philosophy of life. (shrink)

. Standard considerations of philosophy of science are reformulated in psychological terms and arguments, suggesting a fundamental change in life perspective: subjective experiences or introspective data are subject to motivational biases and therefore not admitted as objective empirical facts in science, However, we never experience objects or events of the external world, i.e., so called objective facts, but exclusively subjective percepts or mental events. They are merely assumed to, but may or may not be accurate or distorted mental representations of (...) objects or events of an external world. Accordingly, the latter are theoretical constructs, i.e., constructs of the fictitious but most successful predictive (implicit) theory, called external world, which seems to be constructed from regularities observed in mental events and serves as a reference fiction for, erroneously called empirical, tests of predictions of scientific theories. (shrink)

This volume showcases the best of recent research in the philosophy of science. A compilation of papers presented at the EPSA 13, it explores a broad distribution of topics such as causation, truthlikeness, scientific representation, gender-specific medicine, laws of nature, science funding and the wisdom of crowds. Papers are organised into headings which form the structure of the book. Readers will find that it covers several major fields within the philosophy of science, from general philosophy of science to the (...) more specific philosophy of physics, philosophy of chemistry, philosophy of the life sciences, philosophy of psychology, and philosophy of the social sciences and humanities, amongst others. This volume provides an excellent overview of the state of the art in the philosophy of science, as practiced in different European countries and beyond. ​It will appeal to researchers with an interest in the philosophical underpinnings of their own discipline, and to philosophers who wish to explore the latest work on the themes explored. (shrink)

This article serves as a demonstration of how certain models of literary analysis, used to theorize and analyze fiction and narrative, can also be applied to scientific communication in such a manner as to promote the accessibility of science to the general public and a greater awareness of the methodology used in making scientific discovery. The approach of this article is based on the assumption that the principles of structuralism and semiotics can provide plausible explanations for the (...) divide between the reception of science and literature. We provide a semiotic analysis of a scientific article that has had significant impact in the field of molecular biology with profound medical implications. Furthermore, we show how the structural and semiotic characteristics of literary texts are also evident in the scientific papers, and we address how these characteristics can be applied to scientific prose in order to propose a model of scientific communication that reaches the public. By applying this theoretical framework to the analysis of both scientific and literary communication, we establish parallels between primary scientific texts and literary prose. (shrink)

In this book Jeremy Dunning-Davies deals with the influence that "conventional wisdom" has on science, scientific research and development. He sets out to explode' the mythical conception that all scientific topics are open for free discussion and argues that no-one can openly raise questions about relativity, dispute the 'Big Bang' theory, or the existence of black holes, which all seem to be accepted facts of science rather than science fiction. In today's modern climate with "Britain's radioactive refuse (...) heap already big enough to fill the Royal Albert Hall" (Edmund Conway, Economics Editor The Daily Telegraph 28.11.06), it is alarming that there are potential advances in hadronic mechanics which could conceivably pave the way for new clean energies and even a safe in-house method for the disposal of nuclear waste, that have not even been considered by the present establishment. These examples are from the field of physics but there can be little doubt that outside factors have affected the progress of most, if not all, branches of science for many years. Factors other than purely scientific ones still appear to be exerting tremendous influences on progress in a wide variety of fields. Is it too idealistic or nai;ve, to expect that science should remain pure and stay unaffected by such factors? Dr Dunning-Davies presents a beautifully written argument that if science is to progress, and be of any real use, these external factors must be held at bay. (shrink)

In Frege’s analysis of the relationship between science and fiction there are two important aspects, which the paper will discuss. It shows that Frege makes a strict distinction between Dichtung und Wissenschaft on the level of object language but not on the level of metalanguage. In his “On Sense and Reference” and in scattered remarks elsewhere Frege explains the semantics of scientific and everyday discourse. As a kind of side product he presents an explication of the concept of (...) fictional discourse concerning questions of illocutionary force and reference. Here Frege anticipates J. R. Searle’s speech-act-theory of fictional discourse, which allows to understand works of fiction as consisting of fictional discourse. On the basis of Frege’s distinctions this approach is defended against ontological arguments, which make use of terms like ‘fictive entities’ or ‘non-existent objects’ in the Meinongian tradition. Frege excludes the connotative or figurative elements of language, called “colourings and shadings” of sense or thought, from the scientific use of language and assigns such elements to “the art of poetry” or “eloquence”. The fact that the expression ‘colouring’ is itself a figurative term, raises a paradoxical question: To what extent does understanding Frege’s own explanation of the difference between sense and colouring depend on the poetic or at least rhetoric use of language? There are reasons to believe that Frege was—even if only reluctantly—aware of this paradox. Otherwise he would not have repeatedly emphasized that explanations of categorial logical distinctions cannot dispense with “figurative expressions”. Insofar as such distinctions are “reliant upon the accommodating understanding of the reader”, they pay tribute to a rhetoric of cognition. While Frege denies that colourings contribute to cognitive content, he must still admit that they make an indispensable protreptic contribution to conveying cognition. (shrink)

The great biologist Louis Pasteur suppressed 'awkward' data because it didn't support the case he was making. John Snow, the 'first epidemiologist' was doing nothing others had not done before. Gregor Mendel, the supposed 'founder of genetics' never grasped the fundamental principles of 'Mendelian' genetics. Joseph Lister's famously clean hospital wards were actually notorious dirty. And Einstein's general relativity was only 'confirmed' in 1919 because an eminent British scientist cooked his figures. These are just some of the revelations explored in (...) this book. Drawing on current history of science scholarship, Fabulous Science shows that many of our greatest heroes of science were less than honest about their experimental data and not above using friends in high places to help get their ideas accepted. It also reveals that the alleged revolutionaries of the history of science were often nothing of the sort. Prodigiously able they may have been, but the epithet of the 'man before his time' usually obscures vital contributions made their unsung contemporaries and the intrinsic merits of ideas they overturned. These distortions of the historical record mostly arise from our tendency to read the present back into the past. But in many cases, scientists owe their immortality to a combination of astonishing effrontery and their skills as self-promoters. (shrink)

I critically examine some recent work on the philosophy of scientific fictions, focusing on the work of Winsberg. By considering two case studies in fracture mechanics, the strip yield model and the imaginary crack method, I argue that his reliance upon the social norms associated with an element of a model forces him to remain silent whenever those norms fail to clearly match the characteristic of fictions or non-fictions. In its place, I propose a normative epistemology of fictions which (...) clarifies a model's ontological commitments when the community of scientists lack any clear, shared norms of use. Specifically, I will introduce a variational account of fictions as an extension of Laymon's monotonic improvability account of idealizations. I will conclude by connecting this variational account of fictions to didactic fictions in general. (shrink)

Symptoms of ConsciousnessIn this series of short essays, stories, poems, and personal observations, Robert A. Burton, neurologist and writer, uses both fiction and nonfiction to explore many paradoxes and contradictions inherent in scientific inquiry. A novelist as well as author of On Being Certain and A Skeptic’s Guide to the Mind, Burton brings story to science and science to story.

Psience Fiction: The Paranormal in Science Fiction Literature is a book that really needed to be written. In an abundance of hubris I once played with the idea myself (and I was probably not alone in the thought). But now Damien Broderick has done it, and much better than I could have even approximated. Given his background as a science fiction literary critic and author himself, no other writer could be better-equipped. Psience Fiction is exactly the (...) right title to encapsulate Broderick’s chosen topic. As he notes in one passage, his purpose here is to explore “the varied representations of the paranormal in science fiction” (p.68)–though by paranormal he refers neither to ghosts nor mediumship nor UFO-related phenomena, but strictly to “paranormal” as it relates to putative mental powers that transcend the scientifically-presumed, neuro-physical limits of our minds and brains. He refines that still further in noting that what he wants to consider is “...the give and take between the science fiction paranormal and the real-world kind, tested and tallied by psi researchers” (p.5). This book is probably most easily described as a book of book reviews (though a few relevant short stories are also considered). Authors covered run the gamut from Olaf Stapledon, E.E. “Doc” Smith, James Blish and Theodore Sturgeon to Zenna Henderson, John Wyndham, Robert Heinlein, Ann McCaffery, Octavia Butler, and John Brunner, plus many more. For a literary work to be included, it must incorporate some aspect of psi as an integral plot element; a mere mention of extrasensory perception or psychokinesis does not suffice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 30.1 (2006) 299-309 [Access article in PDF] Conscious Fiction Mary Clayton Coleman Bard College Consciousness and the Novel: Connected Essays, by David Lodge; 320 pp. Cambridge, Mass.: Harvard University Press, 2002, $24.95 boards, $16.95 paper. Fictional Minds, by Alan Palmer; 275 pp. Lincoln and London: University of Nebraska Press, 2004, $45.00. Radiant Cool: A Novel Theory of Consciousness, by Dan Lloyd; 357 pp. Cambridge, Mass.: (...) The MIT Press, 2004, $24.95 boards, $14.95 paper. What contributions can fiction make to the representation and investigation of conscious experience? Might fiction help us to develop and advance new theories about the nature of consciousness? And might such theories, in turn, inform our understanding of the process of reading fiction? Three recent volumes—one by English critic and novelist, David Lodge; another by literary theorist, Alan Palmer; and a third by philosopher and (now) novelist, Dan Lloyd—raise these important, genre-bending questions, and they offer challenging if not always convincing answers to them. More generally, these volumes make valuable contributions to the fruitful cross-pollination that has developed between philosophers, scientists, literary theorists, and novelists who are interested in the nature of consciousness.Lodge's new collection of essays is called Consciousness and the Novel: Connected Essays, and like all of the criticism he has written since the late eighties, this volume is intended for a general audience, not for [End Page 299] literary theorists. The title essay, "Consciousness and the Novel," is a revised version of the Richard Ellman Lectures in Modern Literature that Lodge gave at Emory University in 2001, and the other nine essays, all previously published, cover such topics as Howards End; the novels of Evelyn Waugh; The Letters of Kingsley Amis; Martin Amis's memoir, Experience; and the relationship between literature and criticism. I will focus on "Consciousness and the Novel."Lodge's thesis in this essay is that novels play an essential role in our exploration of the nature of human consciousness. This thesis is certainly true, but it is also entirely banal. Much more interesting is what Lodge says in support of it. He argues that because of the unique representative possibilities of the novel, conscious experiences can be represented more effectively in novels than they can be in scientific writing. Taken literally, as an assertion about the relative representational power of novels and scientific discourse, this is extremely implausible. However, taken more loosely—as an invitation to those of us interested in consciousness to take a closer look at the ways conscious experiences are represented in novels—Lodge's claim is sensible and appealing. I will consider the literal reading of Lodge's claim first and then turn to the looser one.It is undoubtedly true that, as a whole, novelists devote more energy to representing conscious experiences than writers of scientific discourse do. However, science writers can use whatever techniques best serve their aims, including the aim of describing conscious experiences, so there is no reason to think that conscious experiences can, in principle, be represented more effectively in novels than in broadly scientific discourse. Given that Lodge discusses such creative science writers as Antonio Damasio, Daniel Dennett, and Steven Pinker in the course of his essay, it is surprising and disappointing to find him caricature scientific writing in the following way: "science... is a third-person discourse. The first-person pronoun is not used in scientific papers. If there were any hint of qualia in a scientific paper... it would be edited out" (p. 11). Qualia are the supposedly subjective qualitative aspects of conscious experiences. How the plucked string of a cello sounds to you; how the rotting fish in the garbage smells to you; and how it feels for you to inch down into the smooth, almost-too-hot water of a perfect bubble bath—these are all (supposedly) examples of qualia. Lodge is simply mistaken when he says that there is no hint of qualia in scientific writing. There is no consensus about whether qualia can be explained scientifically. In fact, there is no consensus about whether they exist. [End Page... (shrink)

Fiction and myth have been used for centuries in writing history as well as in making it. And this is not surprising; for Clio was not only the muse of history but also that of epic poetry. This personal union of the two functions shows that the Greeks may have felt what we know today, thanks to the additional experience of twenty-five hundred years: that in historiography as well as in its subject matter, history as reality, it is not (...) always possible to draw a neat line of demarcation between historical truth and poetical fiction. History as res scriptae is, and has to be, a product of documentation and imagination. If this imagination is subjected to logical methodology, it will result in “scientific” history, in which the word “science” has to be interpreted in that liberal sense proposed by Collingwood, as “any organized body of knowledge.” If, on the contrary, the imaginative component of historiography is abandoned to poetical fancy, it will result in mythological history. Finally, if the imagination of the historian is guided by the conscious, half-conscious or sub-conscious wish to influence and manipulate the readers’ minds, the result will be ideological history. (shrink)

Scientific models share one central characteristic with fiction: their relation to the physical world is ambiguous. It is often unclear whether an element in a model represents something in the world or presents an artifact of model building. Fiction, too, can resemble our world to varying degrees. However, we assign a different epistemic function to scientific representations. As artifacts of human activity, how are scientific representations allowing us to make inferences about real phenomena? In reply (...) to this concern, philosophers of science have started analyzing scientific representations in terms of fictionalization strategies. Many arguments center on a dyadic relation between the model and its target system, focusing on structural resemblances and “as if” scenarios. This chapter provides a different approach. It looks more closely at model building to analyze the interpretative strategies dealing with the representational limits of models. How do we interpret ambiguous elements in models? Moreover, how do we determine the validity of model-based inferences to information that is not an explicit part of a representational structure? I argue that the problem of ambiguous inference emerges from two features of representations, namely their hybridity and incompleteness. To distinguish between fictional and non-fictional elements in scientific models my suggestion is to look at the integrative strategies that link a particular model to other methods in an ongoing research context. To exemplify this idea, I examine protein modeling through X-ray crystallography as a pivotal method in biochemistry. (shrink)

Would you want to be operated on by a surgeon trained at a medical school that did not evaluate its students? Would you want to fly in a plane designed by people convinced that the laws of physics are socially constructed? Would you want to be tried by a legal system indifferent to the distinction between fact and fiction? These questions may seem absurd, but these are theories being seriously advanced by radical multiculturalists that force us to ask them. (...) These scholars assert that such concepts as truth and merit are inextricably racist and sexist, that reason and objectivity are merely sophisticated masks for ideological bias, and that reality itself is nothing more than a socially constructed mechanism for preserving the power of the ruling elite. In Beyond All Reason, liberal legal scholars Daniel A. Farber and Suzanna Sherry mount the first systematic critique of radical multiculturalism as a form of legal scholarship. Beginning with an incisive overview of the origins and basic tenets of radical multiculturalism, the authors critically examine the work of Derrick Bell, Catherine MacKinnon, Patricia Williams, and Richard Delgado, and explore the alarming implications of their theories. Farber and Sherry push these theories to their logical conclusions and show that radical multiculturalism is destructive of the very goals it wishes to affirm. If, for example, the concept of advancement based on merit is fraudulent, as the multiculturalists claim, the disproportionate success of Jews and Asians in our culture becomes difficult to explain without opening the door to age-old anti-Semitic and racist stereotypes. If historical and scientific truths are entirely relative social constructs, then Holocaust denial becomes merely a matter of perspective, and Creationism has as much "validity" as evolution. The authors go on to show that rather than promoting more dialogue, the radical multiculturalist preferences for legal storytelling and identity politics over reasoned argument produces an insular set of positions that resist open debate. Indeed, radical multiculturalists cannot critically examine each others' ideas without incurring vehement accusations of racism and sexism, much less engage in fruitful discussion with a mainstream that does not share their assumptions. Here again, Farber and Sherry show that the end result of such thinking is not freedom but a kind of totalitarianism where dissent cannot be tolerated and only the naked will to power remains to settle differences. Sharply written and brilliantly argued, this book is itself a model of the kind of clarity, civility, and dispassionate critical thinking which the authors seek to preserve from the attacks of the radical multiculturalists. With far-reaching implications for such issues as government control of hate speech and pornography, affirmative action, legal reform, and the fate of all minorities, Beyond All Reason is a provocative contribution to one of the most important controversies of our time. (shrink)