Sam Buss produced the first polynomial size Frege proof of thepigeonhole principle. We introduce a variation of that problem and producea simpler proof based on parity. The proof appearing here has an upperbound that is quadratic in the size of the input formula.

This article is an introduction to a philosophical approach termed “panspiritism.” The fundamental principles of this approach are summarized, with discussion of how it links to earlier (mainly Eastern) philosophical perspectives, how it differs from panpsychism and its relationship to idealism and theism. Issues such as the relationship between mind and matter, the relationship between the mind and the brain, and the emergence of mind are discussed from a “panspiritist” perspective. There is a discussion of how panspiritism relates to mystical (...) experiences. The article concludes by suggesting that this approach can help to elucidate a wide range of phenomena that appear anomalous or problematic from a materialist point of view. (shrink)

This paper is the second in a two-part series in which we discuss several notions of completeness for systems of mathematical axioms, with special focus on their interrelations and historical origins in the development of the axiomatic method. We argue that, both from historical and logical points of view, higher-order logic is an appropriate framework for considering such notions, and we consider some open questions in higher-order axiomatics. In addition, we indicate how one can fruitfully extend the usual set-theoretic semantics (...) so as to shed new light on the relevant strengths and limits of higher-order logic. (shrink)

The present paper shows that the clearest formulation of J. M. E. McTaggart's antipassage argument, that of D. H. Mellor in _Real Time II, is unsound when its premises are interpreted so that it is valid. This argument need mislead us no longer. The crucial item in the interpretation of the premises is the copula 'is', as in 'E is past'. The copula may be either tensed or tenseless. While this ambiguity of the copula has been noted before, its implications (...) for McTaggart's argument had not been adequately exploited. This paper does that job. (shrink)

Torture Porn is a term that has generated a great deal of controversy during the last decade, critics utilizing the term to dismiss contemporary popular horror cinema as obscene and morally depraved. Arguing primarily in defense of torture-themed horror films, this book seeks to offer a critical overview and examination of the Torture Porn phenomenon, discussing the generic contexts in which it is situated, scrutinizing press responses to the sub-genre, and offering narrative analyses of the sub-genre’s central films; including the (...) highly popular Saw franchise, the Hostel movies, and recent revamped versions of slasher movies such as Texas Chainsaw Massacre, as well as the multitude of independent direct-to-DVD films that have been influenced by these theatrically successful films. (shrink)

We develop a vision of consumer responsibility in purchasing decisions in light of the Coalition of Immokalee Workers’ boycotts. These boycotts succeeded in convincing large fast food companies and national supermarket chains to pay tomato growers a penny more per pound, to improve working conditions and wages for pickers. The C.I.W. efforts to generate consumer support eschewed claims associated with rule-based obligations in favor of appeals more typically associated with virtue and caring ethics. The strategies encouraged consumers to understand the (...) plight of tomato pickers and to extend concern in an effort to improve the world. These strategies are associated more with encouragement to contribute to the social good rather than claims that in refusing to help, consumers would fail to fulfill an obligation. Insights from virtue ethics and caring ethics are offered as a model for a broader account of consumer social responsibility. (shrink)

Erotic Nights of the Living Dead (1980) may have featured both animated corpses and hardcore sex scenes, but only recently have Re-Penetrator (2004) and Porn of the Dead (2006) managed to fully eroticise the living dead, allowing these creatures to engage in intercourse. In doing so, the usually a-subjective zombie is allotted a key facet of identity - sexuality. This development within the sub-genre needs accounting for outside of the contexts of porn studies, where it has only been briefly touched (...) upon in relation to its "extremity". -/- Moreover, the gendering of the undead opens a discussion which expand the horizons of zombie studies away from the overt critiques of capitalism, race and psychoanalysis that have pervaded analyses of these narratives. The dichotomy of binary oppositions so often associated with psychoanalytic approaches dictates that "passive (non-phallic) = female", and "active (phallic) = male". In these terms, the zombies are feminine - soft-bodied and passive, despite their murderous intent (which has been accounted for, by Barabara Creed (1993) amongst others, by invoking the vagina-dentata motif). Humans (active) are deemed masculine, not least since they tend to dispatch zombies with "phallic guns". Taking this logic to an extreme, the zombie may be read as allegorising feminism: the "feminised" figures (zombies) become fearsome in their will to exert themselves despite their seeming disempowerment in the face of "masculine" hegemony. Ultimately, by grouping together as a force, they overthrow or at least significantly damage that "normality" (an ideological paradigm usually read in terms of race, class and economics). (shrink)

Notices Amer. Math. Sac. 51, 2004). Logically, such a "Grothendieck topos" is something like a universe of continuously variable sets. Before long, however, F.W. Lawvere and M. Tierney provided an elementary axiomatization..

Although the system T of ticket entailment is obviously related to its cousins E and R , it is motivated along quite distinctive lines in Anderson and Belnap [1975]. It would seem, accordingly, that T is more nearly akin to the system P W studied in Martin [1978] than to E and R. The result presented here, however, at least suggests the contrary.

In proportion to the increased emphasis placed on abortion in partisan political debate since the early 2000s, there has been a noticeable upsurge in cultural representations of abortion. This article charts ways in which that increase manifests in contemporary survival-horror. This article contends that numerous contemporary survival-horror films foreground pregnancy. These representations of pregnancy reify the pressures that moralistic, partisan political campaigning places on individuals who consider terminating a pregnancy. These films contribute to public discourse by engaging with abortion as (...) an individual, emotional matter, rather than treating abortion as a matter of political principle or a political “means to an end.” This article not only charts a relationship between popular culture and its surrounding political context, but also posits that survival-horror—a genre that has been disparaged by critics and largely ignored by scholars—makes an important contribution to sexual-political discourse. These films use horror to articulate the things we cannot say about abortion. (shrink)

Torture porn has been vilified on grounds that are at best unconvincing and at worst incoherent. The subgenre’s remonstrators too often ignore the content of the films themselves, and fail to make sufficiently detailed connections between the subgenre and the cultural sphere. Reactions to torture porn rarely consider what values the films apparently contravene, and why, if the films are offensive, they are simultaneously so popular. The central derisive mechanism in operation is the ill-conceived combination of ‘torture’ and ‘porn’ itself. (...) The use of ‘porn’ as a label works to illegitimate torture porn and demand that body-horror retreat to its more ‘fitting’ position on the outskirts of the cultural radar. However, this approach is too busy pointing at violence, and fails to deal with the fact that sex is displaced. If violence is now pornographic, it is unclear what position sexual portrayals occupy, or whether they are still perceived as more offensive than violent representations. Furthermore, it is uncertain how we are to describe sexual images if that is the case, since the lexicon of offense has been waylaid. Torture porn’s critics commonly fail to account for the new context of ‘porn plus horror’, and what that combination says about visual representation and its limits. This chapter is a step towards rectifying that oversight. (shrink)

This chapter explores the tentative line between erotic spectacle and horror; a judgement that is problematic given that is based on an axis of moral or ideological normality. The contexts of viewing impact on the status of ‘obscene’ images, both in terms of the communities that view them and their motivation for viewing; for sexual arousal, out of morbid curiosity or malevolence, or perhaps all three simultaneously. The reception of an obscene image is largely based upon the issue of viewer (...) consent, but this itself comes at the expense of the reality of bodies depicted, that are pushed to (and beyond) their limits. The chapter examines the moral and philosophical implications of desires that place the body in extreme states of sexualized deconstruction - both real and faked – and how these apply to images and communities in cyberspace. (shrink)

In some recent criminal cases in the United States a defense has been mounted based on an affliction known as Dissociative Identity Disorder (DID) (formerly Multiple Personality Disorder). The crux of the defense rests on the proposition that a dominant personality was incapable of appreciating the nature and quality of wrongfulness of conduct caused by an alter personality. This defense has been successful in some cases, but not others, and so philosophers, lawyers, and psychiatrists are now in debate in an (...) attempt to clarify the issues. One of the salient issues involves the question of personal identity between the individual who allegedly committed the offense and the individual who stands accused. Stephen Behnke and Walter Sinnott-Armstrong have recently put forward a test for establishing personal identity in these cases. In this discussion, I present reasons for rejecting their proposal. (shrink)

This article explores the various ethical and legal limitations faced by researchers studying extreme or ‘ shock’ pornographies, beginning with generic and disciplinary contexts, and focusing specifically upon the assumption that textual analysis unproblematically justifies certain pornographies, while legal contexts utilize a prohibitive gaze. Are our academic freedoms of speech endangered by legislations that restrict our access to non-mainstream images, forcing them further into taboo locales? If so, is the ideological normalization of sexuality inextricable from our research methodologies? Simultaneously, can (...) we justify researchers being allowed access to materials that are not deemed suitable for general consumption, which may further bolster normalized hierarchies of class-privilege and cultural capital? (shrink)

Tom Six’s The Human Centipede (First Sequence) (2009) and The Human Centipede II (Full Sequence) (2011) are based on a disturbing premise: people are abducted and stitched together mouth-to-anus. The consequent combinations of faeces and bloodshed, torture and degradation have been roundly vilified by the critical press. Additionally, the sequel was officially banned or heavily censored in numerous countries. This article argues that these reactive forms of suppression fail to engage with the films themselves, or the concepts (such as disgust (...) and offense) on which those judgements are made. Six’s films are far more sophisticated than has been accounted for. These films wear their generic lineage on their grimy sleeves, contextualising conventional motifs such as the mad scientist archetype against contemporary cultural anxieties regarding the body, sex and violence. Furthermore, Six’s constructed persona exposes the interplay between commercial success, grotesquery and censoriousness as a cyclic system that can be abused. Thus, the series epitomises how repulsion can be strategically utilised. Six anticipates his detractors’ offense, and disarms them of their ability to critique his films without adding to their notoriety. The Human Centipede films demonstrate how controversy can be tactically generated to create meaning. (shrink)

Deadgirl (2008) is based around a group of male teens discovering and claiming ownership of a bound female zombie, using her as a sex slave. This narrative premise raises numerous tensions that are particularly amplified by using a zombie as the film's central victim. The Deadgirl is sexually passive yet monstrous, reifying the horrors associated with the female body in patriarchal discourses. She is objectified on the basis of her gender, and this has led many reviewers to dismiss the film (...) as misogynistic torture porn. However, the conditions under which masculinity is formed here—where adolescent males become “men” by enacting sexual violence—are as problematic as the specter of the female zombie. Deadgirl is clearly horrific and provocative: in this article I seek to probe implications arising from the film's gender conflicts. (shrink)

‘Torture porn’ films centre on themes of abduction, imprisonment and suffering. Within the subgenre, protagonists are typically placed under relentless surveillance by their captors. CCTV features in more than 45 contemporary torture-themed films (including Captivity, Hunger, and Torture Room). Security cameras signify a bridging point between the captors’ ability to observe and to control their prey. Founded on power-imbalance, torture porn’s prison-spaces are panoptical. Despite failing to encapsulate contemporary surveillance’s complexities (see Haggerty, 2011), the panopticon remains a dominant paradigm within (...) surveillance studies because it captures essential truths about the psychologies of self-governance and interdependency. This chapter will use torture porn’s panoptical spaces and captor-captive relationships as a springboard into examining those broader philosophical issues regarding selfhood. In the torture-space, cameras signify the control to which captives must submit. Since they are threatened with death, the surveillance dynamic appears to entirely subjugate these prisoners. However, the captive must undertake some agency in the oppression. Much of the captor’s implied threat is enacted by the captives, who brutalise one another to save themselves. The captor’s apparent omniscience is translated into omnipotence only because the captives forsake self-control – opting to engage in violent, contra-social behaviours – out of fear. Thus, it is implied that self-ownership is the bedrock of stable, interdependent sociality. To inspire horror, the opposite is depicted: fractured groups comprised of paranoid, self-invested individuals. By submitting to external pressure, these “weak” individuals empower their tormentor. Captives are not only encouraged to enact their own suppression, but also to internalise culpability for the suffering they undergo. Despite being threatened with erasure, torture porn’s protagonists are spotlighted in these films. Abductees dominate the screen-time, and their suffering drives the narrative forward. Torturers are often motivated solely by their victims’ agony. In many cases, torture is designed specifically for each hyper-individualised captive. These forms of emphasis imply that captives are the stimulus for their own victimisation. The captor’s exaggerated interest in the prisoners is perversely flattering: captives are implied to be worthy of the captor’s maniacal attention, which is reified by the CCTV cameras. In torture porn’s scenarios, it is not immediately clear who has greater control over the individual: the captor or the captive themselves. By dissecting how self-preservation, self-governance, and self-centredness manifest in torture porn, this chapter seeks to examine the dialectical qualities of liberty, interdependency and autonomy. (shrink)

Since 1990, The Simpsons’ annual “Treehouse of Horror” episodes have constituted a production sub-context within the series, having their own conventions and historical trajectory. These specials incorporate horror plots and devices, as well as general references to science fiction, into the series’ base in situation comedy. The Halloween specials disrupt the series usual family-oriented sitcom structure, dissolving the ideological balances that stabilise that society. By depicting the Family and community in extreme circumstances, in seeing the horror of ‘how things could (...) be’, the Treehouse episode leave us with hanging questions about the nature of social being that bleed into the regular sitcom-style episodes. By breaking from the comparatively realistic social-satire that characterizes the series as a whole, the Halloween specials cast a reflexive gaze back onto “The Simpsons” itself. As a result, the “Treehouse” episodes are valuable as a means of examining the strategies and implications of the series as a whole. Bakhtin’s model of the carnivalesque is utilised to underscore these disruptive traits that characterise the Treehouse episodes. (shrink)

This paper argues for a ‘perennial phenomenology’ (or ‘soft’ perennialism) varying from the traditionalist notion of a ‘perennial philosophy.’ Perennial phenomenology offers a more nuanced form of perennialism that focuses on spiritual/mystical experiences rather than the teachings and beliefs of different religions. While teachings and beliefs vary greatly, the mystical experiences associated with different mystical traditions have striking commonalities. I suggest four experiential aspects that support a perennial phenomenology. These aspects also necessitate a reconsideration of the debate between perennialism and (...) constructivism. Significantly, these experiential elements are present when mystical experiences occur outside the context of spiritual traditions, to people who know little or nothing about spirituality and consider themselves non-religious. Treating mystical experiences exclusively in the context or religion and spiritual traditions has been a major failing in debates between constructivists (or contextualists) and perennialists. There is a common landscape of mystical experience that precedes interpretation and conceptualization by spiritual traditions. This paper contributes to a reopening of discussion about perennialism that has been underway in recent years. (shrink)

Rambo (2008) marked the return of Sylvester Stallone's iconic action hero. What is most striking about the fourth film (as the response from reviewers testifies), is its graphic violence. My intention here is to critically engage with Rambo (2008) as rewriting the series' established aesthetic of violence. My overarching aim is to highlight how the popular press has sought to read the 2008 version of Rambo according to the discursive narratives surrounding Stallone's 1980s action films. The negative response to Rambo, (...) I argue, stems from relying on critical patterns that do not fit the film itself. (shrink)

The undead have been evoked in philosophical hypotheses regarding consciousness, but such discussions often come across as abstract academic exercises, inapplicable to personal experience. Movie zombies illuminate these somewhat opaque philosophical debates via storytelling devices – narrative, characterization, dialogue and so forth – which approach experience and consciousness in an instinctively accessible manner. This chapter focuses on a particular strand of the subgenre: transition narratives, in which human protagonists gradually turn into zombies. Transition stories typically centralize social relationships; affiliations and (...) interactions with other beings that give her (human) life meaning. These narratives routinely posit that consciousness and sociosexuality are intertwined aspects of experience that distinguish human from zombie, foregrounding a core romantic coupling and charting its decline as the protagonist transforms into a flesh-eating monster. These notions are explored via an indicative case study: Pretty Dead (2013). The film brings two views on the self – intuitive and empirical – into direct conflict, questioning their compatibility. The protagonist’s sociosexual decline is employed to illustrate that a) there is a troubling disjuncture between rationalist-theoretical conceptions of selfhood and selfhood as it is experienced in the real, social realm, and b) there is a natural bridge between personal, introspective self-knowledge and external social selfhood. By depicting a form of selfhood that defies rationalist logic (zom-being), transitional zombie films not only animate philosophical debates about consciousness, but also challenge their viewers to develop new conceptual (theoretical and imaginative) vocabularies via which to describe and engage with both selfhood and sociosexuality. (shrink)

This reply to Finn Collin’s critically sympathetic review of my Back to the University’s Future: The Second Coming of Humboldt, addresses some of the tensions involved in realizing “Humboldt 2.0” in today’s higher education environment. Its focus is largely on the academic’s sense of researcher as being one of learner. In other words, the Humboldtian sees research as the necessary complement to teaching, not something radically distinct from it.

There is one grand question that lies beneath most of what follows. That question is: what is morality I mean morality as it is contrasted with the non-moral, not as it is opposed to the immoral. The question does not ask, say, whether lying to a friend in a certain situation is moral or immoral, but asks what makes something, for instance lying to a friend, a moral problem. Parts of the same question ask what counts as a moral consideration, (...) as opposed to, say, one of efficiency or aesthetics, or ask what makes a motivation moral as opposed to prudential. The question asks for the boundaries of the domain of morality. (shrink)

Since the early 2000s, zombies have increasingly swarmed the landscape of popular culture, with ever more diverse representations of the undead being imagined. A growing number of zombie narratives have introduced sexual themes, endowing the living dead with their own sexual identity. The unpleasant idea of the sexual zombie is itself provocative, triggering questions about the nature of desire, sex, sexuality, and the politics of our sexual behaviors. However, the notion of zombie sex has been largely unaddressed in scholarship. -/- (...) This collection addresses that unexamined aspect of zombiedom, with essays engaging a variety of media texts, including graphic novels, films, television, pornography, literature, and internet meme culture. The essayists are scholars from a variety of disciplines, including history, theology, film studies, and gender and queer studies. Covering The Walking Dead, Warm Bodies, and Bruce LaBruce’s zombie-porn movies, this work investigates the cultural, political and philosophical issues raised by undead sex and zombie sexuality. (shrink)

Since the early 2000s, zombies have become an increasingly significant presence in popular culture. Zombies are social monsters, epitomizing aspects of social horror. What is at once central and yet strangely absent from current debates about zombies is any detailed consideration of sex and sexuality. This oversight is startling, not least since sex is arguably the most intimate form of social engagement, and is a profound aspect of human social identity. What makes the omission even more remarkable is how appositely (...) the zombie reflects socio-sexual desires and fears. Sex and love play crucial roles in numerous zombie narratives. Moreover, the undead have sex with each other and with humans in many contemporary zombie narratives. The unpalatable combination of zombies and sex is provocative, triggering a multitude of questions about the nature of desire, sex, sexuality, and the politics of our sexual behaviors. This chapter outlines the zombie’s historical development towards sex/uality, setting the context for the various approaches to sex/uality – queer and straight, romantic and pornographic – explored in contemporary zombie media. (shrink)

This article is a critical review of Richard Ryder’s recent book, Speciesism, Painism and Happiness: A Morality for the Twenty-First Century. There are brief summaries of Ryder’s positions on the moral significance of happiness, the meaning of "speciesism," the moral theory he calls "painism," and his criticisms of democracy and the moral importance of death. Though sympathetic with Ryder’s overall project, the reviewer questions whether Ryder has discovered the essence of morality, the prejudice of speciesism, a more coherent and workable (...) morality, a fault with democracy, and the moral value of death. (shrink)

After a brief review of the literature on Student Evaluation of Teaching (SET), I employ a Foucauldian analysis to argue that student evaluations are forms of power that involve aspects of both discipline and governmentality. After examining how SETs are used to improve teaching, I identify some techniques that instructors use to respond to SET that undermine the legitimate interests of students or the educational institution. I endorse a hybrid model where a single global teaching question is used for summative (...) purposes and fifteen or twenty additional questions are used for formative purposes. Finally, I argue that to resist the normalizing pressure of SET, instructors might, as Foucault suggested, return to the Hellenistic concept of the care of self. Through techniques of the care of self, it is my hope that instructors could cultivate a more robust subjectivity, a subjectivity less vulnerable to the normative power of student evaluations. (shrink)

This article is concerned with two concepts. The first is a coinage of the author, 'Protscience', a contracted form of 'Protestant science', made in reference to the 16th—17th century Protestant Reformation, when the members of Western Christendom took their religion into their hands, specifically by reading the Bible for themselves and interpreting its relevance fortheir lives.Today we witness a similar tendency with regard to the dominant epistemic authority, science, whose 'reformation' often portrayed as 'democratisation'. However, a more exact understanding draws (...) on the article's second key concept, the distinction drawn in marketing between 'customer' and 'consumer'. The former purchases to sell (i.e. a retailer), whereas the latter purchases to use. Many of the so-called 'anti-science' movements of recent times can be explained as a rise in 'science customisation', whereby people who have acquainted themselves with the latest science adopt a discretionary attitude towards what they will and will not believe of what they have learned. Keywords: anticipatory governance, democracy, New Age, placebo effect, Protestant Reformation, Protscience, science customisation. (shrink)

The “adaptive toolbox” model of the mind is much too uncritical, even as a model of bounded rationality. There is no place for a “meta-rationality” that questions the shape of the decision-making environments themselves. Thus, using the ABC Group's “fast and frugal heuristics,” one could justify all sorts of conformist behavior as rational. Telling in this regard is their appeal to the philosophical distinction between coherence and correspondence theories of truth.

Bryan Van Norden’s _Taking Back Philosophy: A Multicultural Manifesto_ draws on his expertise in Chinese philosophy to launch a comprehensive and often scathing critique of contemporary Anglo-American philosophy. I focus on the sense in which “China” figures as a “non-Western culture” in Van Norden’s argument. Here I identify an equivocation between what I call a “functional” and a “substantive” account of culture. I argue that Van Norden, like perhaps most others who have discussed Chinese philosophy, presupposes a “functional” conception, whereby (...) the relevant sense in which “China” matters is exactly as “non-Western,” which ends up incorporating some exogenous influences such as Indian Buddhism but not any of the Western philosophies that made major inroads in the twentieth century. I explore the implications of the functional/substantive distinction for the understanding of cross-cultural philosophy generally. (shrink)

Finn Collin has been the honest broker of social epistemology. In this article, I attempt to come clean on the nature and sources of what I have always regarded as the ‘normative’ horizon of the field. It basically turns on a social constructivist reading of Plato’s Phaedrus, the dialogue from which modern analytic epistemology also takes its inspiration. I pursue the implications of this approach in various normative fields of philosophy.

The question in the title is addressed in three parts. First, I associate the democratisation of science with the rise of ‘Protscience’ (i.e. ‘Protestant Science’), which pertains to the long-term tendency of universities to place the means of knowledge production in everyone’s hands, thereby producing universal knowledge that is also universally spread. Second, I discuss how the current neo-liberal political economy of knowledge production is warping the ways that universities deal with this long-term tendency. These include: the segmentation of research (...) and teaching; the alienation of the student constituency; the lack of incentive to defend the university. I then discuss strategies for addressing the resulting deformities and re-building solidarity within the knowledge producing community. These include the establishment of a student-based co-curriculum and the introduction of employee ownership policies to the university as whole. Third, I reprise the entire argument by focusing on the economic challenges facing the integrity of the university and knowledge as a public good. Some of these arise from Protscience itself and others from the neo-liberal environment that it inhabits. But in any case, it is important that the democratisation of science is not reduced to its marketisation. (shrink)