In this article we address the question of how many impossible images Escher produced. To answer requires us first to clarify a range of concepts, including content, ambiguity, illusion, and impossibility. We then consider, and reject, several candidates for impossibility before settling on an answer.

We apply linear algebra to the study of the inconsistent figure known as the Crazy Crate. Disambiguation by means of occlusions leads to a class of sixteen such figures: consistent, complete, both and neither. Necessary and sufficient conditions for inconsistency are obtained.

Examining the origin and development of my views of social epistemology, I contrast my position with the position held by analytic social epistemologists. Analytic social epistemology (ASE) has failed to make significant progress owing, in part, to a minimal understanding of actual knowledge practices, a minimised role for philosophers in ongoing inquiry, and a focus on maintaining the status quo of epistemology as a field. As a way forward, I propose questions and future areas of inquiry for a post-ASE to (...) address. (shrink)

Contemporary persons are daily confronted with enormous quantities of information, some of which reveal causal connections between their actions and harm that is visited upon distant others. Given their limited cognitive and information processing capacities, persons cannot reasonably be expected to respond to every cry for help or call to action, but neither can they defensibly refuse to hear and reflect upon any of them. Persons have a limited obligation to know, I argue, which requires that they inform themselves and (...) others about their role in harmful social practices, with a view toward challenging the norms that sustain such practices. In this paper, I explore this obligation to know, and the related idea of excusable ignorance, offering accounts of the epistemic burden that it entails for persons in their capacities as citizens and in the context of global climate change and of reproach as a potentially effective tool for rectifying rather than excusing ignorance. (shrink)

Despite Kant's belief in a universal causal determinism among phenomena and his rejection of any noumenal agency in brutes, he nevertheless rejected Descartes's hypothesis that brutes are machines. Explaining Kant's response to Descartes forms the basis for this discussion of the nature of consciousness and matter in Kant's system. Kant's numerous remarks on animal psychology-as found in his lecture notes and reflections on metaphysics and anthropology-suggest a theory of consciousness and self-consciousness at odds with that traditionally ascribed to him.

A Brief History of Analytic Philosophy: From Russell to Rawls presents a comprehensive overview of the historical development of all major aspects of analytic philosophy, the dominant Anglo-American philosophical tradition in the twentieth century. Features coverage of all the major subject areas and figures in analytic philosophy - including Wittgenstein, Bertrand Russell, G.E. Moore, Gottlob Frege, Carnap, Quine, Davidson, Kripke, Putnam, and many others Contains explanatory background material to help make clear technical philosophical concepts Includes listings of suggested further readings (...) Written in a clear, direct style that presupposes little previous knowledge of philosophy. (shrink)

The practice of conservation assumes that current persons have some obligations to future generations, but these obligations are complicated by a number of philosophical problems, chief among which is what Derek Parfit calls the Non-Identity Problem. Because our actions now will affect the identities of persons to be born in the distant future, we cannot say that those actions either benefit or harm those persons. Thus, a causal link between our acts and their consequences for particular persons is severed, and (...) the justification for conservation duties toward future generations undermined. I argue for an alternative justification for conservation in the capacity of foresight, which requires us to act not only upon duties that we have now, but also upon those that we will predictably have in the future. In this way, the future generations problem, at least as applied to conservation issues, is overcome. (shrink)

I discuss the realizability and the ethical ramifications of Machine Ethics, from a number of different perspectives: I label these the anthropocentric, infocentric, biocentric and ecocentric perspectives. Each of these approaches takes a characteristic view of the position of humanity relative to other aspects of the designed and the natural worlds—or relative to the possibilities of ‘extra-human’ extensions to the ethical community. In the course of the discussion, a number of key issues emerge concerning the relation between technology and ethics, (...) and the nature of what it is to have moral status. Some radical challenges to certain technological presuppositions and ramifications of the infocentric approach will be discussed. Notwithstanding the obvious tensions between the infocentric perspective on one side and the biocentric and ecocentric perspectives on the other, we will see that there are also striking parallels in the way that each of these three approaches generates challenges to an anthropocentric ethical hegemony, and possible scope for some degree of convergence. (shrink)

Philosophy may relate to interdisciplinarity in two distinct ways On the one hand, philosophy may play an auxiliary role in the process of interdisciplinarity, typically through conceptual analysis, in the understanding that the disciplines themselves are the main epistemic players. This version of the relationship I characterise as ‘normal’ because it captures the more common pattern of the relationship, which in turn reflects an acceptance of the division of organized inquiry into disciplines. On the other hand, philosophy may be itself (...) the site for the production of interdisciplinary knowledge, understood as a kind of second-order understanding of reality that transcends the sort of knowledge that the disciplines provide, left to their own devices. This is my own position, which I dub ‘deviant’ and to which most of this article is devoted. I begin by relating the two types of interdisciplinarity to the organization of inquiry, especially their respective attitudes to the history of science. Underlying the two types are contrasting notions of what constitutes the ‘efficient’ pursuit of knowledge. This difference is further explored in terms of the organization of the university. The normal/deviant distinction was already marked in the institution’s medieval origins in terms of the difference between Doctors and Masters, respectively, an artefact of which remains in the postgraduate/undergraduate degree distinction. In the context of the history of the university, the prospects for deviant interdisciplinarity were greatest from the early sixteenth to the early nineteenth century—the period called ‘early modern’ in the philosophy curriculum. Towards the end of that period, due to Kant and the generation of idealists who followed him, philosophy was briefly the privileged site for deviant interdisciplinarity. After Hegel’s death, the mantle of deviant interdisciplinarity increasingly passed to some version of ‘biology’. I explore the ‘Natur-’ and ‘Geisteswissenschaft’ versions of that post-philosophical vision, which continue to co-exist within today’s biological science. I then briefly examine the chequered reputation of Jean-Baptiste Lamarck, someone who exemplified the promise and perils of deviant interdisciplinarity over the past 200 years. I conclude with an Epilogue that considers contemporary efforts to engage philosophy in interdisciplinary work, invoking William James as an exemplar. (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)

Abbreviations Works by Alfred North Whitehead 1) Adventures of Ideas. New York: Macmillan Co., 1967 AI 2) Concept of Nature. Cambridge: Cambridge University Press, 1971 CN 3) Modes of Thought. New York: Macmillan Co., 1968 MT 4) Process ..

The phenomenon of anthropogenic climate change—in which weather patterns and attendant ecological disruption result from increasing concentrations of greenhouse gases released into the atmosphere through human activities—challenges several conventional assumptions regarding moral responsibility. Multifarious individual acts and choices contribute (often imperceptibly) to the causal chain that is expected to produce profound and lasting harm unless significant mitigation efforts begin soon. Attributing responsibility for such harmful consequences is complicated by what Derek Parfit terms “mistakes in moral mathematics,” or failures to correctly (...) assess the various individual contributions to collectively produced harm. Combined with the difficulties in attributingresponsibility to agents for spatially and temporally distant harmful effects and that of holding agents culpable for effects (resulting from socially-acceptable acts) about which they may be ignorant, this paper attempts to sort out several ethical problems surrounding the identification of responsible parties contributing to climate change. (shrink)

I believe that tenured historians, philosophers, and sociologists of science—when presented with the opportunity—have a professional obligation to get involved in public controversies over what should count as science. I stress ‘tenured’ because the involved academics need to be materially protected from the consequences of their involvement, given the amount of misrepresentation and abuse that is likely to follow, whatever position they take. Indeed, the institution of academic tenure justifies itself most clearly in such heat-seeking situations, where one may appear (...) to offer a reasoned defense for views that many consider indefensible. To be sure, the opportunities for involvement will vary in kind and number, but I believe that we are obliged to embrace them. In the specific case of ‘demarcation’ questions of what counts as science, the people who possess the sort of general and comparative knowledge most relevant for adducing this matter are historians, philosophers, and sociologists of science—not professional scientists unschooled in these areas.. (shrink)

Social persons routinely tell themselves and others richly elaborated autobiographical stories filled with details about deeds, plans, roles, motivations, values, and character. Saul, let us imagine, is someone who once sailed the world as a young adventurer, going from port to port and living a gypsy existence. In telling his new acquaintance, Jess, of his former exotic life, he shines a light on his present character and this may guide to some extent their interaction here and now. Perhaps Jess also (...) spent time at one of these port locations; perhaps their paths might even have crossed. They might be drawn into recounting some common events that indeed do establish a common link. Did they visit a certain famous landmark? Did they meet up at the same bars? And so on. When we open up to friends, acquaintances, colleagues, and close others through the stories we tell them, we do so by revealing bits of ourselves. (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)

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)

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)

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)

The classical conception of academic freedom associated with Wilhelm von Humboldt and the rise of the modern university has a quite specific cultural foundation that centres on the controversial mental faculty of 'judgement'. This article traces the roots of 'judgement' back to the Protestant Reformation, through its heyday as the signature feature of German idealism, and to its gradual loss of salience as both a philosophical and a psychological concept. This trajectory has been accompanied by a general shrinking in the (...) scope of academic freedom from the promulgation of world-views to the offering of expert opinion. (shrink)

Equality, diversity and radical politics -- Value incommensurability -- Empathic imagination and its limits -- Critiquing compassion-based social relations -- Egalitarianism, disability and monistic ideals -- Equality, identity and disability -- Paradox and the limits of reason.

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)

Ronald Dworkin argued that Advance Directives informed by a principle of autonomy ought to guide decisions in relation to the treatment of those in care for dementia. The principle of autonomy in play presupposes a form of competence that is tied to the individual person making the Directive. This paper challenges this individualist assumption. It does so by pointing out that the competence of a patient is inherently relational, and the key illustrative case to make this point is the case (...) of music therapy. In music therapy, a relatively recent treatment modality in aged care, patients previously thought to be permanently unresponsive are shown on the contrary to be capable of significant levels of social agency. The conclusion to draw is that Advance Directives that fail to acknowledge the real possibility of such relational competence are misapplied. (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 interactive teaching workshop explored what it means to “teach from the heart.” It adopted the format of the wisdom circle to ask participants to share peak teaching experiences so that they could reflect on what their stories reveal about their inner selves as teachers. The hope was that, by learning how to speak with their “authentic” voices, participants could gain the insight and courage needed to better connect with their students as co-learners.

In the last decade, many arguments have emerged for encouraging public participation in environmental policy making and management While some have argued that, in democratic societies, people simply have a right to a participatory role, others base arguments for public participation on the idea that lay people may have access to knowledge which is unknown to officially sanctioned experts. Local people may count as experts about aspects of their neighbourhood or they may have insights into the behaviour of plant operators (...) that is thought to give rise to pollution. This paper reports on a novel empirical approach to analysing and capturing such 'lay' understandings. This technique, developed in ESRC-funded work in the UK, uses community mapping exercises in urban centres to produce spatial representations of local knowledges about air pollution and related problems of noise and odour. In the paper the technique is outlined, presenting data from the three-city case study. The paper concludes by assessing the ways in which participatory modelling can contribute to the local governance of air quality. (shrink)

Oliver Cromwells historical reputation underwent significant change during the nineteenth century. Writers such as Thomas Carlyle were prominent in this reassessment, creating a Cromwell that found particular support among Nonconformists in the north of England. Projects to memorialize Cromwell included the raising of public statues. This article traces the history of the Manchester statue, the first major outdoor statue of Cromwell to be unveiled in the country. The project originated among Manchester radical Liberal Nonconformists in the early 1860s but was (...) not realized until 1875. It was the gift of Elizabeth Heywood; the sculptor was Matthew Noble. The project, including its intended site in Manchesters new Town Hall, was contentious, exposing political and religious divisions within the community, reinforcing the view that the reassessment of Cromwells place in the making of modern Britain was far from settled. (shrink)

This paper continues a conversation about Wittgenstein’s picture of language and meaning and its potential applications for educational theorising. It takes the form of a response to Wolff-Michael Roth’s earlier paper “Heeding Wittgenstein on “understanding” and “meaning”: A pragmatist and concrete human psychological approach in/for education,” in which Roth problematizes the use of the terms “understanding” and “meaning” in education discourse and proposes their abandonment. Whilst we agree with Roth about a series of central points, at the same time we (...) maintain that he has taken his argument in directions antithetical to our reading of Wittgenstein’s work. We offer four points of departure, exploring themes of: appropriate questioning; eliminativism; language-games and grammar; and productivity, explanation, and a science of learning. We conclude by discussing ways consistent with Wittgenstein’s thought to go on in thinking about education. (shrink)

Ben Fine and Dimitris Milonakis have done political economy a great service by drawing attention to the insights lost in the twists, turns and reductions in the transition from political economy to economics. These two volumes constitute a solid foundation upon which a new generation can build a political economy for the future. This review presses some of their meta-theoretical arguments a little further than they actually do in an attempt to ‘toughen-up’ the new political economy and make it more (...) able to carry the fight to economics. (shrink)

The American Journal of Bioethics, Volume 12, Issue 10, Page 39-41, October 2012.

Kant’s body offered a constant target for his own remarks, both in correspondence and during his lunchtime conversations. Several good descriptions of Kant’s body have come down to us over the centuries, as well as a number of visual representations, but these are remarkably limited, given his stature in the world of ideas. A new description of Kant, written by a novelist who visited Kant while passing through Königsberg, has recently come to light. It is reproduced here — in English (...) translation as well as the original German — and earlier descriptions of Kant are briefly recounted. (shrink)

In this investigation of the Japanese film Kairo, I contemplate how the horrors present in the film relate to the issue of self, by examining a number of interlocking motifs. These include thematic foci on disease and technology which are more intimately and inwardly focused that the film's conclusion first appears to suggest. The true horror here, I argue, is ontological: centred on the self and its divorcing from the exterior world, especially founded in an increased use of and reliance (...) on communicative technologies. I contend that these concerns are manifested in Kairo by presenting the spread of technology as disease-like, infecting the city and the individuals who are isolated and imprisoned by their urban environment. Finally, I investigate the meanings of the apocalypse, expounding how it may be read as hopeful for the future rather than indicative of failure or doom. (shrink)

Sunohara Yuuri and Akita Masami’s series of six seppuku films (1990) are solely constituted by images of fictionalized death, revolving around the prolonged self-torture of a lone figure committing harakiri. I contend that the protagonist’s auto-immolation mirrors a formal death, each frame ‘killing’ the moment it represents. My analysis aims to explore how the solipsistic nature of selfhood is appositely symbolized by the isolation of the on-screen figures and the insistence with which the six films repeat the same scenario of (...) protracted agony across the cycle. The centralization of suffering, I argue, parallels the distance between viewer and image with the isolating nature of embodied existence. Thus, this article seeks to probe the relationship between form and content, asking what the image of death reveals about the death of the image. -/- . (shrink)

Science and technology studies has perhaps provided the most ambitious set of challenges to the boundary separating history and philosophy of science since the 19th century idealists and positivists. STS is normally associated with `social constructivism', which when applied to history of science highlights the malleability of the modal structure of reality. Specifically, changes to what is implies changes to what has been, can be and might be. Latour's account of Pasteur's scientific achievement is a case in point. Two polar (...) attitudes towards the world's modal malleability are identified: over - and under - determination, which correspond, respectively, to a belief in the inevitability and the precariousness of science as a form of knowledge. The distinctness of these positions reflects a cordon sanitaire between the history and the philosophy of science. Consequently, historical agents are not given full voice as constructors of reality: They are either quarantined to a foreign realm called `the past' by the historian or selectively assimilated to an imperial present by the philosopher. The second half of the essay explores what it might mean to restore a robust sense of reality construction to the historical agents. My case in point here is that of the 13th century Franciscan friar, Roger Bacon, who has been alternatively seen as a mad medieval or a proto-modernist. To give Bacon full voice would involve taking the future that he envisaged as a normative benchmark for judging our own world. (shrink)

I was delighted to be asked to comment on Peter Zachar’s paper, partly because he presents an elegant proposal for how personality disorders (PD) might be considered to fit into a broadly medical conception of disorder, but also because the overlap between moral and clinical elements of disorder, and more broadly moral and clinical psychiatric kinds, seems to me to be a question central to the theory and practice of psychiatry. The moral context of diagnosis and treatment is a question (...) not just in the PD field (Pearce and Pickard 2009, 2010). The fact that over half of prisoners in the United Kingdom have a PD and a similar number can be diagnosed with a neurotic disorder (Singleton, Meltzer, and Gatward 1998) .. (shrink)

Steven Higgins and Vivienne Baumfield have recently attempted to defend the much discussed idea of general thinking skills against attacks from three quarters: what they regard as a priori objections, which they liken to Zeno's paradox that Achilles will not catch the tortoise; domains theories of knowledge, which oppose the idea of thinking skills being general and transcending domains; and the claim that experts use subject specific knowledge, and don't use general thinking skills. We examine these defences and find them (...) flawed and worrying. We conclude that this is a domain in serious need of a priori approaches. (shrink)

Drawing on the well-established understanding of the zombie as metaphor for the deadening effects of consumer capitalism, this chapter seeks to account for three distinct changes that contextualise 21st century zombie fiction. The first is situational: the global economic crisis has amplified the anxieties that inspired Romero's critique of consumer capitalism in Dawn of the Dead (1978). The second is intellectual: as Chapman and Anderson (2011) note, there has been an “explosion of research on all aspects of disgust” in recent (...) years. The third concerns the subgenre itself: zombies have become increasingly sexualised since the late 1990s. These issues intersect in a numerous recent zombie films - including Zombie Strippers! (2008), Zombies! Zombies! Zombies! (2008), Big Tits Zombie (2010), and Zombies Vs Strippers (2012) - that are centred around or within strip clubs. Stripping epitomises the logic of consumer capitalism, offering tantalising promises but little physical satisfaction. Stripping translates sexual desire into a voyeuristic transaction, evacuated of corporeal messiness. The zombie’s decomposing body epitomises disgust, and its presence in the strip-club disturbs the fantasy typically provided within that context. In the zombie infected strip-club, intimate contact is damaging rather than desirous. In these respects, zombies hypostatize numerous tensions that are usually masked by fantasy and financial exchange. In doing so, these zombies reify the horrors of late capitalism. Their disgusting bodies disrupt the foundational logic of consumerism qua desire. (shrink)