Practical realism is focused on the problem of how science really works. In the case of physics and chemistry, experiment is the centrepiece of scientific practice. The rapid development of contemporary natural science does not leave the experiment unaffected. The classical experiment is normally applied only to systems that can be considered structurally stable, repeatability being the key feature. After the introduction of the theoretical basis of irreversibility by Ilya Prigogine the essence of the experiment changed. The strict requirement of (...) repeatability has to be dropped. It will be discussed, whether the change is big enough for calling it revolutionary. There are means to update the understanding of the experiment by applying the experimental settings. The material experiment will probably be with us forever but its position on the scientific landscape will be shifted. (shrink)

Since the publication of “Behavioral studies of obedience” in 1963, and then of “Obedience to Authority” in 1974, the experiments conducted by Stanley Milgram at Yale in the early 1960s has provoked many lively debates. The opening of his archives by Yale University (Blass 2002), the partial replication of the experiment (Burger 2009), interviews with former “guinea pigs” or collaborators (Perry 2012), as well as the more general context of the replicability crisis in experimental psychology (Ritchie 2020) have triggered a (...) revival of these debates.On the basis of these new data, several aspects of Milgram’s experiments have been reexamined: their experimental protocol, which does not exactly match Milgram's account of it (Gibson 2019); the decision not to include in the interpretation interviews in which subjects claimed not to have been fooled by the device designed to deceive them (Perry, Brannigan & alii 2018); the lessons to be learned from the behavior observed (Burger, Girgis & Manning 2011; Reicher, Haslam & Smith 2012); the usefulness of these findings in explaining the behavior of ordinary perpetrators during genocides, and in particular the Shoah (Russell & Gregory 2015; Roth 2022); the moral legitimacy of the device itself (Perry 2012). Moreover, all of these investigations converge on the question of whether the crisis of reproducibility affects experiments on authority and, if so, to what extent. As Stuart Ritchie's (2020) cautious treatment of the Milgram case in his review of the reproducibility crisis shows, this question remains open.The fact remains that debates around one of the founding and paradigmatic works of experimental social psychology ultimately call into question the very value of this discipline or at least the direction it should take. Augustine Brannigan goes so far as to call for “the end of experimental social psychology” (Brannigan 2017, p. 141) in this regard. Finally, both Milgram and the psychologists and philosophers following in his wake interpreted the astonishment that his results aroused as a symptom of adherence to a mistaken anthropology. The situationist research program thus aimed to understand what this error is, where it comes from, and how to rectify it (Ross & Nisbett 1991; Doris 2005; Sabini & Silver 2005; Roth 2022). The subsequent interrogation of Milgram's results thus also calls into question the value of this philosophical program.The authority experiments were based on epistemological and ontological presuppositions that conditioned their design and interpretation, and that have thus far rarely been drawn out and directly discussed. For example, by designating his task as an “experiment on authority”, Milgram presupposed the existence of a concept of authority that would apply to the experiment in question, but about which he remained confused, because he was theoretically eclectic, relying as much on Hannah Arendt as on cybernetics (Milgram 1974). Stephen Gibson (2019) thus looked for a concept that could adequately describe what was actually taking place during the experiment and suggested that the Foucauldian concept of power was more suitable than the concept of authority.To take another example, Milgram's explicit goal was not only to reproduce in the laboratory an ordinary relationship of subordination, but to simulate the administrative and social structure that made possible the implementation of the extermination of the European Jews (Milgram 1963; Milgram 1974; Blass 2002). Against the prejudice according to which historical events are non-repeatable singularities, he thus presupposed the possibility of solving experimentally some of the explanatory problems that plague historians.In order to contribute productively to current debates on the value of Milgram's experiments, and more generally of social psychology, this special issue tries to identify the presuppositions, theoretical consequences, and justifications of the experiments. (shrink)

In a series of recent papers, Ben Bramble defends a version of hedonism which holds that purely repetitious pleasures add no value to one’s life (i.e. Non-Repeatable Hedonism). In this paper, we pose a dilemma for Non-Repeatable Hedonism. We argue that it is either committed both to a deeply implausible asymmetry between how pleasures and pains affect a person’s well-being and to deeply implausible claims about how to maximize well-being, or is committed to the claim that a life of eternal (...) pleasure for a person can be just as good for them as a life of eternal suffering. The only way out of this dilemma is for Bramble to reject the Non-Repetition Requirement. Yet, rejecting this requirement both forces Bramble to reject the wholly unique, core component, of his view and undermines his view’s ability to handle one of the most powerful objections to hedonism, viz., that a life with a larger quantity of so-called “base” (or lower) pleasures is better for a person than a life with a slightly smaller quantity of so-called higher pleasures. We conclude that Non-Repeatable Hedonism must be rejected in favor of standard forms of hedonism or some non-hedonic view of well-being. (shrink)

The question asked in this paper is: How can we investigate our phenomenal experience in ways that are accurate, in principle repeatable, and produce experiences that help clarify what we understand about the processes of sensing, perceiving, moving, and being in the world? This sounds like an impossible task, given that introspection has so often in scientific circles been considered to be unreliable, and that first-person accounts are often coloured by mistaken ideas about what and how we are experiencing. The (...) first-person experiments I suggest are different from experiments done in the psychology laboratory in that there is no narrowing down of the experiments to looking at a singular aspect of a question, and that they are to be carried out in most instances in a natural or specially structured environment without strict task controls or statistical experimental design. There is no intent to replace formal second- and third-person investigation, but to use a phenomenological approach to conjoin with hard research, and to suggest ways of awareness training that can enhance the skills of researchers. I take as a model an informal phenomenological approach for experimentation. I also suggest that it is possible through directing and broadening the attention process to turn consciousness towards what is non-conscious or unattended to in order to develop an improved sensory awareness and an ability to be open to experiencing without prejudging and without expectations. The idea is to go back to experience without first creating a theoretical stance from which to interpret what happens. I conclude with some other examples of this approach. (shrink)

It is clear throughout Cognitive Gadgets Heyes believes the development of cognitive capacities results from the interaction of genes and experience. However, she opposes cognitive instincts theorists to her own view that uniquely human capacities are cognitive gadgets. Instinct theorists believe that cognitive capacities are substantially produced by selection, with the environment playing a triggering role. Heyes’s position is that humans have similar general learning capacities to those present across taxa, and that sophisticated human cognition is substantially created by our (...) socioculturally transmitted environment. It is a core strategy of Heyes to provide evidence of learning altering a cognitive capacity to conclude that a capacity is a cognitive gadget and not an instinct. We draw on recent work on the evolution of learning preparedness to examine the adequacy of this strategy. In particular, we analyse experimental evolution work showing how selection affects cognition within the laboratory. First, this work reveals that change due to learning can still be retained under genetic assimilation. This suggests that domain-specific adaptation can coexist with learning, moderate nativism, an option missed by the instinct versus gadget distinction. Second, we describe the conditions that select for increased preparedness in learning: certainty, reliability, and particular costs. We consider how these conditions can be used when conducting evolutionary reasoning about cognition, applying them to the important capacity for imitation. We find that the conditions lend theoretical support to moderate nativism about the capacity to imitate, which is supported by psychological evidence. (shrink)

The new non-fiction picturebook for children is conceived not just as an informational book, but first and foremost as a beautiful object, characterized by a largely visual and proudly creative approach to knowledge. By blending information and artistic illustration/design, transmission of data and sophisticated aesthetic experimentation, this medium seems to bring successfully together the rational/explicit and the aesthetic/intuitive way of attending to the world, with promising consequences for the development of an integrated learning experience. Applying the findings of cognitive sciences (...) to the analysis of non-fiction picturebooks can be enlightening to understand the full potential of such books in sharing knowledge with children. Their intrinsic multimodality and ability to stimulate different parts of the reader’s brain makes them valuable in any educational context revolving around the paradigm of complexity and having connection (as opposed to disjunction) of different levels of experience as its aim. (shrink)

This chapter contains sections titled: Epigraphs Twice‐Told Tales Darwin to the Rescue? Back to the Subject Contradiction? The Problem of Obsessive Repetition Reading Again—Again The End of the Beginning.

This study investigated the effect of non-task language in language switching experiment. Non-task language refers to participants’ language(s) (regardless of proficiency level) that are not used in any trials throughout the experiment. We recruited 60 Tibetan-Chinese-English trilinguals (grade-12 high school students with a median age of 17) to perform a lexical decision (word vs. non-word) task in only two of their languages. We repeated the experiment three times to present each language pair once. In each experiment, the participants were divided (...) into two groups which significantly contrasted with each other in their non-task language while remained comparable in the two task languages. Response time (RT) and error rate (ER) have been examined to evaluate task performance. The interaction between task performance and the participants’ proficiency in the non-task language was also examined. The results showed null effect of language switching. In addition, the effect of the non-task language was not found. These results were interpreted with reference to the main models of bilingual visual word recognition and the role of orthography specificity. (shrink)

Some authors defend literary cognitivism – the view that literary fiction is cognitively valuable – by drawing an analogy between cognitive values of thought experiments and literary fiction. In this paper my aim is to analyse the reasons for drawing this analogy and to see how far the analogy can be stretched. In the second part, I turn to the claim put forward by literary anti-cognitivists according to which literature can at best be the source of hypotheses, not of knowledge. (...) I challenge this claim by showing that hypotheses can have valuable cognitive benefits on their own, thus hoping to restore cognitive benefits readers get from literature.Neki autori brane književni kognitivizam – stajalište da književna fikcija ima spoznajnu vrijednost – povlačeći analogiju između spoznajne vrijednosti misaonih eksperimenata i književne fikcije. U ovome ću radu analizirati razloge za ovu analogiju te vidjeti koliko se njen doseg može proširiti. U drugome dijelu razmotrit ću tvrdnju književnih antikognitivista prema kojoj književnost u najboljem slučaju može biti samo izvor hipoteza, a ne znanja. Ovu ću tvrdnju dovesti u pitanje pokazujući da hipoteze same mogu imati vrijedne spoznajne koristi, u nadi da se na taj način mogu obnoviti spoznajne koristi koje čitatelji pronalaze u književnosti.Certains auteurs défendent le cognitivisme littéraire – position selon laquelle la fiction littéraire a une valeur cognitive – en établissant une analogie entre les valeurs cognitives de l’expérience mentale et la fiction littéraire. Dans cet article, j’analyserai les raisons de cette analogie et verrai jusqu’où cette analogie peut s’étendre. Dans la seconde partie, j’examinerai l’affirmation des anti-cognitivistes littéraires selon lesquels la littérature peut tout au plus être une source d’hypothèses et non pas du savoir. Je mets cette affirmation au défi en montrant que les hypothèses à elles seules peuvent avoir de précieux avantages cognitifs, dans l’espoir de restaurer ainsi les avantages cognitifs que les lecteurs tirent de la littérature.Einige Verfasser verteidigen den literarischen Kognitivismus – einen Standpunkt, nach welchem die literarische Fiktion erkenntnismäßig ersprießlich ist – indem sie eine Parallele zwischen den Erkenntniswerten der Gedankenexperimente und der Literaturfiktion ziehen. In dieser Schrift fasse ich den Vorsatz, die Ursachen für diese Parallelisierung auszukundschaften wie auch zu ermitteln, inwieweit sich diese Analogie ausdehnen lässt. In dem zweiten Teil wende ich mich der vonseiten der literarischen Antikognitivisten vorgebrachten Behauptung zu, welcher zufolge die Lieratur günsigstensfalls eine Hypothesen- und keineswegs eine Wissensquelle zu sein vermag. Ich hinterfrage diese These, indem ich die Anschauung erhärte, dass Hypothesen über eigene wertvolle erkenntnisbezogene Vorzüge verfügen können; all dies in der Hoffnung, kognitive Vorteile herzustellen, welche die Leserschaft aus der Literatur herausliest. (shrink)

ABSTRACTPrior experiments indicated that reading literary fiction improves mentalising performance relative to reading popular fiction, non-fiction, or not reading. However, the experiments had relatively small sample sizes and hence low statistical power. To address this limitation, the present authors conducted four high-powered replication experiments testing the causal impact of reading literary fiction on mentalising. Relative to the original research, the present experiments used the same literary texts in the reading manipulation; the same mentalising task; and the same kind of participant (...) samples. Moreover, one experiment was pre-registered as a direct replication. In none of the experiments did reading literary fiction have any effect on mentalising relative to control conditions. The results replicate earlier findings that familiarity with fiction is positively correlated with mentalising. Taken together, the present findings call into question whether a single session of rea... (shrink)

Understanding the experiences of volunteers is critical to the effective management of non-profit organizations. Many organizations benefit greatly from the work of volunteers; however, little is known about the interest of occasional volunteers in repeating their experience. Our research aims to understand occasional volunteers and their intention to repeat the experience. To achieve this objective, it is essential to understand volunteers’ motivations and the influence of volunteers’ previous experiences in motivations. At the same time, it is necessary to know how (...) these factors may impact satisfaction and therefore, the intention to repeat the experience in the future. For this research, we analyzed the campaigns organized by the Food Bank Against Hunger (FBAH) in Portugal. Through online questionnaires, data were collected at two different moments: one month before and one month after the campaign. Results show five motivations categories: purposive, understanding, protection and enhancement, group identification and career. The research shows that motivations vary depending on volunteers’ previous experience, and this fact may also influence the level of satisfaction with the experience. All volunteers presented a high level of satisfaction and this variable influences volunteers intention of repeating, that is, volunteers wanting to be engaged in future campaigns. (shrink)

Non-native listeners deal with adverse listening conditions in their daily life much harder than native listeners. However, previous work in our laboratories found that native Chinese listeners with native English exposure may improve the use of temporal fluctuations of noise for English vowel identification. The purpose of this study was to investigate whether Chinese listeners can generalize the use of temporal cues for the English sentence recognition in noise. Institute of Electrical and Electronics Engineers sentence recognition in quiet condition, stationary (...) noise, and temporally-modulated noise were measured for native American English listeners, native Chinese listeners in the United States, and native Chinese listeners in China. Results showed that in general, EN listeners outperformed the two groups of CN listeners in quiet and noise, while CNU listeners had better scores of sentence recognition than CNC listeners. Moreover, the native English exposure helped CNU listeners use high-level linguistic cues more effectively and take more advantage of temporal fluctuations of noise to process English sentence in severely degraded listening conditions [i.e., the signal-to-noise ratio of −12 dB] than CNC listeners. These results suggest a significant effect of language experience on the auditory processing of both speech and noise. (shrink)

Adventures in cutting-edge ideas about consciousness, from bestselling non-fiction writer Tim Parks. Hardly a day goes by without some discussion about whether computers can be conscious, whether our universe is some kind of simulation, whether mind is a unique quality of human beings or spread out across the universe like butter on bread. Most philosophers believe that our experience is locked inside our skulls, an unreliable representation of a quite different reality outside. Colour, smell and sound, they tell us, occur (...) only in our heads. Yet when neuroscientists look inside our brains to see what's going on, they find only billions of neurons exchanging electrical impulses and releasing chemical substances. Five years ago, in a chance conversation, Tim Parks came across a radical new theory of consciousness that undercut this interpretation. This set him off on a quest to discover more about this fascinating topic and also led him to observe his own experience with immense attention. Out of My Head tells the gripping, highly personal, often surprisingly funny, story of Tim Parks' quest to discover more about this fascinating topic. It frames complex metaphysical considerations and technical laboratory experiments in terms we can all understand. Above all, it invites us to see space, time, colour and smell, sounds and sensations in an entirely new way. The world will feel more real after reading it. (shrink)

The cognitive hierarchy model is an approach to decision making in multi-agent interactions motivated by laboratory studies of people. It bases decisions on empirical assumptions about agents’ likely play and agents’ limited abilities to second-guess their opponents. It is attractive as a model of human reasoning in economic settings, and has proved successful in designing agents that perform effectively in interactions not only with similar strategies but also with sophisticated agents, with simpler computer programs, and with people. In this (...) paper, we explore the qualitative structure of iterating best response solutions in two repeated games, one without messages and the other including communication in the form of non-binding promises and threats. Once the model anticipates interacting with sufficiently sophisticated agents with a sufficiently high probability, reasoning leads to policies that disclose intentions truthfully, and expect credibility from the agents they interact with, even as those policies act aggressively to discover and exploit other agents’ weaknesses and idiosyncrasies. Non-binding communication improves overall agent performance in our experiments. (shrink)

A specific mapping mechanism is defined as the basic unit of “Biological Memory”. This mechanism must account for the characteristic frequency patterns in the organic world, where future probability is a function of past experience. The conditions for the function of biological memory are analysed. It is found that asymmetry, and irreversibility as a consequence of complexity, are the basic principles of memory function. The essential asymmetries in genetic memory are pointed out, and the problem of bilateral symmetry in a (...) basically asymmetrical organization is briefly outlined.Complexity is defined in terms of symmetry. The thermodynamic arrow of time and the biological arrow of time are discussed in relation to elementarity and complexity with their specific types of repeatabilities: non-accumulative in the first case and accumulative as a result of “copy-reproduction” by memory in the second case. The application of terminology from Information Theory and Thermodynamics to Memory Mechanics is critically considered.The immediate and inevitable consequences of memory function are shown to be irreversible expansion and irreversible, unpredictable diversification, leading to growing complexity and size on all but the sub-molecular levels of biological structure. (shrink)

continent. 1.1 (2011): 22-25. The Author gratefully acknowledges the financial support of CAPES (Coordenação de Aperfeiçoamento do Ensino Superior), Brazil. From the multifarious subdivisions of semiotics, be they naturalistic or culturalistic, the realm of semiotics of value is a ?eld that is getting more and more attention these days. Our entire political and economic systems are based upon structures of symbolic representation that many times seem not only to embody monetary value but also to determine it. The connection between monetary (...) and linguistic exchanges is self-evident: the former requires the latter and develops in direct relation to it. Creative experimentation and design of digital systems of value exchange are blossoming on the web. Dr. Gilson Schwartz, an economist turned media theorist and professor at the University of São Paulo, adopted the concept of Iconomics, originally created by Michael Kaplan, an author concerned with the linguistics of economic value. Empowering local communities and unlocking new levels of value creation and representation via digital technologies are the main goals of Dr. Schwartz’s projects, aiming at the re-designing of our relationship to the economic value of imagination and the social control of property. Schwartz is Assistant Professor at the School of Communication and Arts of the University of São Paulo, a former Chief Economist at BankBoston, Brazil and Advisor to the President of the National Social and Economic Development Bank (BNDES). FURTHER READING: Kaplan, Michael. “Iconomics: The Rhetoric of Speculation.” Public Culture . 15.3 (2003): 477-493. Renata Lemos-Morais: You have recently produced and directed a short documentary about Creative Currencies in Latin America. Could you tell us a bit about its process and its findings? Gilson Schwartz: The “Creative Currencies” project is a work-in-progress platform which unfolds as an action research agenda connected both to the production of audiovisual content and the development of social currency software. The initiative dates back to 2003 when I led an experimental project supported by the Presidency of Brazil. At that time, we issued paper currency in a small, touristic village in the Northeast Region which stimulated local cultural projects. But it was only in 2009 that the Central Bank of Brazil acknowledged “social currencies” as a legitimate economic agenda, calling for more debate at the I Financial Inclusion Forum. This year, the monetary authorities organized a second forum that also opened the room to discussions on mobile payment systems and new perspectives on poverty alleviation via State subsidies. The Ministry of Culture funded the “Creative Currencies” project in 2009-2010 and our next stage in this discovery process is to be supported by the National Social and Economic Development Bank (BNDES). In short, there is genuine interest among public officials in different areas and public funding for social currencies is on the rise in Brazil. However, after all these years we are still at a very early stage of research and practice. Some of the most successful initiatives (such as Banco Palmas) actually evolved out of local monetary creation to become correspondent banking operations for commercial banks and other financial groups. After eight years of price stability and social inclusion, Brazil stands out as a major opportunity for social experimentation, even the Grameen Bank is now entering the Brazilian market and many NGOs are geared towards different forms of entrepreneurialism in the base of the pyramid, riding solidarity economic models, microfinance and microcredit for local development. It is yet to be seen, however, whether these developments are just one more stage of “bankarization”, that is to say, an extension of regular banking services or actually a new form of social and symbolic self-determination at the local level. So far, the Central Bank of Brazil is open to new forms of credit and local finance as long as they are strictly territorial and very close to barter among the poor. In other words, whether the process of monetary creation could be made to fit an open source paradigm is yet to be seen. Community banking and social currencies might as well end up as just another channel for access to and use of banking services. The “Creative Currencies” project aims at promoting the discussion of more fundamental issues, such as the limits of central banking, the prospects for local financial development and the possibility of creating and managing financial icons as cultural assets. The purpose of this project is to produce short documentaries that will bear testimony to this evolving regulatory framework while inducing more discussion about the fundamental iconomic issues concealed in the process of money and wealth creation. RLM: What new potential is there in applying digital technologies to currency creation? GS: Globalization is a result of the virtualization of money, that is, the overcoming of illusions such as the “gold standard”. Money is an icon created by institutions, not on supposedly natural or material foundations but out of political and financial interests. The “dollar standard” is an outstanding evidence of this phenomenon and Kaplan´s paper, the first to use the expression “iconomics”, insists on the rhetoric and semiotic effects associated to a supposedly scientific model of money creation and management. This is a fundamental change that was perceived and discussed much before the digitalization of the world by unorthodox economists such as John Maynard Keynes since the early 20th century. The digitalization of global financial flows accelerated this immateriality and the creation of the Euro was yet another evidence of the political foundations of currencies. The banking establishment, however, is keen on the idea that scientific formulae hold the key to sound money creation. Keynesianism has been repeatedly associated to “inflationism” while the supposedly sound monetary policies of the Orthodoxy serve well the political and financial interests of a technocratic elite. Corporate media also serve this fictitious depiction of the monetary process despite the cyclical bust of monetary rules and financial regulations. The internet, however, has created numerous opportunities for the disintermediation in industries such as film, music and commodities. There is no reason to doubt that the financial industry can also be transformed by Peer-to-Peer (P2P) infrastructures. Money is media as well. Credit is but confidence. Once people realize that the distributed computing power of networks can also be the platform to weave new monetary and credit operations, there is room for grassroots emancipation out of the established owners of monetary institutions. So far, however, there has been a privatization of monetary management and there is not a clear path or model for the emergent (P2P) property democratization that is inherent to the internet. Digital assets, however, clearly have an inherent potential to escape central control and proprietary regulatory frameworks. RLM: How are social networks transforming the ways in which we exchange value? Do you believe that online influence and reputation might be translated into a new kind of currency? GS: The foundation for social currencies as envisaged by solidarity economics is the territory. Authorities are willing to concede local monetary creation as long as it is restricted to poor neighborhoods, as a proxy to barter. In this relevant but limited context, reputation, personal knowledge and informal ties form the matrix of local or “proximity” finance which are expected to keep credit and leverage to a sustainable level. Anything beyond that should and would lead to an integration of local finance into the established banking system. However, inasmuch as the internet promotes virtual territories and reputation is now subject to all sorts of digital manipulation and stardom becomes an everyday cultural process among teenagers and elders alike, the territorial “foundation” is substituted for more complex patterns of solidarity, cooperation and exchange that reach beyond the physical territory and even the “human.” Digital assets embody knowledge, technology, cultural and educational values that are exchanged at a global scale beyond the control of democratic States (Chinese-like intervention is the exception, not the rule). Hacktivism is unstoppable and so is monetary hacktivism. Especially in the Third World, mobile communications fast became conveyors of money transfers and other appropriation strategies. Banking and telecom sectors already battle for the control of these emerging markets and, as a matter of fact, have so far contributed to the containment of these processes. Governments serve these moguls and have usually adopted a wait-and-see attitude. If open source hardware and grassroots social movements combine to challenge these proprietary battles, then social networks may evolve into new forms of social capital and thus form the ground on which to design and implement social currencies. The global financial crisis, as well as the dollar demise, are an event of such a proportion that social networks may open the path for emancipator subjects to seize the opportunity. RLM: What are some of the social experiments that you think are revolutionizing the way in which value is exchanged? GS: There is a broad evolution of economic systems towards the valuation of intangible assets such as knowledge, reputation and sustainability. There are many examples of local as well as global events that call the traditional systems of exchange into question, from carbon credits to educational bonuses, digital barter frameworks and locally based solidarity and fair trade networks. These emerging examples, no matter how different in nature or scale, represent a challenge to the traditional value creation schemes and theories which are based on use and exchange value, supply and demand. This is not to say that utility and labour or scarcity are to be totally dismissed, but there is now an emerging perception that value is also a function of behavioral codes, symbolic patterns and the energy of institutional frameworks. The plasticity of digital platforms is relevant insofar as intellectual property becomes the central source of value creation. But when you discuss the property rights of public goods such as the environment or basic social rights (of minorities or localities), then a new paradigm seems to emerge. RLM: Are gaming and online storytelling digital practices that might have an impact on the way new currencies are created and developed? GS: “Play money” has been one of the early and most intriguing phenomena associated to the diffusion of virtual worlds. These virtual currencies have also been prone to “boom and bust” dynamics, speculation and pure theft (Second Life scams were common and led to “intervention” by the owners of the game). Storytelling is a major source of value, that is, the value of attention and the markets for audience. There are plenty of private monies created and managed by corporate entertainment groups, telecom operators (via mobile virtual network operators) and marketing frameworks. The casino economy, as already depicted by Keynes and other unorthodox economists, is always storytelling about future states of the world, confidence building and leverage of animal spirits. The novelty of current events is not the fictitious nature of any form of capital, but the potential for digital democratization of controls over the imaginary nature of value creation. But this is just a potential, a possibility, a figment that more often than not is appropriated by centralized and opaque private powers. The game industry is a testbed for new connections between storytelling and money creation. RLM: Monetary value was originally connected to the scarcity of precious metals, such as gold. Our entire monetary system seems therefore to function according to a logic of scarcity. Do you believe it is possible to reverse this logic into a logic of abundance? GS: The gold standard was a fiction itself, the “scarcity” is always produced by institutions that regulate confidence and access to credit. The key issue is not to fabricate abundance, but to question the institutions which produce scarcity out of any standard, gold or whatever. Central banks are at the service of private banks in the creation and management of scarcity. RLM: The promise that nanotechnology holds for our future is one of radical abundance (or so say transhumanists). The possibility of creating any kind of material substance through nanoengineering seems each day more feasible. What would this possibility entail in terms of systems of value exchange? GS: Nanotechnology, environmental concerns and grassroots appropriation of distributed knowledge are the frontiers of a new horizon of energy creation and management. Social groups in charge of managing scarcity for the sake of wealth and power concentration must be held accountable for the destruction of our future. Once this key political conundrum is accounted for, new systems of value exchange and even a non-mercantile society will come into existence. Revolutionary theorists such as Marx envisaged transformation via the extreme clash of contradictions between capital and labour. This approach has never led to a change in the systemic logic of scarcity for the sake of social control. We are once again facing the threshold of large scale societal change, but the outcome of the current crisis should come from our imagination, not from yet another paradox of abundance and scarcity. As long as we remain attached to the materiality of value, the illusion of freedom will but reinforce the massive manipulation of necessity. RLM: What do you think is the role of crowdfunding in this context? GS: Crowdsourcing as well as crowdfunding are examples of the peer to peer opportunities that come along with distributed computer power. However, the power structure behind wealth and scarcity creation may or may not be changed by crowd management. But it should not be taken at face value, so to speak. The stock market of course is an early form of crowdfunding without calling into question the proprietary framework of the companies offering their investment projects to the market. Any market is a form of crowdsourcing, that is to say, of distributed forms of supply and demand matchmaking. The wealth of networks, however, depends on the contractual ecosystem, the institutional framework, the channeling of social imagination, not on the purely quantitative distribution of bids and offers. I see economics as supply, demand and code. Once you have access to the code, once openness becomes part of the game, then there is a chance of crowd behavior becoming collective intelligence and sustainable imagination. RLM: Is the development of digital currencies headed towards a pluralistic ecology in which many micro currency systems co-exist, or is it penetrating the mainstream monetary system? If it is affecting the mainstream financial system, what would be its effect in the long-term? GS: The same issue is at stake both at local and global levels. The global system is, as a matter of fact, an unstable ecosystem of “micro currencies” whereas the dollar has so far exerted an overwhelming influence. Local currencies and private monies coexist with national currencies only to the extent that the Central Bank admits, for instance, that grassroots monetary emissions remain territorial and strictly connected to poverty. However, the question of how new developments in digital technologies and nanotechnologies might alter not only our current monetary systems but also our understanding of value in itself, is still an open question. (shrink)

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

Contemporary accounts on fictional emotions, i.e., emotions experienced towards objects we know to be fictional, are mainly concerned with explaining their rationality or lack thereof. In this context dominated by an interest in the role of belief, questions regarding their phenomenal quality have received far less attention: it is often assumed that they feel “similar” to emotions that target real objects. Against this background, this paper focuses on the possible specificities of fictional emotions’ qualitative feel. It starts by presenting what (...) I call the “phenomenological question” about the qualitative feel of fictional emotions (section 1) and by showing that this is irreducible to questions about their cognitive, intentional, evaluative, and embodied nature (section 2). Drawing on some insights from early phenomenologists, the next two sections elaborate criteria to distinguish between real and sham emotions on the one side (section 3) and between genuine and non-genuine emotions on the other (section 4). Finally, I apply this orthogonal distinction to the particular case of fictional emotions (section 5). The paper argues that fictional emotions are neither sham emotions nor quasi-emotions, but full-fledged emotional experiences, despite them displaying the distinctive phenomenology of emotions experienced as non-genuine. In the particular case of fictional emotions, they are non-genuine because our psychology is in fact in a state dominated by aesthetic enjoyment. (shrink)

continent. 2.1 (2012): 6–21. The French philosopher and novelist Tristan Garcia was born in Toulouse in 1981. This makes him rather young to have written such an imaginative work of systematic philosophy as Forme et objet , 1 the latest entry in the MétaphysiqueS series at Presses universitaires de France. But this reference to Garcia’s youthfulness is not a form of condescension: by publishing a complete system of philosophy in the grand style, he has already done what none of us (...) in the older generation of speculative realists has done so far. His book is sophisticated, erudite, rigorous, imaginatively rich, and abundant in worldly wisdom– despite the author’s conclusion that wisdom does not exist. The quality and scope of Forme et objet took few observers by surprise, since Garcia has been treated as an emerging philosopher to watch across half a decade of Parisian oral tradition. But Garcia was not just the subject of rumor, being already well known to the French public as a writer of fiction. His debut novel, La meilleure part des hommes , 2 was awarded the 2008 Prix de Flore 3 and has already appeared in English as Hate: A Romance . 4 His follow-up novel, Mémoires de la jungle , 5 made clever use of a chimpanzee narrator. Nor was Garcia only published as a novelist before last November: his philosophical study L’Image 6 had already appeared when the author was just twenty-six, a year before he was crowned by the muses at the historic Café de Flore. And then in 2011, just months before the appearance of Forme et objet , Garcia published a widely distributed work entitled Nous, animaux et humains , 7 with its focus on Jeremy Bentham’s ideas about animals. Given this prolific and versatile track record, an optimistic scenario might envisage the young Garcia as one of those combined literary/philosophical talents who appear intermittently in France across the centuries: Jean-Paul Sartre is merely the most famous recent case. While more time is needed to see how Garcia will channel his impressive mental energies, Forme et objet displays such breadth of insight that its author has a good chance to emerge as one of the leading philosophers of his generation. If we accept Aristotle’s dictum that the peak mental age is fifty-one, then to read Garcia’s massive book is to gain some idea of what European philosophy might look like in the futuristic-sounding 2030’s. The present article is confined to Forme et objet . At 486 pages, the work is obviously daunting in size. Indeed, it is even longer than it sounds, given that many of its early sections are printed in a smaller typeface to designate them as supplemental commentary to the main flow of the argument. But while the length of the book reportedly led to delays in French publication, and will probably slow the inevitable appearance of an English translation, the length of the book should not deter interested readers– much of it results from Garcia’s teacherly writing style. Whereas Quentin Meillassoux’s prose displays an arctic economy of means, Garcia’s style is reminiscent of the repeated lessons of oral classroom proceedings. Rarely is the reader given fewer than three or four chances to master an idea before the author moves on to the next. In practice, the style feels welcoming rather than long-winded. Otherwise, the structure of Forme et objet is surprisingly simple. There is a useful Introduction of less than twenty pages. Then comes Book I: Formally , running to approximately 135 pages. Here Garcia outlines the most basic features of a thing “no matter what it is,” or n’importe quoi , an everyday phrase that Garcia shapes into a technical term. This part of the book feels at times like a more amiable version of Hegel’s Science of Logic , a parallel emphasized further by the threefold articulation of its theme: 1. Thing; 2. Thing and World; 3. Being and Understanding. This is followed by the much longer Book II: Objectively , totaling more than 300 pages. It contains sixteen essay-like meditations on specific kinds of objects—including time, animals, humans, history, gender, and death. Here each chapter rolls smoothly into the next, making this second part of the book feel more like a different work of Hegel: The Phenomenology of Spirit . But these are merely analogies. Garcia is no Hegelian, even if the book contains a few dialectical flourishes that seem to reflect his early enthusiasm for the Frankfurt School. Forme et objet ends with a six-page Coda, followed by the usual page of acknowledgments. In what follows, I will briefly summarize each of these four parts of the book before ending with some more general remarks. Before doing so, it will be useful to situate Garcia biographically (as much as I am able) and philosophically. Though Toulouse is his native city, his formative years were spent largely in Algeria, where his family has deep roots. During our sole private conversation, Garcia mentioned that his parents are professors of literature. 8 As a student of philosopher Garcia flourished so early that many of his current ideas date to his teenaged years: “There are sentences in Forme et objet that I wrote when I was seventeen,” he said in response to a question on that cold night on the Canal St.-Martin. I recalled that remark when reading his brilliant account, late in the book, of the central role of adolescence in contemporary culture. While many prodigies blow through their formal academic training without serious obstruction, Garcia’s student memories are rich in tales of isolation and struggle, though equally rich in gratitude for a half-dozen or so exceptional teachers who provided the intellectual space he needed: Meillassoux and Alain Badiou are simply two of the most prominent figures on that list. Though there are many points of agreement between Garcia’s philosophical position and my own, he not only reached his position years before reading my work, 9 he arrived along a rather different path: not through phenomenology, but via the Frankfurt School, which may be one of the reasons for his profound fascination with aesthetics. Garcia’s cultural background is as broad as one could wish: he is no less informed about punk rock and European football leagues than about the spiritualist roots of Bergson’s philosophy. Curious about everything and contemptuous towards nothing, Garcia can be expected to write insightfully on dozens of topics in the years to come. Given that his philosophy is so personally tantalizing in its agreements and disagreements with my own, and given the great internal richness of Forme et objet itself, the present review is no better than a first effort at coming to terms with the challenges posed by this minstrel from the rising generation. This is especially intriguing for older Generation X’ers like me, since confrontation with the younger generation is one of the many themes treated insightfully in Garcia’s book. 1. Introduction Garcia begins in defense of a so-called “flat ontology,” in which all things are equally things. While Roy Bhaskar 10 used this term pejoratively to refer to anti-realist philosophies that flatten everything onto an epistemic plane of human access, Manuel DeLanda 11 (an admirer of Bhaskar) reversed it into the positive principle that all realities are equally realities. Similar notions can be found in the “absistence” of Alexius Meinong, 12 the “irreduction” of Bruno Latour, 13 and my own critique 14 of the undermining/overmining pair. Also noteworthy is Levi Bryant’s use of the term “flat ontology” throughout The Democracy of Objects 15 and his earlier essay “The Ontic Principle.” 16 But for Garcia, flatness is only one face of the cosmos, and one that he ultimately declares to be rather impoverished. Even so, he always remains an advocate of a flat ontology. Insofar as everything is equally something, no matter what it is ( n’importe qui ), everything is equally a thing, equally solitary in its relation with world. This is why his book abounds in those long lists of random, ontologically equivalent entities that Ian Bogost has playfully termed “Latour Litanies.” 17 The first litany in Garcia’s book runs as follows: “We live in this world of things, where a cutting of acacia, a gene, a computer-generated image, a transplantable hand, a musical sample, a trademarked name, or a sexual service are comparable things.” (7) Yet Garcia is frankly dualistic; his flat ontology only lasts until page 159 and the end of Book I (entitled “Formally”), which deals entirely with things that are equally things. Thereafter Garcia turns his attention from things to objects, which are not flat in the least, but engage in hierarchical relations with one another. In agreement with both DeLanda and the speculative realists, Garcia proclaims that his book “proposes to put to the test a thought about things rather than a thought about our thought about things .” (8) Just as ducklings are “imprinted” (9) after hatching and treat the first creature they see as their mother, philosophers are imprinted by the idea with which they begin. Hence, philosophies that begin with human access will never truly find their way back to things. This makes Garcia rather suspicious of twentieth century philosophy, since “the twentieth century—to which in some way this work proposes to bid adieu—has been a period of theorizing modes of access to things rather than things...” (9) Among other possible benefits of the philosophy of things that Garcia proposes, it is fully able to account for thought as a special variant of things, while the reverse is not possible.(10) In Book I of Forme et objet , Garcia’s “things” are so flat, so de-determined, that he is forced to renounce some of the most basic features ascribed to things by most realists. As he tells us in his foreboding third footnote: “We will maintain that the solitude [of things] is less than unity, less than identity, and that it does not imply acceptance (any more than refusal) of the principle of non-contradiction.” (11) In a contemporary world cluttered with too many things, Garcia’s flat and formal plane provides us with some breathing room: “The formal plan of thought enables or re-enables us to cut short all accumulation—whether of knowing, experience, or action—by a simplicity, an impoverished surface...” (13) As Garcia says elsewhere in responding to a Deleuzian critic of the book, his starting point in flat ontology is designed to obstruct the claims of both analytic philosophy and Hegelianism: “Hence, this work seeks to protect each thing—real, imaginary, inconsistent, contradictory—both against Ockham’s Razor and against the Aufhebung or dialectical process.” 18 Yet contrary to the equalizing spirit of many flat ontologies, “we will add to our formal ontology of the equal, an objective ontology of the unequal.” (13) But initially, Garcia joins all flat ontologists in holding that everything is irreducible: “this irreducibility, which we will term the ‘chance’ of each thing... also marks the refusal of a positive thought that reduces things exclusively to natural things, or social things, or historical things, etc.” (15) This irreducible “chance” of a thing emerges as an important technical term in the book, always paired with its inverted brother, the “price to pay” ( prix à payer ). On pages 17-19, we find the only diagrams in the book. What they illustrate is that Garcia wishes to avoid two equally dangerous extremes. The first is the philosophy of substance, featuring the thing-in-itself as a mighty river fed by attributes as if by subordinate tributary streams. This model can be found in many of the classic thinkers of West and East alike. In it, “there is obviously a hierarchization between that which is dragged towards something other than itself, and this other which serves it as an ontological support while supporting its proper being.” (16) For Garcia, the second extreme worth avoiding is the philosophy of events: “One thus conceives trajectories of being, identified as events, facts, powers, intensities, or intentionality. These vectors of being come first, bearing and supporting being, displacing it, but without ever finding a stopping point, a buffer, an objective consistency.” (17) The first model gives us a thing too wrapped up in itself, too compact . This word “compact” (the French and the English are the same) is another technical term for Garcia. But if the “compact” model of things leads us to something more than things, the philosophy of events gives us less than things, by dissolving them into a play of vectors. Garcia’s alternative lies midway between these two extremes: Being enters the thing, being comes out of it. And a thing is nothing other than the difference between the enters and the being that comes out. Thus, the circuit of being is never halted. In the thing, there is never the thing-in-itself. And the thing is never in-itself, but outside of itself. Nonetheless, being is not eventally “pollinated” by vectors: it possesses an objecting halting-point... (19) This single idea is the key to Garcia’s book: the thing is neither a self-contained durable lump nor some sort of evental flux. Instead, the thing is the difference between its various components and its relations with its environment. Or stated differently: “the price to pay for this disposition is a circulation of being that systematically distinguishes two senses of things: that which is in the thing , and that in which the thing is , or that which encompasses it and that which it encompasses,” (19) translating comprendre here as “encompass.” 19 In a beautiful description of a piece of black slate, Garcia sums up the various minerals, qualities, and shapes that compose [ comprend ] it, and calls them “that which is in the thing,” (20) noting that this tells us nothing about “that in which [the slate] is”—namely, all the various situations in which the black slate can be found. Instead, the slate is the difference between these two: the most characteristic principle of Garcia’s philosophy. 2. Formally Book One of Forme et objet , “Formally,” is concerned with the formal equality of all things in a flat world. “Two questions mark the boundaries of reflection: of what is everything composed [ composé ], and: what do all things compose?” (27) Looking downward, we wish to know what everything is made of; looking upward, we want to know the ultimate result of the combination of all things. Here we must turn our attention to the thing n’importe quoi— no matter what it is. (30) Anything with finite qualities is obviously too specific to be relevant to global ontological questions. To an equal degree, something possessing all qualities (think of Whitehead’s God) 20 would not be n’importe quoi either, since it would still be too definite, even if incredibly vast. The same holds for contradictions, since these all differ from each other. The square circle, the non-white black white, and the non-city city are all too distinct to count as the thing no matter what it is. The n’importe quoi must be devoid of all specific qualities, including contradictory ones. In one of the more intriguing points in his book, so reminiscent of Meinong, Garcia proclaims that “the ‘no matter what it is’ is neither a reality nor an abstract construction, nor both of these at once; the ‘no matter what it is’ is simply the plane of equality of that which is real, that which is possible, that which is inexistent, that which is past, that which is impossible, that which is true, that which is false, that which is bad.”(39-40) Since everything has two faces, it would be a grievous mistake to focus on just one of them at the expense of the other, as physicalism or materialism do when reducing the world to minuscule physical underpinnings. For scientistic materialism, “it is either atoms, particles, or fields of force... which are the things.” (47-48) Moreover, “these more-than-things are accompanied by less-than-things: for example, ideas or facts of consciousness are determined by the state of matter and are not autonomous things, but manifestations reduced to secondary effects of material processes...” (48) On this point, Garcia’s position is in complete accord with my own critique of undermining and overmining. 21 Where we disagree is that Garcia is more deeply suspicious of the notion of substance, which I view as salvageable with a few needed changes, while Garcia sees this operation as hopeless: “A substance, in the history of philosophy, is the more-than-thing par excellence.” (51) Another agreement between our positions is visible when Garcia claims (correctly, in my opinion) “that it is vain to distinguish between things which are material and those which are not.” (52) Yet we also find an even more important disagreement, since for Garcia withdrawal cannot be the quality of a thing. Instead, the absence of a thing is simultaneous with it, embodied in all that is not it– the absence of the sculpture of a woman is to be found in the mold that appears at the same time as it, and thus withdrawal must be viewed as an “event” rather than as something pertaining to an object. For Garcia, nothing withdraws beyond access. Since we must distinguish between “that which is something” and “that which something is,” and since the former is identified with “no matter what it is is” and the latter with “ not no matter what it is,” we can say that “everything is thus a milieu, a fragile link between ‘no matter what it is’ and ‘ not no matter what it is.’” (62) And here we find Garcia’s critique of the thing-in-itself: “A thing is never defined en bloc . We can affirm that a thing is this or that, but that does not suffice. It is still necessary to state precisely that which is this thing .” (62) Stated differently, “something is not in itself : for that which is in the thing is not the thing, and that in which the thing is is not the thing.” (62) And here Garcia and I, facing the same evidence, draw opposite conclusions. For me, the fact that nothing can be identified with either its components or its concrete location means that the thing must be something in-itself distinct from both of these. Yet for Garcia, to be in-itself would mean to be identified with just one of these two extreme terms, and hence the thing can only be the difference between them. Garcia is equally suspicious of the classical tendency to view “unity” as a property of the thing, since in his eyes unity is too relational a property to belong to things. (65) While specific things are situated determinately with respect to other things, we are still speaking here about the thing no matter what it is, and this can be viewed only in terms of solitude, which all things share: a human being, a hand, or a chair or all equally things insofar as they are on their own , not insofar as they are one . (64) A thing is alone, and relates only to the one thing that is not another thing: world. In a striking parallel to my own argument for a partial revival of occasionalism, Garcia tells us that “the things communicate only by their solitude: it is because everything is equally on its own in the world that things can be together, enmeshed in one another.” (67) Alone in their solitude, things all relate to world, which serves as a mediator allowing them to become mixed up in one another. As we have seen, one reason that nothing can be in itself is because everything is in something else. For Garcia, “to be in something and to be something are equivalent.” (69) Stated more broadly, “being is thus the difference between the two aspects of each thing: that which is it, and that which it is.” (70) And even more vividly: “a thing is almost like a sack: there is that which one puts in the sack and that which remains outside the sack.” (70) But not quite like a sack, “since a thing is not a thin skin or film. Instead, a thing is comparable to a sack that is immaterial and without thickness: it is nothing other than the difference between that which is this thing and that which thing is, between content and container.” (71) Nothing can be in-itself because everything is two selves at once. For example, we cannot say that our self is defined by our consciousness: “Everything has a self because nothing is in itself. The self is not the quality of that which is related to itself (which is conscious, for example) or which thinks itself related to itself. Nonetheless, for an entity called ‘conscious’ to be related to itself, it is necessary that this very relation should be another thing than the self to which it is related.” (71) Consciousness cannot be the self, precisely because it is other than that of which it is conscious. Nothing is able to grasp itself. The self is “the function by which being and composition [ compréhension ] are mutually excluded...” (72) The self is “the point of shadow of everything that projects some light...” (72) The in-itself faces two opposite dangers: “For something to be in-itself is to be a self. Something which is a self flies out through one of its two sides... Stated differently, being in-itself is simply the possibility of a double failure.” (73) The in-itself can be termed compact : “There remains to us a means of thinking that which does not fully enter into the world, though without exiting from it. This means is what we call the compact.” (76) In a sense, the compact is the opposite of the world. For in the case of the world, everything enters it and it enters nothing; as for the compact, it enters the world (since it is something, after all) while nothing enters it. (77) The compact marks the presence of the impossible in the world. (78) It is not impossible, but possible only on the condition that it fails. (78) The time has come to speak of where a thing is located. “The sole condition of a thing is that of being in another thing than itself, and thus in another thing than something.” (78) A condition is “that which determines something, that which forms something, that in which something is.” (78) As for humans, “the condition of someone is his situation; my social condition is that which socially determines me, my place and my function...” (79) More generally, “to be conditioned is to find oneself reduced to that in which one is.” (79) Everything is conditioned, but nothing is reducible to this condition. To determine the condition of something is to determine in what it is. A thing is located in that which contradicts it, just as a statue exists in its mold, which is precisely that which it is not. Since the thing is finite and definite, its condition or form must be infinite and indefinite. That in which all things are is the world, which Garcia also terms “the whole.” (81) “To try to be in-itself is to attempt to remain outside the world. And indeed, to try to be in-itself is only a path of entry into the world.” (83) For Garcia, “the world is not the pre-existent container of the things it contains, a priori , nor the construction by the mind of a fictional ensemble of all things, a posteriori .” (85) Instead, the world is simultaneous with all things; the two always go together. The world cannot be a determinate world, such as the physical universe or mathematical space, since these are already too specific and limited. “Every determinate world, which is in fact a universe , is a ‘big thing’ [ grosse chose ]: it is a set, however vast, of composite things which itself embodies a thing.” (85) Every determinate world is really just a “big thing.” Stated differently, “it is nothing other than a balanced milieu between the things that compose it and the thing that it composes.” (85) We generally picture the world as a physical univer. (shrink)

Context: Traditional research on the fiction/non-fiction distinction is the fruit of an essentialist methodology in which the procedures of ontologizing and textualizing are assumed as obligatory. Ontologizing and textualizing form the basic discursive technique, in which analyses are focused on the object as the semantic centre. Theory of literary fiction – deeply rooted in Alexius Meinong’s theory of non-existent objects – is object-orientated and, as a result, is always ontologically involved/engaged. Problem: The re-description of the fundamental literary problems as a (...) kind of epistemological experiment for which non-dualizing philosophy is a foundation. Considerations are aimed at providing answers/solutions to the three following issues: 1. Is it possible to connect non-dualism with a literary discourse about literary fiction? 2. What difference does the non-dualizing perspective make in comparison to a philologically-orientated discourse? 3. What difference does the non-dualizing perspective make in comparison to the constructivist approach to the problem of fiction? Approach: Mitterer’s non-dualism is considered from both the context of ontologically-orientated discourse about fiction and literary research and the context of constructivist discourse about fiction. Results: Mitterer’s non-dualizing conception may be considered a foundation of a radical non-essentialist way of thinking about literary fiction. As a result, the philologically-orientated research on literary text, focused on the explanation of its semantics, would rather move towards a culturally-, pragmatically-, and/or sociologically- orientated type of discourse. The notion of (literary) fiction should be reformulated as follows: fiction is not the reason for interpretation; fiction is the result of interpretation because the description comes from the object of speech (from-object-cognition). Implications: This is only an introduction to the project of a potential non-ontologizing discourse about literary fiction. Therefore it should be developed and discussed as the option for the dualizing type of the discourse as it still stirs up a lot of controversies. (shrink)

In the film The Corporation* (Mark Achbar, Jennifer Abbott and Joel Bakan, 2004, http://www.thecorporation.com/) there are several scenes taken from an interview with Ray Anderson, CEO of Interface, Inc., the largest commercial carpet manufacturing firm in the world. Anderson had founded the company twenty one years earlier with a bank loan of $5000, and had built it up to its present size. In this interview the camera focuses in a close up on Anderson’s face so that he is speaking directly (...) to the viewer. This is filmed in such a way as to capture the candor with which he describes a vivid experience which led him to a sudden appreciation for the enormous value of the natural world and.. (shrink)

In light of the so-called ‘chaos theorems’ from social choice theory, William Riker argues that the indeterminacy of majority rule leads to voting cycles making democratic decisions arbitrary and meaningless. Moreover, when the core is empty, majority instability correlates with the level of conflict among actors. This study uses laboratory committee decision-making experiments to provide an empirical test of both aspects of Riker’s argument. Committees make repeated majority decisions over 20 periods picking points from a two-dimensional policy space. The (...) experiment manipulates committee members’ preferences and thus varies the existence of a core and the level of conflict between group members. The experimental results contradict Riker’s interpretation of the chaos theorems’ implications. Thus, the core exhibits less attraction than generally assumed. Moreover, an empty core is not associated with increased majority rule instability. Instead, conflicting preferences lead to more instability irrespective of the existence of an equilibrium. (shrink)

We discuss recent work on bounded rationality and learning in relation to Soros' principle of reflexivity and stress the empirical importance of non-rational, almost self-fulfilling equilibria in positive feedback systems. As an empirical example, we discuss a behavioral asset pricing model with heterogeneous expectations. Bubble and crash dynamics is triggered by shocks to fundamentals and amplified by agents switching endogenously between a mean-reverting fundamental rule and a trend-following rule, based upon their relative performance. We also discuss learning-to-forecast laboratory experiments, (...) showing that in positive feedback systems individuals coordinate expectations on non-rational, almost self-fulfilling equilibria with persistent price fluctuations very different from rational equilibria. Economic policy analysis may benefit enormously by focusing on efficiency and welfare gains in correcting mispricing along almost self-fulfilling equilibria. (shrink)

Scientists are developing a technique called in vitro gametogenesis or IVG to generate synthetic gametes for research and, potentially, for treating infertility. What would it mean for feminist concerns over the future of reproductive practice and biotechnological development if egg and sperm cells could be produced in laboratory conditions? In this article, I take on the question by discussing the emerging technique of IVG through the speculative feminist analysis of ambiguous reproductive futures. Feminist cultural and science studies scholars have (...) explored the transformative effects of biomedicine on reproduction through science fiction novels and other cultural products. I theorise the speculative and visionary in biomedicine in the context of ethnographic methodology by drawing on ‘thought experiments’ conducted with stem cell scientists as shared acts of future-oriented contemplation. I develop the figure of SF proposed by Donna Haraway to investigate how science facts and speculative fabulation together shape futurities of reproduction. I propose including shifting frontiers in feminist thinking of the SFs in bioscience. Biomedical research aims to shift the borders between what is known and not known in reproductive biology, subsequently raising new technical, ethical and political issues in terms of stratified reproduction. The article shows that synthetic gametes are anticipated to intensify selective procreation. Simultaneously, IVG is seen to forge new biogenetic relationships and possibilities for non-normative reproduction and kin-making. Following Haraway, I argue that by ‘staying with the trouble’ of these biotechnological visions, feminist speculative analytics on technoscience offers a valuable tool to envision more hopeful and equal futures together with scientists. (shrink)

From accounts of migration and stories of personal alienation, through the fragmented memories of former incarnations, to fable-like tales of half-breeds and species metamorphosis, Ying Chen's fiction evolves as it revolves around questions of difference, otherness and identity, which is never fixed or singular. While presenting the narrators' inner preoccupations and, in some cases, unreliable nature, the increasingly complex texts of this francophone-Chinese writer (1961-) also reveal larger concerns about dominant discourses, the limitations of social realities, survival, and the relationship (...) between beings, all framed within an aesthetics of non-belonging. Intriguingly, the author achieves this by consciously distancing her works, from 1998 onwards, from any categorisation by ethnicity. This engaging study considers Chen's writing from the contemporary perspective of the breakdown of traditional spatiotemporal experiences, the homogenization of places, the erasure of cultural differences, and the resulting tendency towards universalism. Rosalind Silvester is Senior Lecturer in French Studies and Director of Education in the School of Arts, English and Languages at Queen's University Belfast. (shrink)

In the early twentieth century, the vernacular science periodical emerged as a key medium for building science-literate publics in colonial South Asia. This article argues that the Hindi science monthly Vigyan became a discursive laboratory for experiments with language, literary genres, narrative plots, and settings to create culturally grounded science lessons for Hindi readers in the mid-1910s. I focus on the writings of Prem Vallabh Joshi, a pandit, science graduate, and small town teacher, who experimented with distinct literary genres (...) to create a sensibility for science – an experimental temper – amongst Vigyan’s readers. Through his strategic use of scientific experiments in the “history of” a particular branch of knowledge, detective mysteries, and the genre of the fictionalized dialogue, Joshi inducted colonial readers into experimental culture and global scientific modernity. As a reflexive participant in the ongoing confrontation between “Western” science and Hindu śāstra in colonial society, Joshi staged a fictional encounter between the experimental demonstration of the iconic air-pump and the textual authority of śāstra. This article examines the encounter between sastric commitments and scientific sensibilities and their conjoined mobilization in Vigyan in the era of linguistic nationalism. In this colonial vernacular publishing culture, the serial possibilities of the periodical and the history of science itself became critical resources in the ontological confrontations between experimental science and traditional authority. (shrink)

Increasing rates of obesity have fueled interest in the factors underlying food choice. While epidemiological studies report that disadvantaged social groups exhibit a higher incidence of obesity, causal evidence for an effect of social contexts on food choice remains scarce. To further our knowledge, we experimentally investigated the effect of disadvantageous social context on food choice in healthy, non-dieting participants. We used three established experimental methods to generate social contexts of different valence in controlled laboratory settings: (i) receiving varying (...) amounts of money in a Dictator Game (DG; n = 40), (ii) being included or excluded in a Cyberball Game (CBG; n = 35), and (iii) performing well, average, or poorly in a response time ranking task (RTR; n = 81). Following exposure to a particular social context, participants made pairwise choices between food items that involved a conflict between perceived taste and health attributes. In line with previous research, stronger dispositional self-control, greater cognitive control of eating behavior, and lower external eating (all assessed via questionnaires) were associated with healthier food choices. As expected, being treated unfairly in the DG, being excluded in the CBG, and performing poorly in the RTR led to negative emotions. However, we did not find an effect of the induced social context on food choice in any of the experiments, even when taking into account individual differences in participants' responses to the social context. Our results suggest that-at least in controlled laboratory environments-the influence of disadvantageous social contexts on food choice is limited. (shrink)

Transcranial magnetic stimulation (TMS) of the visual cortex can induce phosphenes as can non-diagnostic ultrasound, the latter while participants have closed their eyes during Stimulation. Here we sought to study potential alteration of a visual target (a white crosshair) due to application of diagnostic ultrasound to the visual cortex. We applied a randomized series of actual or sham diagnostic ultrasound to the visual cortex of healthy participants while they stared at a visual target, with the ultrasound device placed where TMS (...) elicited phosphenes. These participants observed percepts 7 out of 10 times, consisting of extra or extensions of lines relative to the original crosshair, and additional colors. Observation of a percept occurred an average of 53.7 +/- 2.6% of the time over the course of the experiment for these participants. In contrast, 7 out of 10 participants exposed to sham-only diagnostic ultrasound observed comparable percepts an average of 36.3 +/ 1.9% of the time, a statistically significant difference (p < 0.00001). Moreover, on average, participants exposed to a combination of sham and actual ultrasound reported a net increase of 47.9 percentage points in the likelihood that they would report a visual effect by the end of the experiment. Our experiment demonstrated that a random combination of sham-only and actual diagnostic ultrasound applied to the visual cortex of participants increased the likelihood that they would observe visual effects, but not the type of effects, with that likelihood increasing over the course of the experiment. From this we conclude that repeated exposures by diagnostic ultrasound made the visual cortex more responsive to stimulation of their visual cortex by the visual target. These observations, consistent with other’s observation of effects of diagnostic ultrasound stimulation of human motor cortex and amygdala, as well as the FDA approved nature of diagnostic ultrasound, may lead to increased study of diagnostic ultrasound applied to human brain. (shrink)

During the early twentieth century, the Bermuda Biological Station for Research (BBSR) functioned as a multipurpose scientific site. Jointly founded by New York University, Harvard University, and the Bermuda Natural History Society, the BBSR created opportunities for a mostly US-based set of practitioners to study animal biology in the field. I argue that mixed gender field stations like the BBSR supported professional advancement in science, while also operating as important places for women and men to experiment with the social and (...) cultural work of identity formation, courtship and marriage, and social critique. Between 1903 and 1930, the BBSR functioned as a laboratory of domesticity, a temporary scientific household in British Bermuda where women and men interacted with established colonial ideologies about science, sex difference, and racial hierarchy in their public and private accounts of doing biology and socializing in the field. Viewing field stations as generative of multiple forms of labor offers a corrective to narratives within the history of biology, in which scientific practices are considered to be the principal forms of output produced by practitioners in the field. Understanding how women and men at the BBSR engaged with (and at times critiqued) the politics of gender and race from the periphery of U.S. networks of biology suggests that we might view field stations as shaping not only academic science but also domestic life and fields as disparate as fiction and the law. (shrink)

The aim of this paper is to analyze time-asymmetric quantum mechanics with respect to the problems of irreversibility and of time's arrow. We begin with arguing that both problems are conceptually different. Then, we show that, contrary to a common opinion, the theory's ability to describe irreversible quantum processes is not a consequence of the semigroup evolution laws expressing the non-time-reversal invariance of the theory. Finally, we argue that time-asymmetric quantum mechanics, either in Prigogine's version or in Bohm's version, does (...) not solve the problem of the arrow of time because it does not supply a substantial and theoretically founded criterion for distinguishing between the two directions of time. (shrink)

Abstract We use a controlled laboratory experiment design to test rational choice theory on student whistleblowing. We examine reporting costs by comparing actual reporting behavior under anonymous and non-anonymous reporting channels. Reporting benefits are explored by considering the influence on reporting of group versus individual reward systems. We find that the type of reporting channel does not significantly influence student reporting behavior. Rewarding students based on group test scores results in significantly higher reporting rates compared to a system rewarding (...) students based on individual test scores. Our laboratory research design allows for the measurement of actual reporting. The high reporting rates in this study emphasize the importance of clearly stating what is considered to be unethical behavior and directly asking students about their ethical environment. Content Type Journal Article Pages 1-14 DOI 10.1007/s10805-012-9154-7 Authors Iris Jenkel, St. Norbert College, De Pere, WI, USA Jason J. Haen, St. Norbert College, De Pere, WI, USA Journal Journal of Academic Ethics Online ISSN 1572-8544 Print ISSN 1570-1727. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 31.1 (2007) 189-196MuseSearchJournalsThis JournalContents[Access article in PDF]Fiction and Theory of Mind: An ExchangeLisa Zunshine University of KentuckyBrian Boyd's review of my new book, Why We Read Fiction: Theory of Mind and the Novel (Ohio State University Press, 2006) engages a large variety of issues.1 I would like to address an important question about the integration of scientific methodology with literary analysis suggested by Boyd's discussion.2 As (...) I argue below, two different perspectives of this integration may mark two different—indeed, incompatible—ways of formulating the disciplinary goals and philosophy of the new field of cognitive literary theory.Why We Read Fiction makes a case for admitting the recent findings of cognitive psychologists into literary studies by showing how their research into the ability to explain behavior in terms of the underlying states of mind can furnish us with a series of surprising insights into our interaction with literary texts. Using as my case studies novels ranging from Richardson's Clarissa, Dostoyevsky's Crime and Punishment, and Austen's Pride and Prejudice to Woolf's Mrs. Dalloway, Nabokov's Lolita, and Hammett's The Maltese Falcon, I advance and explore a series of hypotheses about cognitive cravings that are satisfied—and created!—when we read fiction.Although my study draws on the already well-established as well as forthcoming work of numerous cognitive scientists (including Simon Baron-Cohen, Clark H. Barrett, Richard Byrne and Andrew Whiten, Leda Cosmides and John Tooby, Christopher Frith, Uta Frith, Paul Bloom, Susan Carey and Elizabeth Spelke, Peter Carruthers, Andy Clark, Antonio Damasio, Daniel Dennett, Alison Gopnik, Francesca Happe, Paul [End Page 189] Harris, Lawrence Hirschfeld, Stanley Klein, Alan Leslie, Andrew Meltzoff, Robert Mitchell, Keith Oatley, Gloria Origgi, Oliver Sacks, Dan Sperber, James Stiller, and Endel Tulving), it makes a point of being accessible to non-specialist readers. Cognitive science can be incredibly complicated and so can literary criticism, but I wanted to write a book on cognitive literary theory that does not scare anybody away with unnecessary jargon, knotty sentences, and overlong quotations. (Ironically, I must have succeeded too well in making my book reader-friendly and tucking my references in the endnotes since Boyd observes that I rely on only "a few findings" of cognitive scientists in my discussion.)The book consists of three parts. The first part, "Attributing Minds," introduces the first key theoretical concept of this book: mind-reading, also known as Theory of Mind. Drawing on the work of Simon Baron-Cohen (Mindblindness: An Essay on Autism and Theory of Mind), I suggest that fiction engages, teases, and pushes to its tentative limits our mind-reading capacity. Building on the recent research of Robin Dunbar and his colleagues, I then consider one particular aspect of Woolf's prose as an example of spectacular literary experimentation with our Theory of Mind. Finally, I turn to Steven Pinker's controversial analysis of Woolf in The Blank Slate to discuss the possibilities of a more profitable dialogue between cognitive science and literary studies.Of particular importance to this part of my argument is my belief that fictional narratives endlessly experiment with rather than automatically execute our evolved cognitive adaptations. When cognitive scientists succeed in isolating a certain regularity of our information-processing—for example, a constraint on the number of mutually reflecting minds that we can process with ease—we can take that constraint and see how it plays itself out in a fictional narrative. What we discover is that where there is a cognitive constraint, there is a "guarantee" of sorts that writers will intuitively experiment in the direction of challenging that constraint, probing and poking it and getting around it. The exact forms of such probing and poking will depend on specific cultural circumstances, including the mind-reading profiles of individual writers and their readers. The cognitive "limits" thus present us with creative openings rather than with a promise of stagnation and endless replication of established forms. This realization marks the possibility of a genuine interaction between cognitive psychology and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 216-223 [Access article in PDF] Notes and Fragments Genre Fiction and "The Origin of the Work of Art" Nancy J. Holland I FIRST, A CONFESSION. Like, I suspect, many of my readers, I am an unpublished fiction writer. Unlike most of the closet fiction writers in academia, however, I write genre fiction. The question that immediately follows is how that writing is related to (...) the intellectual work I do in philosophy.This question, of course, is open to a broad range of answers, from the possibility that the two aren't related at all, to potential Freudian answers it might take years of therapy to unearth. Teaching informs one's life, however, as much as the reverse, and in teaching Martin Heidegger's "The Origin of the Work of Art" to my Metaphysics class last year, I began to understand at least one dimension of the appeal that writing genre fiction has for me as a philosopher.But first, let me explain what I mean by genre fiction. In what follows, I will be referring primarily to four forms of genre fiction that have clear roots in the nineteenth century in Western Europe and North America: two gender-segregated genres, the western and the romance, and two gender-marked genres, science fiction and detective novels. I will be comparing these to two other forms of "popular culture" that also developed in the nineteenth century and have, I would argue, similar relationships to the older, more "legitimate," more elite art forms which they closely resemble: photography 1 and popular music, [End Page 216] especially those forms of popular music such as ragtime, blues, jazz, and rock that are informed by the African-American experience in the United States. 2These "low brow" art forms all appear to have arisen out of the growth of the middle class in developing parts of the world during the nineteenth century and the correlative confluence of greater leisure, greater aggregate prosperity, and higher levels of education across a broader spectrum of society. Further, these art forms all combine the surface appearance of their respective "high brow" correlate arts with the reassurance of repetition that is the cornerstone of the folk arts with which they are also correlated. Each of these forms of popular culture balances itself, then, between a demand for more and more "works of art" (and/or class aspirations based on the appearance of such) and a demand for the familiar in a rapidly changing, materially challenging world.Thus, photography gives us a frozen and thereby purified visual reality, an icon of memory to which we can return at will. The truth it reveals is most often starker than that of folk painting and portraiture, but also gives the appearance of being free from the subjectivity of the artist. Great iconic photographs such as the kiss on V-E day, I have heard it said, become more real than the reality they encapsulated.Popular music similarly combines often amazing musical complexity (which is not unknown, although rarer, in western folk music) with the reassurance of a form that not only repeats itself within a song, but also between songs of the same genre. Thus, blues can be recognized by both the minor chords in its melodies and the characteristic rhyme pattern of its lyrics. Moreover, most western popular music, even to some extent free-form jazz, has a familiar and reassuring beginning-middle-end structure, both melodically and dynamically, that locates a listener immediately within the song's "story-arc." 3This same beginning-middle-end structure is one clear hallmark of genre fiction. Another is repetition. We all immediately know the plot of a detective novel or science fiction adventure: where it will begin, what the key stages of the story will be, and how it will end—not just happily, but with a specific form of reassuring outcome, be it the victory of well-intentioned intelligence over cunning evil or humanity's ability to survive even the most alien (and so most familiar) of threats. At... (shrink)

The article examines the need to increase an education toward the development of complex thinking in urban areas where there is a considerable amount of social unrest. The school often fails to bridge the gap between educator/education and learner and this happens in particular when it comes to kids ‘disadvantaged’. The P4C is a pedagogical method that can heal this divide, inter alia, through its dialogic practice. The practice of philosophy can became a way to bridge the sense of fragmentation (...) that the learner feels during his school track when he is having to do with a series of parceled knowledge, because it facilitate the cognitive access to them. The risk to which the student meets with the traditional education, as Freire says, is to undermine the faculty to make aware and to problematize his learning process. To built complex thinking opens the possibility of a 360-degree access to the real and increases the development of critical, creative and caring cognitive spheres. The P4C methodology application should be widespread in many school settings possible, but not only. The article continues with a brief description of some non-formal educational services offered to minors in situations of social disadvantage in Naples, focusing in particular on the Territorial Educational Laboratories. In one of these, L’Officina dei Sogni, an organization working in the territory of the 1st Municipality of the city, I carried out from October 2010 to June 2011 a P4C laboratory with children between 8 and 12 years old, driven by the reflection that this educational methodology can improve on cognitive skills in children and adolescents who are living in situations of high social problems and difficulties at school, in order to reduce for them the risk of social exclusion. The success encountered by the laboratory has had a positive effect also on the other daily Territorial Educational Laboratories activities. The aim of this article is to demonstrate that the use of this philosophical practice is not only possible but necessary in the educational fields that attend in urban areas where there is a strong presence of social problems. (shrink)

Life can be non-ideal in many ways. One of the central ways is in its necessarily embodied, and hence vulnerable, nature. This vulnerability includes our susceptibility to injury and disease, other types of bodily failure, and death. In this chapter, we will describe the moral and epistemic mistreatment common to the experiences of illnesses. We use the term ‘illness’ here to denote serious and life-changing irreversible conditions, which may be chronic or acute. What we say may be applicable, at least (...) in part, to mental illness as well, but there are important differences. (shrink)

Ideas for explaining the mechanism of gravity involving the expansion of matter have been proposed several times since the 1890’s. Due to their radical nature and other reasons, these ideas have not gotten much attention. Another essential feature needed to augment the viability of the model proposed here---even more important than matter expansion---is that of space generation. I.e., the production of space by matter, involving motion into or outfrom a fourth spatial dimension. An experiment is proposed whose result would unequivocally (...) either falsify the model or support it. Analyses of star cluster velocity dispersions suggest that some support already exists. The simplest, most definitive way to test the model is to build and operate an apparatus that may be called a Small Low-Energy Non-Collider. Essentially the same experiment was proposed by Galileo in 1632. We are way overdue to at last bring to fruition this idea put forth by the Father of Modern Science so long ago. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 10.2 (2003) 133-134 [Access article in PDF] Fictional Beings J. M. Coetzee What Does It Mean, "To Understand"? A tennis coach is teaching a young player a forehand topspin drive. He does so with a mixture of demonstrations (nonverbal) and explanations (verbal), such as, "At the moment of impact you roll the wrist over like this" (demonstrates). The player tries the stroke again and again, (...) and each time the coach shakes his head and says, "You haven't got it yet." Then the player gets the stroke right. The coach says "Now you've got it! Now you understand! Now let's do it again!"Is this a legitimate use of the word understand? I think it is. The coach intends the following: At first you may have understood my words but from your actions—the practice strokes you played—I could not see that you had understood my meaning. Then, when you got the stroke right, and could repeat it, I saw that you had finally understood the meaning behind my words.Understanding is in this case the effective translation of words, or words plus demonstrations, into actions, where effectiveness can be easily measured. The translation is from a verbal, or mixed verbal, system into an entirely nonverbal system of electrochemical impulses.Conversely, one can picture an exhaustive analysis of forehand topspin drives by André Agassi, conducted by microphotography, implanted sensors, and so on, to issue in a mixed verbal and diagrammatic account of how Agassi plays the stroke. In this case the physiologic system of the stroke has been successfully translated into a (partially) verbal system. Again, it would be meaningful to say that the sports physiologist who does the analysis has come to understand how the stroke is played.Although in both these cases understanding is conceived of as a translation process, I concentrate from here onward on the translation process from the verbal to the nonverbal, exemplified by understanding how to play a particular stroke.The coach says X and the player tries to "do" X, but fails and fails, until finally he succeeds. When the player has at last "done" X, he has understood. Thereafter, by steps, the player ceases to depend on the coach and the coach's X: the player can do X by himself; he understands X in the sense that whenever he says X to himself he can do X. He has made X his own.I read The Sound and the Fury, the part devoted to Benjy. Benjy says X and I don't understand. I understand the words on the page one by one, many of the sentences I understand one by one in the sense that I can translate them into other English sentences, but I don't understand the logic that gets Benjy from one sentence to the next, I don't understand the references of many words that are usually referential, and sometimes I am baffled by the syntax.For whatever reason, I go on reading Benjy. In a few respects I begin to understand better. For instance, there are sentences that stop in midstride, and I begin to suspect that such sentences stop because Benjy does not want to think what [End Page 133] comes next—that is to say, that the Faulkner behind Benjy means me to understand that Benjy lacks the wherewithal to face what would naturally come next. Mainly, however, I remain in the dark.Then I begin to experience something interesting. I find that I am, in my mind, going through some of the movements of Benjy's language. I am, as it were, practicing the characteristic strokes of his game. Although I remain, for the most part, unable to translate his pages into connected discourse—that is, into a discourse in which the logical connection between one sentence and the next is, however faulty, at least clear—I am better and better able to "do" Benjy."Doing" Benjy in this case means more than parrot-like repetition of Benjy's words. I can now speak of "entering Benjy" in a way that makes sense. I... (shrink)

Laboratory experimentation was once considered impossible or irrelevant in economics. Recently, however, economic science has gone through a real ‘laboratory revolution’, and experimental economics is now a most lively subfield of the discipline. The methodological advantages and disadvantages of controlled experimentation constitute the main subject of this thesis. After a survey of the literature on experiments in philosophy and economics, the problem of testing normative theories of rationality is tackled. This philosophical issue was at the centre of a (...) famous controversy in decision theory, during which a methodology of normative falsification was first articulated and used to assess experimental results. In the third chapter, the methodological advantages of controlled experimentation are illustrated and discussed with examples taken from the experiments on the so-called ‘preference reversal’ phenomenon. Laboratory testing allows to establish with a high degree of certainty that certain phenomena lie behind the experimental data, by means of independent testing, elimination of alternative hypotheses, and the use of different instruments of observation. The fourth chapter is devoted to a conceptual analysis of the problem of ‘parallelism’. This is the problem of inferring from the occurrence of a phenomenon in the laboratory, to its instantiation also in non-laboratory environments. Experimental economists have discussed parallelism at length, and their views are presented and criticised. Eventually, it is argued that parallelism is a factual matter and as such can only be established on empirical grounds. The fifth chapter provides an example of how one can argue for parallelism, focusing on the case of experimentation on the ‘winner’s curse’ phenomenon. The role of experiments as ‘mediators’ between theoretical models and their target domain of application is illustrated, and the structure of parallelism arguments analysed in detail. Finally, in the last chapter, economic experiments are compared to simulations, in order to highlight their specific characteristics. (shrink)

Here, we present some experiments of non-cooperative games of network formation based on Bala and Goyal (Econometrica 68:1181–1229, 2000 ). We have looked at the one-way and the two-way flow models, each for high and low link costs. The models come up with both multiple equilibria and coordination problems. We conducted the experiments under various conditions which allowed for repeated interactions between subjects. We found that coordination on non-empty Strict Nash equilibria was not an easy task to achieve, even in (...) the one-way model where the Strict Nash equilibria are wheels. We found some evidence of convergence to equilibrium networks through learning dynamics, while we found no effect of salient labels to help coordination. The evidence on learning behavior provides support for subjects that were choosing strategies in line with various learning rules, principally Reinforcement and Fictitious Play. (shrink)

The conceptual foundations of the modern thermodynamic theory related to a large category of far-from-equilibrium phenomena are outlined, and the historical continuity with early developments based on the impossibility of perpetual motion is discussed.In this perspective the discovery of thermodynamic stability criteria around steady or periodic processes, together with a general evolution criterion that is valid in the non-linear region (and thus implying creation of order and applicability to living systems), appears as a most remarkable development indeed. The leading role (...) played by the Brussels school and particularly by Ilya Prigogine is emphasized. (shrink)

The standard interpretation of Hume on testimony takes him to be a reductionist; justification of beliefs from testimony ultimately depends on one's own first-person experience. Yet Hume's main discussions of testimony in the Treatise and first Enquiry suggest a social account. Hume appeals to shared experience and develops norms of belief from testimony that are not reductionist. It is argued that the reductionist interpretation rests on an overly narrow view of Hume's theory of ideas. By attending to such mechanisms of (...) the imagination as abstraction and fictions, it is shown that Hume's theory of ideas does not forestall a non-reductionist social epistemology. (shrink)

Brown (The laboratory of the mind. Thought experiments in the natural science, 1991a , 1991b ; Contemporary debates in philosophy of science, 2004 ; Thought experiments, 2008 ) argues that thought experiments (TE) in science cannot be arguments and cannot even be represented by arguments. He rest his case on examples of TEs which proceed through a contradiction to reach a positive resolution (Brown calls such TEs “platonic”). This, supposedly, makes it impossible to represent them as arguments for logical (...) reasons: there is no logic that can adequately model such phenomena. (Brown further argues that this being the case, “platonic” TEs provide us with irreducible insight into the abstract realm of laws of nature). I argue against this approach by describing how “platonic” TEs can be modeled within the logical framework of adaptive proofs for prioritized consequence operations. To show how this mundane apparatus works, I use it to reconstruct one of the key examples used by Brown, Galileo’s TE involving falling bodies. (shrink)

What methodology should philosophers follow? Should they rely on methods that can be conducted from the armchair? Or should they leave the armchair and turn to the methods of the natural sciences, such as experiments in the laboratory? Or is this opposition itself a false one? Arguments about philosophical methodology are raging in the wake of a number of often conflicting currents, such as the growth of experimental philosophy, the resurgence of interest in metaphysical questions, and the use of (...) formal methods. This outstanding collection of specially-commissioned chapters by leading international philosophers discusses these questions and many more. It provides a comprehensive survey of philosophical methodology in the most important philosophical subjects: metaphysics, epistemology, philosophy of language, philosophy of mind, phenomenology, philosophy of science, ethics, and aesthetics. A key feature of the collection is that philosophers discuss and evaluate contrasting approaches in each subject, offering a superb overview of the variety of methodological approaches - both naturalistic and non-naturalistic - in each of these areas. They examine important topics at the heart of methodological argument, including the role of intuitions and conceptual analysis, thought experiments, introspection, and the place that results from the natural sciences should have in philosophical theorizing. The collection begins with a fascinating exchange about philosophical naturalism between Timothy Williamson and Alexander Rosenberg, and also includes contributions from the following philosophers: Lynne Rudder Baker, Matt Bedke, Greg Currie, Michael Devitt, Matthew C. Haug, Jenann Ismael, Hilary Kornblith, Neil Levy, E.J. Lowe, Kirk Ludwig, Marie McGinn, David Papineau, Matthew Ratcliffe, Georges Rey, Jeffrey W. Roland, Barry C. Smith, Amie L. Thomasson, Valerie Tiberius, Jessica Wilson, and David W. Smith. (shrink)

It has long been thought that observing distinctive traces of quantum gravity in a laboratory setting is effectively impossible, since gravity is so much weaker than all the other familiar forces in particle physics. But the quantum gravity phenomenology community today seeks to do the (effectively) impossible, using a challenging novel class of `tabletop' Gravitationally Induced Entanglement (GIE) experiments, surveyed here. The hypothesized outcomes of the GIE experiments are claimed by some (but disputed by others) to provide a `witness' (...) of the underlying quantum nature of gravity in the non-relativistic limit, using superpositions of Planck-mass bodies. We inspect what sort of achievement it would possibly be to perform GIE experiments, as proposed, ultimately arguing that the positive claim of witness is equivocal. Despite various sweeping arguments to the contrary in the vicinity of quantum information theory or given low-energy quantum gravity, whether or not one can claim to witness the quantum nature of the gravitational field in these experiments decisively depends on which out of two legitimate modelling paradigms one finds oneself in. However, by situating GIE experiments in a tradition of existing experiments aimed at making gravity interestingly quantum in the laboratory, we argue that, independently of witnessing or paradigms, there are powerful reasons to perform the experiments, and that their successful undertaking would indeed be a major advance in physics. (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 orthodox view in analytical film theory is that the difference between fiction and nonfiction is anchored in communicative practice. Whereas the creator of nonfiction can be seen as asserting something as true, the creator of fiction merely asks of its spectators that they imagine the work’s content. This could be labelled an intention-response theory of the difference between fiction and nonfiction. While watching Supersize Me I am as a spectator very much aware of director Morgan Spurlock making an argument (...) about the state of affairs in the real world, and I assess the truth-value of this argument. While watching Avatar I imagine that there is a population of humanoids, the Na’vi, on the planet Pandora, fighting for survival: I assess what is fictional (true in the fiction). -/- However, when it comes to truth claims the difference between the many varieties of fiction and nonfiction is not as straightforward as this. For example, one may argue that the spectator can and commonly does perceive even a prototypical fiction film such as Avatar as laying claims to truth in the sense that she may read the film allegorically, and search for the filmmaker’s agenda. Is not Avatar a critique of Western imperialism, and our non-environmental lifestyle, for example? It is not fully accurate to claim that fiction film does not make truth claims – there are several ways in which fiction films are taken as asserting something that the spectator is asked to believe. -/- Among the many difficult issues this counterargument raises, I will concentrate on only one here, namely on the case of social realism in fiction. Social realism arguably asserts that something is true in our actual world and asks its spectators to believe this – although works of social realism are also classified as fiction. The solution is not to dismiss the basic theory, but to make finer distinctions. I argue that one difference between prototypical nonfiction and social realist fiction is that nonfiction asserts that its contents (characters and events) are true as tokens, e.g., this person experienced this. As fiction, a work of social realism calls for imagining. However, such a work also asserts that its contents are true as types, e.g., these types of persons experience these types of events. -/- I argue that this can explain what the difference is between the truth claims made in the nonfictional The Corner and The Wire as social realist fiction, respectively. Creator David Simon emphasizes that The Wire’s portrayal of Baltimore city life is true, and is to be taken as making assertions about American inner city decay. The background for the show is found in Simons and co-author Ed Burns’s nonfiction book The Corner, written after extensive ethnographic observation of a group of drug dealers in Baltimore. Their intention to assert something as true is reflected in the academic reception of the series, in which it is celebrated for its authenticity and realism. Studying the style, narration and content of The Wire carefully further illustrates how these truth-telling intentions are communicated to the spectator. Its documentary-like style mimics observational nonfiction film, and its cyclical narrative structure, focused on an ensemble cast of characters typically marginalized in mainstream popular culture by virtue of status and ethnicity, is typical of works of social realism. The spectator picks up on these clues and expects a certain accuracy and authenticity in the type representations in The Wire, although she is aware that the depictions of these token characters and these token events are not true, but only to be imagined. -/- In conclusion, the theory presented in this paper may not be able to neatly categorize any given film as either fiction or nonfiction, as some nonfiction films make type claims and some fictions make token claims. I do not claim that the difference between type and token claims is sufficient for categorizing any given work as either fiction or nonfiction. More work is needed in order to categorize and describe the various types of fiction and nonfiction, paying special attention to the particular blend of imagining and belief prescribed by each, as evident in what the creators say about their intentions, textual features of the work itself, and critical reception. However, difficult borderline cases such as social realism in fiction do not collapse the distinction between fiction and nonfiction, as demarcated by the intention-response theory. Rather, such difficult cases should compel us to investigate more closely the communicative intentions and conventions at work. In the case of social realism, it is still correct to say that the spectator merely imagines that these fictional characters experience various events; however, she also perceives a double invitation to believe that these events and experiences are typical, and as such representative, of a larger group about which the work intends to assert something as true. (shrink)

This paper discusses the so-called non-interference assumption (NIA) grounding causal inference in trials in both medicine and the social sciences. It states that for each participant in the experiment, the value of the potential outcome depends only upon whether she or he gets the treatment. Drawing on methodological discussion in clinical trials and laboratory experiments in economics, I defend the necessity of partial forms of blinding as a warrant of the NIA, to control the participants’ expectations and their strategic (...) interactions with the experimenter. (shrink)

This chapter contains sections titled: Literature, Fiction, and Truth Literary Cognitivism Thought Experiments Genres Learning by Supposing De se Suppositions.

Recent developments regarding the pharmacology of psychoactive substances are significant for treating depressions or opioid addictions. Current theories, hypotheses, and models of drug effects assume a cause–effect narrative, which is based on a stimulus/response mechanism. These narratives prioritize effects rather than conscious experiences. In this sense, drug experiences are quickly subsumed into common categories and codes of biological determinism. If subjective experiences are in the focus of the research, it quickly becomes a link to mystical, spiritual, or transcendental narratives. These (...) classifications lead to epistemological doublets (Gadamer). In this article, psychedelic experiences of drug users are analyzed in the frame of the pharmaco-analysis by Deleuze/Guattari. These framed psychedelic experiences are interpreted by means of a non-philosophical approach through philo-fictions (Laruelle), i.e., contradictory assumptions and hyperspeculations. In this respect, the aim of this article is to bring philo-fictions in relation to psychedelic experiences and to discuss them with models of information science, quantum mechanics, new materialism, and the philosophy of immanence. The result will be an open synthesis, with the assumption of further reflections on the agency, immanence, and the wholeness of matter. (shrink)