Online research in philosophy

Motivated by a question of W. Rautenberg, we prove that any matrix that is term-equivalent to the well-known nonfinitely based matrix of A. Wroski is itself also nonfinitely based.

“The Matrix is a computer-generated dreamworld built to keep us under control” Morpheus, early in The Matrix. “ In dreaming, you are not only out of control, you don’t even know it…I was completely duped again and again the minute my pons, my amygdala, my perihippocampal cortex, my anterior cingulate, my visual association and parietal opercular cortices were revved up and my dorsolateral prefrontal cortex was muffled” ” J. Allan Hobson, The Dream Drugstore, p.64 The Matrix is an exercise in ambivalence, and at the very heart of that ambivalence lies the Dream. In our dreams, we are not in control. Real dreaming, unlike many popular philosophers’ fictions, is an altered state, closely related to the states induced by chemical manipulations such as the use of (certain) medical or recreational drugs. The dreaming brain is not like the wakeful brain. Normal sensory input is blocked, attentional capacities are impaired or lost, memory is distorted, reasoning and logic are weakened, narratives run wild, self-reflection is dampened or destroyed, emotion and instinct are hyperstimulated, and forms of ‘top-down’ willed control and decision-making diluted and easily overwhelmed.

The Ethical Matrix was developed to help decision-makers explore the ethical issues raised by agri-food biotechnologies. Over the decade since its inception the Ethical Matrix has been used by a number of organizations and the philosophical basis of the framework has been discussed and analyzed extensively. The role of tools such as the Ethical Matrix in public policy decision-making has received increasing attention. In order to further develop the methodological aspects of the Ethical Matrix method, work was carried out to study the potential role of the Ethical Matrix as a decision support framework. When considering which frameworks to apply when analyzing the ethical dimensions of the application of agri-food biotechnologies, it is important to clarify the substantive nature of any prospective framework. In order to further investigate this issue, reflections on the neologism “ethical soundness” of an ethical framework are presented here. This concept is introduced in order to provide more structured evaluations of a range of ethical tools, including ethical frameworks such as the Ethical Matrix. As well as examining the philosophical dimensions of the method, theoretical analysis and literature studies were combined with stakeholder engagement exercises and consultations in order to review the Ethical Matrix from a user perspective. This work resulted in the development of an Ethical Matrix Manual, which is intended to act as a guide for potential user groups.

This book explores Gilles Deleuze's contribution to film theory. According to Deleuze, we have come to live in a universe that could be described as metacinematic. His conception of images implies a new kind of camera consciousness, one that determines our perceptions and sense of selves: aspects of our subjectivities are formed in, for instance, action-images, affection-images and time-images. We live in a matrix of visual culture that is always moving and changing. Each image is always connected to an assemblage of affects and forces. This book presents a model, as well as many concrete examples, of how to work with Deleuze in film theory. It asks questions about the universe as metacinema, subjectivity, violence, feminism, monstrosity, and music. Among the contemporary films it discusses within a Deleuzian framework are Strange Days, Fight Club, and Dancer in the Dark.

Philosophy Goes to the Movies is a new kind of introduction to philosophy that makes use of the movies to explore philosophical ideas and positions. From art-house movies like Cinema Paradiso to Hollywood blockbusters like The Matrix, the movies we have grown up with provide us with a world of memorable images, events and situations that can be used to illustrate, illuminate and provoke philosophical thought.

This book looks at the ways in which The Matrix Trilogy adapts Jean Baudrillard’s Simulacra and Simulation, and in doing so creates its own distinctive philosophical position. Where previous work in the field has presented the trilogy as a simple ‘beginner’s guide’ to philosophy, this study offers a new methodology for inter-relating philosophy and film texts, focusing on the conceptual role played by imagery in both types of text. This focus on the figurative enables a new-found appreciation of the liveliness of philosophical writing and the multiple philosophical dimensions of Hollywood films. The book opens with a critical overview of existing philosophical writing on The Matrix Trilogy and goes on to draw on adaptation theory and feminist philosophy in order to create a new methodology for interlinking philosophical and filmic texts. Three chapters are devoted to detailed textual analysis of the films, tracing the ways in which the imagery that dominates Baudrillard’s writing is adapted and transformed by the trilogy’s complex visuals and soundtrack. The conclusion situates the methodology developed throughout the book in relation to other approaches currently emerging in the new field of Film-Philosophy. The book’s multi-disciplinary approach encompasses Philosophy, Film Studies and Adaptation Theory and will be of interest to undergraduates and postgraduates studying these subjects. It also forms part of the developing interdisciplinary field of Film-Philosophy. The detailed textual analysis of The Matrix Trilogy will also be of interest to anyone wishing to deepen their understanding of the multi-faceted nature of this seminal work.

The Matrix presents a version of an old philosophical fable: the brain in a vat. A disembodied brain is floating in a vat, inside a scientist’s laboratory. The scientist has arranged that the brain will be stimulated with the same sort of inputs that a normal embodied brain receives. To do this, the brain is connected to a giant computer simulation of a world. The simulation determines which inputs the brain receives. When the brain produces outputs, these are fed back into the simulation. The internal state of the brain is just like that of a normal brain, despite the fact that it lacks a body. From the brain’s point of view, things seem very much as they seem to you and me.

The Matrix trilogy is unique among recent popular films in that it is constructed around important philosophical questions--classic questions which have fascinated philosophers and other thinkers for thousands of years. Editor Christopher Grau here presents a collection of new, intriguing essays about some of the powerful and ancient questions broached by The Matrix and its sequels, written by some of the most prominent and reputable philosophers working today. They provide intelligent, accessible, and thought-provoking examinations of the philosophical issues that support the films. Philosophers Explore The Matrix includes an introduction that surveys the use of philosophical ideas in the film. Topics that the contributors tackle include: how a collaborative dream could differ from hallucination, the difference between the Matrix and the "real" world; why living in the Matrix would be considered "bad"; the similarities between the Matrix and Plato's Cave; the moral status of artificially created beings, whether one can behave immorally in illusory circumstances, and the true nature of free will and responsibility. This volume also includes an appendix of classic philosophical writing on these issues by Plato, Berkeley, Descartes, Putnam, and Nozick. Philosophers Explore The Matrix will fascinate any fan of the films who wants to delve deeper into their themes, as well as any student of philosophy who desires an accessible entry into this challenging and profoundly vital world of ideas.