Munich-based "03 Architects" have in recent years developed a distinctive way of working for urban spaces. No matter if the task is a warehouse for building materials, a kindergarden, or planning an entire new neighbourhood, "03 Architects " designs always look closely at the narrative qualities of the city. For this book the architects have invited the photographer Walter Mair for a dialogue on their work, concepts and methods. Mair documents "03 Architects " work with great sensitivity for their ideas, (...) but also for the context which the buildings reflect and enable, and thereby reaches beyond the classic architectural documentation. The architects respond to Mair s images in brief, associative texts. An introductory essay on the fundamental questions and problems of architectural photography by the renowned architectural critic and curator Hubertus Adam rounds out this book with its particular haptic and manufacturing quality. ". (shrink)

This chapter contains sections titled: What Is It Like to Be a Philosopher of Coffee? What Is It Like to Drink Coffee? Why Is the Unexamined Cup Not Worth Drinking?

Brentano hat das Zeit-Problem in verschiedenen Phasen seiner Philosophie aus verschiedenen Perspektiven zu lösen gesucht, die in vier Phasen eingeteilt werden können: Erstens die frühe Würzburger Phase, in der er die Zeitdifferenzen in der Weise des urteilenden Verhaltens sieht; zweitens die frühe Wiener Phase, in der er besonderes Augenmerk auf die zeitlichen Unterschiede als Unterschiede des Gegenstandes legt, aber diese seine Auffassung des kontinuierlichen Zeitüberganges auch einer 3-fachen Kritik unterzieht, drittens die Charakterisierung der Zeitunterschiede als Unterschiede des Urteilsmodus; viertens die (...) Auffassung der zeitlichen Unterschiede als Unterschiede des Vorstellens. (shrink)

This chapter contains sections titled: Individuals and Species Commonalities among Species Individuals within Species Individual Histories and Individual Genomes The Social and Legal Importance of Individuality Human Individuals, Persons, and Rights Implications for Justice.

The sciences of genetics and genomics are revealing more all the time regarding our statuses as individuals relative to our particular genomes. Geographical isolation is presumably the greatest factor in allowing for populations of a species to change genetically over time, in response to environmental pressures and genetic drift accelerated by the mechanism of sexual reproduction. In order to develop a robust account of what rights individual members of the human species might have to either their own particular DNA or (...) the human genome in general, one need to explain the relations between individuals and species in regards to deoxyribonucleic acid (DNA). The fact that genes carry over from species to species does not mean that those genes are completely identical across all species. Laws and regulations exist that govern the use of human tissues and property rights over their products. (shrink)

This chapter contains sections titled: Notes References.

This chapter contains sections titled: Willem A. deVries Hans Fink Christoph Halbig Stephen Houlgate Sabina Lovibond Kenneth R. Westphal Michael Williams Charles Travis.

Disney's Zootopia (2016) is a crime story about the involuntary partnership between Judy Hopps, the first rabbit police officer in the city of Zootopia, and Nick Wilde, a red fox making his living as a con artist. What makes Zootopia a utopia and the city of Judy's dreams is that it appears to be “where anyone can be anything.” Zootopia confronts people with three utopian ideals: of security and social order, of individual self‐determination and fulfillment, and of a just multispecies (...) society. Zootopia begins with the founding myth that tells the story of how the animals overcame an anything‐but‐ideal natural state, in which prey animals lived in constant fear of predators. Zootopia is too much of a metaphor for human ways of life to be a utopian human‐animal society, and too “messy” to count as a metaphoric utopia for humans. (shrink)

This chapter contains sections titled: Reply to Devitt and Jackson Reply to Egan Reply to Cowie Reply to Goldman Reply to Sterelny Reply to Prinz Reply to Godfrey‐Smith Reply to Sosa Reply to Bishop References.

This chapter contains sections titled: Born to Be Good? Are There Moral Universals? Is There a Morality Acquisition Device? Morality Without Innateness Appendix: Moral Anti‐nativism and Moral Relativism References.

Nearly all Disney movies represent to people mere possibilities. One can conceive of scenarios with genies, wooden puppets coming to life, flying elephants, and mermaids. And there certainly seems to be no special problem in conceiving of a scenario where all the author's experiences are a mere dream induced by a Maleficent‐like evil genius. The problem in the present context is that the possibility of a dream‐inducing Maleficent‐like evil genius guarantees that how things appear would be no different, whether she (...) is dreaming or not. But maybe there is a difference: does it not appear to her that there is a difference between dreaming and wakefulness? The very fact that she is aware of such a distinction at all suggests the distinction is real. People prefer a real life over an experientially identical dream life, or even a more pleasurable dream life, because there is more to life than just experience. (shrink)

Death and morality connect in interesting ways in Disney movies. In some Disney films, heroes are defined partly by their willingness to take risks that might result in death, as long as these risks are to protect or obtain good things that make human life worth living. A related ethical issue that Disney films address with regard to death is appropriate grief. Disney films, on balance, show an awareness and respect for the cycle of human life. Perhaps that is why (...) Disney reserves some of its worst deaths for evil characters who refuse to accept the fact of their own mortality. In all of the examples, Disney illustrates the connection many philosophers maintain between courage, cowardice, and death. Disney and Pixar films are so rich and popular that people should use them to engage in difficult conversations about death and other subjects. (shrink)

To be a prisoner either in Plato's cave or in the Beast's castle is a form of existence no one would desire. And yet the story of Disney's Beauty and the Beast – in particular, the spell that imprisoned the Beast and his servants – is a tale as old as time. It is one's common human experience: one's recognition that he/she is shackled by ignorance and unfulfilled potential, and his/her desperate desire to escape. Unfortunately, however, breaking the chains and (...) ending the spell is no easy feat. For just as the Beast and his household companions represent a cave‐like imprisonment, Belle represents in her person the two ideals necessary to break the spell: love (which drew her to the castle to find her father) and beauty (which can compel the love of another). Love never happens without an encounter with beauty. (shrink)

This chapter contains sections titled: Introduction McDowell Sellars and McDowell: Convergence Sellars and McDowell: Divergence Above the Line …and Below It Philosophy and Modern Science Notes References.

One of the first things people learn about Disney's Mulan is what a clever and resourceful young woman she is, a trait she shares with many Disney princesses. If Mulan fails to cultivate the virtues that correspond to her allotted role in her society, she fears that she might just “uproot the family tree,” not only because she might fail to find a husband and produce some of those highly sought‐after sons, but also because she will disgrace her family name. (...) But to understand how that works, people need first to look at the significance of family in traditional honor‐based cultures and in traditional Chinese thought in particular. The idea of Mulan bringing honor or disgrace to her family through her actions, either matrimonial or military, is hard to square with the individualistic assumptions of modern Western thought. (shrink)

The Disney vacation is iconic in American culture. Advertising promises people that a trip to Disney will bring adventure, family togetherness, and even happiness itself. To understand why someone might see Disney as “the ultimate embodiment of consumer society,” the authors can start with Karl Marx. It might be helpful to temporarily forget everything one has heard about Marx, because what counts as “Marxism” in mainstream culture is often just a caricature of an interesting and wide‐ranging philosophy. From Herbert Marcuse's (...) perspective, people could say that the American culture industry tells them via media and advertising that they need to take their families to Disney so that they can be happy. Disney's emphasis on including everyone and experiencing things together as a family challenges the alienation in relationships people so often encounter. Disney can provide an opportunity for exploring their relationships outside of their everyday alienations. (shrink)

Walt Disney is largely responsible for popularizing the princess story in American culture. These stories are the centerpieces of the Disney collection and their flagship theme parks. Indeed, Cinderella's castle itself is at the heart of Disney's Magic Kingdom. The first of Disney's theme parks, the Magic Kingdom was intended to capture the magic and imagination of the Disney movies, and bring to life the settings of Disney stories. Epcot was the second of four parks built at the Walt Disney (...) World Resort location in Florida. While Liberty Square in the Magic Kingdom celebrates the independence of those who live in liberal democracies, the World Showcase at Epcot celebrates multiculturalism, and the possibility of appreciating and learning from a multitude of cultures. The chapter provides a better understanding of the philosophical tensions in Disney's theme park by taking a tour of the underlying political ideas lurking inside the Epcot and Magic Kingdom theme parks. (shrink)

Inside Out takes people on a journey into terrain not often explored in animated films – the inner workings of the developing 11‐year‐old self. Inside Out takes a girl's emotional development as important, primary, and worthy of attention. Along the way, audiences come to appreciate that even though emotions often feel singular, solitary, and intense, some aspects of emotions are universal and cut across age, gender, and culture. The movie also highlights the social dimension of emotional expressiveness. The directors were (...) originally going to include many more emotions than the five core emotions they depict: joy, sadness, anger, disgust, and fear. The choice to focus on five primary emotions allows people to better appreciate how emotions are central to selfhood and how one's emotions influence his/her memories and self‐understanding. (shrink)

Disney represents a mythology that is universal because they are rapidly acquiring every possible alternate reality that one cares to enter, except for the sexual realm and the Christian religion realm. When Disney owns all possible significant alternate universes, then only Disney can colonize one's imagination, and only Disney will give him/her the lens through which to perceive any competing claim on understanding his/her ultimate Reality. Well, visual containment helps the psyche stay in the mode and the mood for the (...) various psychic propaganda programs being run, and allows one to enjoy and prolong the fantasy, as well as empty his/her wallet of all possible contents since the only way to experience more Disney is to hand them exactly all of his/her cash. Thus, in short order, Disney has successfully colonized an awful lot of the global imagination, from young to old, male to female, from history to fantasy, and now from right to left. (shrink)

This chapter contains sections titled: Introduction The Co‐extensiveness of Understanding and Sensibility Identity and Predication Objective Purport and Kant's Transcendental Deduction Proving Mental Content Externalism Transcendentally Notes References.

This chapter contains sections titled: Quine, the Dogmas, and Sellars The Transcendental Argument for Sense Impressions Are Sense Impressions Casually Idle? A Sideways‐On View from Nowhere Sensation and the Phenomenology of Perception Concluding Remarks Notes References.

This chapter contains sections titled: 1. 2. 3. 4. 5. Notes References.

This chapter contains sections titled: The Possibility of Falsity The Involvement of Generality Notes References.

This chapter contains sections titled: Classical Genetics Modern Genetics How Genes Work DNA Function in Metabolism Differentiation Information, Structure and Function: Individuals and “Persons” Information and Individuals Personhood and “Me‐ness”.

This chapter contains sections titled: Hegel on Sensation Hegel on Consciousness Hegel on Intelligence Thought and Being in Hegel McDowell and Hegel Conclusion Notes References.

This chapter contains sections titled: 1. 2. 3. 4. Notes References.

This chapter contains sections titled: The Condition Frege's Line Expertise Occasion Sensitivity Seeing That Givens Notes References.

Wonder Woman's co‐creator William Marston believed that sexual bondage was key to achieving a peaceful society. Though Marston intended Wonder Woman to provide an alternative to the masculinity of the superheroes of his day, Marston's vision remains relevant today. The behavior and attitude of Marston's Wonder Woman anticipated contemporary feminist philosophers' contributions to the ethics of care. There is also an underlying ethics of care in Wonder Woman's role as what Marston calls a "Love Leader", and that combination of kink (...) and care is itself reflected in contemporary BDSM. Marston's stated goal in his academic writing was to promote "a new code of conduct, based on love supremacy". Marston's comic‐book creation, Wonder Woman, fit his depiction of an ideal Love Leader: a sexually alluring and powerful, yet loving, mistress whose feminine charms would make women and men submit to her authority. (shrink)

This chapter contains sections titled: I II III IV V References.

Wonder Woman and her fellow Amazons serve the full Greek pantheon, worshipping Aphrodite and Athena in particular. But Wonder Woman's realm is also home to Roman gods, African and Egyptian gods, and the new gods including Darkseid, Highfather, Orion, and Metron. Wonder Woman speaks to loyalty, integrity, and honor. She speaks to the best in people, as they relate to each other and care for one another. These values can be enough to keep people going, this orientation is what they (...) seek, and this is what they can know, what they understand to be true. Perhaps if they are seeking a god in order to find their place, they might look to Wonder Woman and her Amazonian virtues. They could do worse than submit to the loving authority of Princess Diana, god of war. (shrink)

Pieper follows a philosophical tradition set down by Plato, who bears only a superficial relationship to Plato's Stepchildren (TOS) Aristotle, and Thomas Aquinas, all of whom could find some affinity with Star Trek and other sci‐fi/fantasy adventures that tell a good morality tale or stretch the limits of human imagination. Aristotle points out, humans, as rational animals, isn't satisfied with mere pleasure seeking, but is driven to reflect upon the limitless possibilities of existence. The value of festive pursuits during higher (...) times is grounded in the connection between human and divine minds. Socrates set the standard for communal and individual self‐exploration when he emphatically said that the unexamined life is not worth living. Knowledge, according to Aristotle, is not only speculative in nature, encompassing scientific and theoretical reasoning, but also practical, that is, technical and ethical reasoning. (shrink)

This chapter is unique for several reasons. First, it brings together two unlikely authors, a PhD ethicist and her 15‐year‐old high‐school daughter, whose diverse interests include thinking about depictions of female characters in graphic novels. Second, it compares two unlikely DC female characters, Wonder Woman (the Amazonian princess heroine who protects innocent citizens from evil) and Harley Quinn (the ever‐evolving anti‐hero who vacillates between being an outright villain to being merely window dressing for her boyfriend, the Joker). The conclusion of (...) the chapter is unlikely, too: neither Wonder Woman nor Harley Quinn can ultimately succeed in their roles as moral hero and immoral anti‐hero when their popularity depends upon them being depicted as sexual objects. The chapter uses Aristotle's ethics to show that it isn't Wonder Woman's virtue that is thwarted, but her phronesis. Harley's antiheroism is similarly in jeopardy, since phronesis helps any person set and meet goals. (shrink)

The comic book hero Superman grew from a social crusader and a “champion of the oppressed” in the 1930s, to a patriotic and paternalistic fighter for “Truth, Justice, and the American way” in the 1940s and 1950s, to a compassionate Christ‐like savior in the latter part of the twentieth century – and always defending the Judeo‐Christian values upheld by the American majority. Friedrich Nietzsche’s “superman,” on the other hand, firmly rejects the very same values its superhero namesake upholds. While it (...) has been a common trope in the superhero genre and popular culture in general to characterize figures explicitly based on Nietzsche’s Übermensch as inhuman monsters, this chapter argues that Nietzsche’s concept can be reinstated through the character of Superman himself. Like Übermensch, Superman is strong, creative, noble, independent, and life‐affirming, but unlike him, Superman is compassionate and looks out for the little guy. (shrink)

Cybernetically enhanced humanoids, the Borg assimilate entire civilizations using advanced technology. Genocidal destroyers, the Borg's ultimate goal is perfecting their species through the imperialistic incorporation of other species‘ biological and technological distinctiveness. Anxieties about the Borg focus on their invincible militarism, genocidal threat, ruthless cruelty, totalitarian collectivism, torturous technology, and physical monstrousness. The philosophical assumptions that underlie transhumanism can be traced to French philosopher Ren'e Descartes, who provided the foundation for Enlightenment philosophy and scientific advancement. The perfectionist goal of the (...) transhumanist project might lead to discrimination against those not wealthy enough to afford the genetic and cybernetic enhancements that become available. The fundamental philosophical premise that makes the Borg collective consciousness possible is shared by transhumanism: thoughts, memories, and personality traits are reducible to patterns of neural energy in the brain, and these patterns can be electronically simulated, transmitted, changed, or controlled. (shrink)

Some secrets are fine to keep to ourselves, and others are not. At first glance, Clark’s secret seems to be fine, but it may not be if we look further into it. We all know Clark’s big secret: he is Superman. Secrets always belong to someone. This is one of the things that distinguish secrets from information we simply don’t have. Secrecy is morally neutral and can be used for good or bad ends. One other closely linked concept we must (...) distinguish from secrecy is privacy. Clark Kent is a citizen (sort of), but Superman is purely a public persona. In Superman, vol. 2, #2 (February 1987), Lex Luthor figured out Superman’s secret. Superman has confided his true identity to the Kents and Lana. In Clark’s case, there are several reasons for his secret, but the most compelling one is to protect his loved ones. (shrink)

This chapter discusses seven of nine and the doctor experience various ups and downs as they navigate the deepest reaches of social and emotional interactions. Conscious experiences have two basic components: the experience itself and the meaning you derive from it, what it means to you. Husserl used two Greek terms, noesis and noema, to explain these aspects. Noesis gives meaning to an experience, as opposed to simply dismissing everyday occurrence as just “things” that happen without any intention or influence. (...) Husserl goes as far as to say that the noesis becomes the “real content” of the experience. In contrast, the noema is the actual meaning of the experience: its point about something, so that the events that happen to us make sense to us in terms of generating personal significance. Husserl distinguishes between the content of an act, what makes an experience meaningful or intentional from its object. (shrink)

The comic‐book superheroine Wonder Woman, who debuted in All Star Comics #8 in December 1941, was created by psychologist Dr. William Moulton Marston. Most of all, Marston was known for his work on lie detection. Because of the extensive work done on lie detection by her character's creator, it is commonly believed that Wonder Woman's lasso is a magic lie detector. As Matthew Brown says in his article "Love Slaves and Wonder Women: Radical Feminism and Social Reform in the Psychology (...) of Marston", according to Marston there were four basic emotions: inducement, submission, dominance, and compliance. Wonder Woman displays the strong quality of submission by wearing the bracelets of submission. She has an inducement/submission relationship with Aphrodite, which enables her to experience love. Both the bracelets of submission and the magic lasso of Aphrodite have been dropped from contemporary Wonder Woman comic books. (shrink)

This chapter reviews Star Trek's course in wrestling with issues of political and social secularization. Any debate about secularization is a set of arguments about the best relationship between religious beliefs and institutions on the one hand, and political, social, and economic structures on the other. The chapter provides several moral arguments as to why liberal democracies like the United States should pursue greater secularism in the future. A popular but particularly unhelpful way of framing this debate is in terms (...) of religion versus reason. Deep Space Nine is the Trek series in which one society's religious interests and the Federation's secular commitments create the most friction. Some characteristics of religious thinking are quite antagonistic to political principles of a liberal democracy. Long since grown out of the antagonistic Roddenberry attitude toward religion in the public sphere, secularism in the Star Trek series reminds the human adventure is just beginning. (shrink)

This chapter contains sections titled: Eudaimonia, Ergon, and Espresso The Golden Mean The Bean.

An essential motif of the Western is the frontier in which people of European descent encounter American Indians as other. Indians were viewed as bloodthirsty savages, despite the fact that Europeans were the primary aggressors. The bloodthirsty savage stereotype finds intellectual support in the political philosophy of Thomas Hobbes. Governance in most traditional North American Indian communities isn't about ruling over subordinates, but about forging consent among equals. Indigenous government was often based on equal respect for the values and sovereignty (...) of each member of the community. The Federation embodies Star Trek's vision of multicultural liberalism. The history of Western philosophy has placed masculinity in dominance and control over femininity. This breeds a culture of violence and disharmony and people in need of healing. People of European descent are infected by this history in need of the thawing warmth of the South and a vision that harmonizes masculinity with femininity. (shrink)

The people in utopias have many characteristics Abraham Maslow said self‐actualized people have: they're accepting, spontaneous, creative, appreciative of life, honest, responsible, and hardworking; they even maintain deep relationships and have childlike wonder. In Star Trek: Mission Log, Ken Ray defends life under the care of Norman's androids on Mudd's planet as preferable because of its possibilities for self‐actualization. Self‐actualization is impossible unless the basic biological, safety, and social needs are met, all of which the spores and Vaal guarantee. The (...) spores even saved the colonists’ lives. Once one achieves self‐actualization, it's easy to pity those who can't attain it; but for those who struggle just to survive, giving up safety and security for an unlikely chance at self‐actualization would seem crazy. The criticisms of Vaal seem to echo the criticisms of communism, and the control a communist government must exercise in providing for its people. (shrink)

This chapter contains sections titled: Caffeine: A Brief History of the Buzz Caffeine as a Mental Performance‐Enhancing Drug Caffeine as a Physical Performance‐Enhancing Drug Caffeine as Doping Cheating and Unfairness Unnaturalness Harm.

Wonder Woman wields a number of magical Amazonian devices: her bulletproof bracelets, her invisible plane, and most importantly for this chapter, her golden lasso of truth. The first thing to notice about the golden lasso is that evildoers bound by it are not only compelled to tell the truth if and when they answer questions, but also compelled to answer Wonder Woman's questions in the first place. The second thing to notice is that answering truthfully does not, in this context, (...) necessarily mean uttering a true sentence. Rather, if a person is tied up with the golden lasso, then they are compelled to answer questions with what they believe is the truth. The chapter shows the examples that contemplating Wonder Woman's golden lasso, and Bizarra's golden lasso, can provide us with a wealth of interesting and entertaining paradoxes and puzzles. (shrink)

This chapter contains sections titled: The Golden Age of the Coffeehouses The Coffeehouses that Roasted Revolution Coffeehouses or Coffee Shops? The Third Place Where Did the Discussion Go? Brewing Social Change.

Outside of the Vulcans, Klingons are the most enduringly famous humanoid race in the Star Trek universe, a fearless and fearsome interstellar military power in the Beta Quadrant. The Klingons are singularly intriguing as a veritable pastiche, a motley conglomeration, of various human cultures. Klingon culture is so well developed, in fact, that they are the only Star Trek race to have had their language published in a dictionary for fans who wish to nurture their inner warrior spirit. This chapter (...) explores some of the human cultural representations that find in the favorite bumpy‐headed, bat'leth‐swinging, raktajino‐drinking aliens that can help to reflect on how human society has evolved and where one may be headed in the future. The Klingon religion is an interesting combination of mythical and spiritual elements, along with a grounded humanism that characterizes Gene Roddenberry's fundamental vision of the future by eschewing the contemporary existence of deities. (shrink)

Utilitarianism is the theory that whether an action is morally right or wrong depends entirely on how beneficial or harmful it will be for everyone involved, only the net balance of benefit and harm matters. Most utilitarians believe that the only thing valuable in itself is happiness, and the only thing bad in itself is suffering; so, to maximize utility is to maximize happiness and minimize suffering. Utilitarians would be baffled by the common Vulcan view that emotions are best gotten (...) rid of. According to utilitarianism, the duty to put the needs of the many ahead of the needs of the few extends even to people one has personal relationships with, like friends and family. The protagonists of the Star Trek franchise would seem to agree, as they generally place personal loyalty over public duty. (shrink)