The value scenario is a useful tool in the sheaf of methods within value sensitive design. When envisioning new technology, this tool supports the designer in speculatively considering relevant stakeholders, values expressed or rebuffed by an artifact’s design, and tensions that may exist between those values. This paper explores how science fiction stories can serve as value scenarios to supplement traditional historical methods, especially when informants are no longer accessible.

This paper gives an introduction to the interdisciplinary special section. Against the historical and ethical background of reproductive technologies, it explores future scenarios of human reproduction and analyzes ways of mutual engagement between fictional and academic endeavors. The underlying idea is that we can make use of human reproduction scenarios in at least two ways: we can use them to critique technologies by imagining terrible consequences for humanity but also to defend positions that favor scientific and technological (...) development. (shrink)

This paper presents an experimental approach for engaging undergraduate STEM students in anticipatory ethical reasoning, or ethical reasoning applied to the analysis of potential mid- to long-term implications and outcomes of technological innovation. The authors implemented two variations of an approach that integrates three key components—scenario analysis, design fiction, and ethical frameworks—into five sections of an introductory course on the social contexts of science and technology that is required of STEM majors. The authors dub this approach Creative Anticipatory Ethical Reasoning, (...) or CAER. Scenario analysis is a strategy emerging from business consulting for grounded analysis of plausible future trajectories to inform planning. Design fiction is a creative hands-on activity that blends science fiction and design prototyping to facilitate critical thinking with respect to the societal dimensions of a plausible future technology. The authors present the following findings: in each of the variations, students demonstrated significant engagement with CAER and a substantive shift in their conception of what constitutes responsible innovation and ethical conduct in science and technology. Specifically, their integration of ethical reasoning with stakeholder perspectives and scenario analysis reframed technologies, from unproblematic solutions for societal problems to socially-embedded forms of life that might diverge from designers’ intentions. This suggests that CAER could be a useful pedagogical intervention for expanding students’ ethical engagement to consider the potential unintended consequences of technological innovation. (shrink)

Chang-Rae Lee’s 2014 novel On Such a Full Sea uses the genre of speculative fiction to reflect on longstanding healthcare debates in the United States that have recently crystalized around the Affordable Care Act. The novel imagines the political economy of healthcare in a future America devastated by environmental illness. What kind of care is available and to whom? Who provides it? Who pays for it? What about distribution and access? The different healthcare systems governing each of three geo-social zones (...) in Lee's future society represent exaggerated versions of the scenarios participants in the ACA debate claim their opponents’ health policies would produce. The essay argues that Lee’s novel ultimately favors a version of universal government-funded care over a system based on supposed free-market principles, even as the novel also tries to make room for conservative Americans’ fears about the specter of so-called “socialized medicine.” More broadly, the essay contends that the health humanities should devote more attention to literary and artistic engagements with healthcare as a system: a complex set of financial models, public and private institutions, government policies, and actors whose roles range well beyond patient and care provider. (shrink)

Chang-Rae Lee’s 2014 novel On Such a Full Sea uses the genre of speculative fiction to reflect on longstanding healthcare debates in the United States that have recently crystalized around the Affordable Care Act. The novel imagines the political economy of healthcare in a future America devastated by environmental illness. What kind of care is available and to whom? Who provides it? Who pays for it? What about distribution and access? The different healthcare systems governing each of three geo-social zones (...) in Lee's future society represent exaggerated versions of the scenarios participants in the ACA debate claim their opponents’ health policies would produce. The essay argues that Lee’s novel ultimately favors a version of universal government-funded care over a system based on supposed free-market principles, even as the novel also tries to make room for conservative Americans’ fears about the specter of so-called “socialized medicine.” More broadly, the essay contends that the health humanities should devote more attention to literary and artistic engagements with healthcare as a system: a complex set of financial models, public and private institutions, government policies, and actors whose roles range well beyond patient and care provider. (shrink)

Quel peut-il être, le rôle de la fiction dans la (re)construction des émotions liées à l’extermination de masse? Et que se passe-t-il au juste, quand ces émotions sont réactivées à partir du point de vue d’un bourreau? En revenant sur les questions suscitées par un cas singulier et symptomatique ( Les Bienveillantes, de J. Littell), puis en examinant certaines critiques affectant la référence à la tragédie antique en relation avec la littérature du génocide, j’essaie de mettre ici en regard deux (...) types de critiques de la notion de catharsis : l’une, contemporaine, qui conduit à la remise en cause éthique des usages qui en sont faits comparant les émotions liées à l’expérience de l’extermination à celles que la tragédie est censée pouvoir provoquer ; l’autre, issue d’une tradition libertine propre au xvii e siècle, faisant planer le doute sur la nature (et la possibilité même) du processus cathartique, et sur les « scénarios paradigmatiques » que certaines tragédies mettent en branle au sein d’une mise en commun de certaines émotions. Un tel détour ne pourrait-il pas conduire à interroger, dans une perspective différente, l’impact de l’art sur notre manière d’expérimenter, de caractériser et d’évaluer des émotions telles que la Terreur et la Pitié aujourd’hui même? (shrink)

The distinct-attitude view of fictional narratives is a standard position in contemporary aesthetics. This is the view that cognitive attitudes formed in response to fictions are a distinct kind of mental state from beliefs formed in response to non-fictional scenarios, such as pretend or imaginary states. In this paper we argue that the balance of functional, behavioral, and neuroscientific evidence best supports the genuine-attitude view of belief. According to the genuine-attitude view, cognitive responses to fictions are genuine (...) beliefs that are not a distinct kind of mental state from the beliefs that we form in response to non-fictional scenarios. We consider the implications of the genuine-attitude view for debates at the intersection of epistemology, cognitive science, and philosophy of mind. (shrink)

This essay examines the use of fictions in the reasoning of the House of Lords and United Kingdom Supreme Court in the context of two recent lines of authority on English tort law. First, the essay explores the relevance of counter-factual scenarios to liability in the tort of false imprisonment, in the light of the Supreme Court decisions in Lumba and Kambadzi. The second series of decisions is on causation in negligence claims arising from asbestos exposure. These cases have (...) revealed fundamental, ongoing judicial disagreement about the nature and extent of the exceptions made to general principles. The cases are also shown to lend force to Del Mar’s argument about the diachronicity of legal fictions. Overall, it is argued that such fictions play an important role in common law reasoning. (shrink)

Both adults and children have the ability to not only think about reality but also use their imaginations and create fictional worlds. This article describes the process by which world creation happens, drawing from philosophical and psychological treatments of this issue. First, world creators recognize the need to create a fictional world, as when starting a pretend game or opening a novel. Then, creators merge some real-world knowledge with the premises of the fictional world to construct a (...) fuller representation, though there is some controversy about how much of the real world is represented in any given fictional world. After the world is created, events can be set in motion within it. While it is generally accepted that this basic process is used for a wide variety of fictional worlds, including fictional stories, pretend games, and counterfactual scenarios, this process of world creation can vary over the course of development and depending on the use to which it is put. (shrink)

How do our engagements with fictions and other products of the imagination compare to our experiences of the real world? Are the feelings we have about a novel's characters modelled on our thoughts about actual people? If it is wrong to feel pleasure over certain situations in real life, can it nonetheless be right to take pleasure in analogous scenarios represented in a fantasy or film? Should the desires we have for what goes on in a make-believe story cohere (...) with what we want to happen in the actual world? In Apt Imaginings, Jonathan Gilmore develops a new framework to pursue these questions, marshalling a wide range of research in aesthetics, the science of the emotions, moral philosophy, neuroscience, cognitive psychology, and film and literary theory. Gilmore argues that, while there is a substantial empirical continuity in our feelings across art and life, the norms that govern the appropriateness of those responses across the divide are discontinuous. In this view, the evaluative criteria that determine the fit, correctness, or rationality of our emotions and desires for what is internal to a fiction can be contrary to those that govern our affective attitudes toward analogous things in the real world. In short, it can be right to embrace within a story what one would condemn in real life. The theory Gilmore defends in this volume helps to explain our complex and sometimes conflicted attitudes toward works of the imagination; challenges the popular view that fictions serve to refine our moral sensibilities; and exposes a kind of autonomy of the imagination that can render our responses to art immune to standard real-world epistemic, practical, and affective kinds of criticism. (shrink)

Since the late thirteenth century, the counterfactual Filioque debate, i.e., the question whether the Son and the Holy Spirit were distinct persons in the Trinity if the Holy Spirit only proceeded from the Father and not also from the Son, was an interesting context for developing the methodology of extreme thought experiments and the logic of conditionals with impossible antecedents and paradoxes of implication. In the mid-1620s, Puente Hurtado de Mendoza introduced a strongly critical approach towards the scientific merits of (...) positing certain types of impossible scenarios while joining this traditional debate in his Tractatus de Trinitate. He argued that the counterfactual Filioque problem is a needless detour and either shifts to unreliable discussions of properties of fictional entities or is outright trivial for logical reasons. The present article offers a modern edition of the ninth disputation of Hurtado’s Tractatus de Trinitate and analyses logical and methodological aspects of Hurtado’s position in the counterfactual Filioque debate. (shrink)

The major thesis developed in Sartre's L'imaginaire is that all imaginary acts can be subsumed under the heading of one "image family" and, therefore, that imagination as a whole can be theorized in terms of pictorial representation. Yet this theory fails to meet the objective of Sartre's study, to demonstrate that imaginary activity is not a derivative of perception but an attitude with a character and dignity of its own. The subsidiary account of imagination in terms of neutralization of belief (...) has the advantage of not being constrained by the requirement that imaginary activity serve a purely reproductive function of bringing an absent "original" into a quasi presence and, thus, leaves room for free creativity and fiction. It also points to a concrete lived experience of alterity at the heart of subjective life where the subject stages its life as if it were the life of an other, putting pressure onto Sartre's contention that the cogito defines subjectivity. (shrink)

The major thesis developed in Sartre's L'imaginaire is that all imaginary acts can be subsumed under the heading of one "image family" and, therefore, that imagination as a whole can be theorized in terms of pictorial representation. Yet this theory fails to meet the objective of Sartre's study, to demonstrate that imaginary activity is not a derivative of perception but an attitude with a character and dignity of its own. The subsidiary account of imagination in terms of neutralization of belief (...) has the advantage of not being constrained by the requirement that imaginary activity serve a purely reproductive function of bringing an absent "original" into a quasi presence and, thus, leaves room for free creativity and fiction. It also points to a concrete lived experience of alterity at the heart of subjective life where the subject stages its life as if it were the life of an other, putting pressure onto Sartre's contention that the cogito defines subjectivity. (shrink)

Over the past decade cultural theory has seen a number of 'turns' - the materialist turn, the animal turn, the affective turn - that address the human as an affective, embodied, and ultimately vulnerable animal embedded in dense webs of more-than-human relations, in short as a posthuman phenomenon. Care philosophy shares this focus on embodiment and vulnerability in its insistence on interdependence as the defining condition of human life, making it well positioned for a posthuman turn. To this end, Curious (...) Kin in Fictions of Posthuman Care draws together contemporary narrative fictions that challenge humanist conceptions of care in their imaginative depiction of more-than-human affective bonds, arguing for an expansion care philosophy's central figure: the embodied, embedded, and encumbered 'human'.Fictional narratives of care between humans and robots, bioengineered creatures, clones, nonhuman animals, aliens or inanimate things, highlight the limits of humanist ethical models' capacity to register and accommodate posthuman relational intimacies, while gesturing towards a model of care able to accommodate networked interdependencies that extend beyond the human realm. Texts by Margaret Atwood, Louise Erdrich, Louisa Hall, Eva Hornung, Kazuo Ishiguro, Bhanu Kapil, and Jesmyn Ward, along with films and television programmes like Robot and Frank, Under the Skin, and Real Humans, depict a range of scenarios in which more-than-human care relations not only supersede human-human relationships, but suggest new human/animal/machine ways of being that offer novel insights into the possible presents and futures of posthuman care. Curious Kin in Fictions of Posthuman Care reveals how these fictions do their own theorizing, imagining the politics, ethics and aesthetics of specific, contextualized scenarios of posthuman contact and companionship.Interweaving posthuman theory, care philosophy and contemporary fiction, Curious Kin in Fictions of Posthuman Care offers generative visions of care that make room for the incredible range of affects, energies, behaviours, attachments and dependencies that produce and sustain life in more-than-human worlds. (shrink)

Recently, philosophers have discovered that they have a lot to learn from, or at least to ponder about, fiction. Many metaphysicians are attracted to fiction as a model for our talk about purported objects and properties, such as numbers, morality, and possible worlds, without embracing a robust Platonist ontology. In addition, a growing group of philosophers of mind are interested in the implications of our engagement with fiction for our understanding of the mind and emotions: If I don’t believe that (...) Anna Karenina exists, can I really pity her, or hope or desire that she extricate herself from her tragic situation? And why is there no “morality fiction,” analogous to science fiction? I suspect that philosophers have been especially comfortable thinking about fiction because it seems, at least prima facie, to employ the imagination in a way that conforms to a standard model of the mind. Specifically, contemporary philosophers tend to think of imagination as a form of mental pretense. Mental pretense can take two main forms: a cognitive attitude of supposing a set of propositions to be true (make-believe) or else an experiential state of imaging a scenario as if it were before one (imaging). Much of our pretense intertwines the cognitive and experiential modalities, of course. But both share a crucial common feature: all of one’s imaginative effort is invested in pretending that certain contents obtain. In this sense, we can understand imagination as the “offline” simulation of actual beliefs and perceptions (and perhaps other attitudes as well), where we analyze these in the normal way, as states individuated by their attitude and representational content. While I share the burgeoning interest in fiction, I want to suggest that we also have a lot to learn from poetry, and in particular from poetic metaphor. I will argue.. (shrink)

How might a transition from closely-held to shared management help or hinder the presence of the ethical in a corporation? I propose three fictional scenarios according to which such a transition might occur. In one, managerial power is shared, but without any examination of the firm's presuppositions. In another the presuppositions are shared as well, but only insofar as top management seeks to generate cultic enthusiasm for the corporate family. In the third scenario the firm's presuppositions are discussed (...) openly by all employees. I argue that only this third scenario embodies the conditions which make it possible for a firm to be moral. (shrink)

Can fictions sometimes reveal important information about what beliefs audience members hold? I argue that a case can be made that emotional responses to some horror fictions can reveal that audiences harbor beliefs in the supernatural, beliefs that audience members might otherwise deny holding. To clarify the terms of the discussion, I begin with an overview of two leading theories of belief: the representational and dispositional accounts. I explore the role of belief in the production of emotional responses by posing (...) a hard question that none of the leading theories answers directly: Why are some fictional scenarios and events so much more effective than others? I argue that the answer has to do with belief, that is, the beliefs about the world that audiences bring to fictions. After laying the groundwork, I argue that cultural differences in audience responses to some horror fictions might be best explained by what supernatural beliefs they hold. After developing the case, I offer several reasons to be skeptical of this conclusion. (shrink)

It is commonly presupposed that there are no decisive differences between empathy with fictional characters on one hand and empathy with real persons on the other. I distinguish two types of processes of affect recognition "Perceptual Affect Recognition" and "Affective Affect Recognition". The consensus view about empathy with fictional characters has to be challenged if "empathy" refers to the former or the latter process because of the significant differences between the fictional and the non-fictional scenario: firstly, (...) readers as "empathizers" cannot perceive the fictional target person directly but only the literary text. This is especially problematic for Affective State Recognition. Secondly, fictional characters do not exist, at least not in the sense that they are real people or entities with mental states which leads to relevant differences of the accuracy conditions of Affective Affect Recognition in the fictional and the nonfictional scenario. (shrink)

Too much contemporary bioethical discourse is weak on science, lazily citing and adopting science fiction scenarios rather than science facts in the framing of analyses and policies. We challenge bioethicists to take more seriously the role of providing informed insight into and oversight over contemporary science and its implications and applications. Bioethicists must work harder to understand the fast-changing truths and limits of basic science, and they must incorporate only appropriate and authentic science into their discourse, just as they (...) did in the past when addressing the quandaries of clinical medicine. The field of bioethics is not so old and entrenched that its future is assured. Bioethicists must make themselves useful to society in order to deserve and retain the public's trust. They can best do this by ensuring that decision making and public policy are grounded in facts, not fictions and fantasies. (shrink)

This book is about politics, political theory, and political philosophy. Although these disciplines are often conflated because they interact, they actually are distinct. Political theory is part of political science, whereas political philosophy is a hybrid of political theory and philosophy. The former discipline is descriptive and explanatory, whereas the latter is prescriptive--to the point that it is often called "normative theory." It is in fact the evaluative study of political societies. Whereas political theorists describe and explain politics, political philosophers (...) examine it critically and venture to suggest improvements and, on occasion, radically different social futures. Political philosophers propose scenarios and dreams where political scientists offer snapshots of existing polities. While these disciplines are distinct, Mario Bunge asserts that they must inform each other. Political philosophy is not yet a well-defined field: it hovers between political theory and utopian fantasizing. Few, if any earlier thinkers could have anticipated any of the most pressing political issues of our time, such as the need to stop global warming, reduce nuclear armaments, stop the rise of inequality between individuals and nations, and fight authoritarianism, particularly when it comes disguised as democracy or as socialism. Not even more recent social thinkers had much to say about such topical issues as environmental degradation, gender and race discriminations, participative democracy, nationalism, imperialism, the North-South divide, resource wars, the industrial-military complex, or the connections between poverty and environmental degradation, and between inequality and bad health. Beyond ideological divergences, most political philosophers have been nearly unanimous in their indifference to the plight of the Third World. Bunge does not share that indifference. He also believes that political philosophers should pay more attention to numbers, such as the standard index of income inequality and the more comprehensive United Nations human development index for the various nations. It is pointless to write about redistributive policies unless we have some of idea of current wealth distribution. This is, in short a modern treatise of inherited concerns. (shrink)

This paper considers some uses of Free Indirect Discourse within non-fictional discourse. It is shown that these differ from ordinary uses in that they do not attribute actual thoughts or utterances. I argue that the explanation for this is that these uses of Free Indirect Discourse are not assertoric. Instead, it is argued here that they are fictional uses, that is, they are used with fictional force like utterances used to tell a fictional story. Rather than (...) making assertions about the actual world, these occurrences of Free Indirect Discourse introduce localized fictional scenarios from which audiences are meant to learn factual information. As such, they exhibit some of the ways in which the involvement of perspective in historical fiction has been shown to facilitate learning and retention of information. (shrink)

Cet article cherche à mettre en lumière les modalités complexes qui, dans la théologie morale catholique, unissent pratique sexuelle et violence. Il le fait en prenant comme référence un moment spécifique (les années 1820) dans un espace singulier (la France malthusienne). Le théologien Jean-Baptiste Bouvier, acteur principal de cette réflexion, prenant acte de la réalité de la limitation des naissances par coitus interruptus, propose la fiction vraie de la non-culpabilité de la femme à laquelle son mari impose sa pratique par (...) la force. Or ce scénario, élaboré pour déculpabiliser les femmes mariées fidèles à l’Église, va beaucoup plus loin que son aspect circonstanciel. En effet il déconstruit un rigorisme doctrinal, officiel en France depuis 1700, selon lequel, en cas de viol, une part de responsabilité – et donc de culpabilité – est imputée à la femme si elle ne s’oppose pas de manière visible, audible et tangible à la violence qu’elle subit. (shrink)

The paper places the trendy notion of virtuality and virtual reality in a conceptual and historical context that makes it useful in a semiotic perspective. Virtuality is connected with the classical notion of fictionality, in its meaning of both invention and deception. Historically an active, a passive, and a neutral version of the concept can be distinguished. The notion is reinterpreted as a variant of the semiotic processes of deixis. In relation to nature - scenarios, prognoses, hypotheses, etc. - (...) virtuality is seen as a means of anchoring the human subject in nature instead of constructing a nonreal universe separated from it. (shrink)

Imaginative resistance refers to a perceived inability or unwillingness to enter into fictional worlds that portray deviant moralities (Gendler, 2000): we can all easily imagine that dragons exist, but many people feel incapable of imagining fictional worlds in which morality works differently. Although this phenomenon has received much attention from philosophers, no one has attempted to operationalize the construct in a self-report scale. In Study 1, we developed the Imaginative Resistance Scale (IRS), investigated its relationship to theoretically related (...) constructs, and confirmed its structure and reliability (rα = 0.92) in a large sample. In Study 2, we asked participants to rate scenarios expected to provoke imaginative resistance and predicted these ratings from the IRS and its validity measures. IRS scores accounted for variability in ease of imagining these scenarios over and above gender, political orientation, and three related measures. The results are discussed in terms of theories of imaginative resistance and directions for future research. (shrink)

Fictional scenarios involving “hard” science offer what are in effect case studies of scientific ethics. From his analysis of Shelley's novel, biologist Leonard Isaacs constructed a model of a “Frankenstein scenario,” applicable to the dilemmas posed by the advancement of science in our time, as well as to fiction about science by such contemporary writers as Robin Cook and Michael Crichton. The special contribution of fiction to the study of ethics is that it both reflects and evaluates reality's (...) infinite permutations. In reflecting and judging, the fictional scenarios engage our moral imagination and compel us to confront our personal ethos in relation to the evolving ethos of science. (shrink)

As in science and philosophy, thought experiments in mathematics link a problem to new epistemic resources that are unavailable in a given practice, e.g., Euclidean geometry. Thought experiments invite us to perform an imaginary scenario involving counterfactual, deductive and sensory elements. This chapter aims to pinpoint the beneficial peculiarities of thought experiments in mathematics in comparison with inferences, diagrams and calculative procedures. Reflection about thought experiments assists us to realize both the limits and opportunities in mathematical thinking. Henceforth, the analysis (...) of examples suggests a broader understanding of mathematical, thought and experiment. (shrink)

Scientific models share one central characteristic with fiction: their relation to the physical world is ambiguous. It is often unclear whether an element in a model represents something in the world or presents an artifact of model building. Fiction, too, can resemble our world to varying degrees. However, we assign a different epistemic function to scientific representations. As artifacts of human activity, how are scientific representations allowing us to make inferences about real phenomena? In reply to this concern, philosophers of (...) science have started analyzing scientific representations in terms of fictionalization strategies. Many arguments center on a dyadic relation between the model and its target system, focusing on structural resemblances and “as if” scenarios. This chapter provides a different approach. It looks more closely at model building to analyze the interpretative strategies dealing with the representational limits of models. How do we interpret ambiguous elements in models? Moreover, how do we determine the validity of model-based inferences to information that is not an explicit part of a representational structure? I argue that the problem of ambiguous inference emerges from two features of representations, namely their hybridity and incompleteness. To distinguish between fictional and non-fictional elements in scientific models my suggestion is to look at the integrative strategies that link a particular model to other methods in an ongoing research context. To exemplify this idea, I examine protein modeling through X-ray crystallography as a pivotal method in biochemistry. (shrink)

This chapter considers how imagination generates emotion. ‘Supposition-imagination’ (S-imagination) is distinguished from ‘enactment-imagination’ (E-imagination). The former kind of imagination involves entertaining or supposing various hypothetical scenarios; with the latter kind of imagination, one tries to create a kind of facsimile of a mental state. Thus, one might try to create a perception-like state as in visual imagination or motoric imagination. It is argued that this much richer form of imagination generates typical emotional reactions to fiction. Emotional reactions to fiction (...) are generated in several different ways, including a process in which we E-imagine being a hypothetical reader or observer of fact. (shrink)

In Imagination, Jim Davies explains that most humans have mental imagery: an ability to make pictures in the mind without immediate perceptual input-as we do when we dream. Davies writes programs that enable computers to do something similar. Given a few words of description, a computer can generate pictures with several objects arranged in appropriate ways. Jonathan Gilmore’s Apt Imaginings is about whether engagement in works of fiction is continuous or discontinuous with how we deal with people and objects in (...) everyday life. He argues for discontinuity. In constructing a critical framework within which to evaluate these two books, I use Kenneth Craik’s theory of mental models. Craik’s theory enables us to understand how we humans have evolved to imagine possible futures, to plan and to act in relation to them, and also to imagine what might be going on in other people’s minds. (shrink)

IN/Search RE/Search' offers a unique insight into the wide range of appearances of the intersection between art, design and research. The book is organized into twelve substantive chapters: The Anthropocene Epoch; The Climate Crisis; The Coexerced Existence, The Limitations of Language; Facts and Fictions; The Fragile Human; The Instrumentalised Identity; Gender and Violence; The Question of Race; Politics of Public Space; Naked Capitalism; The Morality of a Cyborg. These themes are analysed through art and design projects. The projects are further (...) contextualised by journalistic explorations and academic reflections on similar matters, grappled by varied research outlooks. 00By bringing together various practices (arts, design and writing practices and academic research), 'IN/Search RE/Search' shows how artistic research processes are designed and performed. The kaleidoscopic convergence of the featured approaches promises an exciting shift in thinking about how knowledge within the arts comes about, and how this knowledge nurtures daily practice, and vice versa. In this way, this publication discloses methods of thinking and working through which a new generation of artists/designers/researchers is shaping scenarios for the near future.00The core of this publication is formed by various art and design projects by students of the Rietveld Academie and the Sandberg Instituut. Many of these projects confuse, blur and confront what is traditionally relevant in research practices. These young artists demonstrate what happens when ideas and practices that seem to be miles apart within the traditional domain of research, are suddenly allowed touch upon and influence each other. (shrink)

This essay examines the fantasy of life extension enabled through the transfer of one’s consciousness to new, cloned bodies in the event of disease, accident, or old age. This vision has recently been dramatized in both fiction and film, bearing witness to the power of this imaginary scenario. This eventuality would raise wide-ranging ethical issues, which speculative bioethics should begin to contemplate. Interestingly, it is young adult fiction that has recently provided an extensive and consistent cluster of novels dealing not (...) only with this topic but also with the interrelated notion of clones purposely grown to replace a loved one, with a concomitant array of further ethical concerns. These and related topics will be examined here through the lens of fiction and recent theoretical work on future biotechnological scenarios. (shrink)

In this paper, I explore the fruitful relationship between science fiction and philosophy regarding the topic of artificial intelligence. I establish a connection between certain paradigms in the philosophy of mind and consciousness and the imagination of possible future scenarios in sci-fi, especially focusing on the different ways of conceiving the role of corporeality in constituting consciousness and cognition. Then, I establish a parallelism between these different conceptions of corporeality in the philosophy of mind and certain representations of AI (...) in sci-fi: from computers to robots and androids. I conclude by stressing the value of exchanging ideas between sci-fi and philosophy to foreshadow and evaluate some scenarios of high ethical relevance. (shrink)

Les expériences de pensée sont à la fois un instrument de la pratique philosophique et un stimulant pour l’imagination. La question ici posée est celle de la détermination de la valeur de ces expériences de pensée quand elles sont employées dans des œuvres de fiction. On répond que la mise en fiction d’une expérience de pensée, si elle reste associée à une visée argumentative, rend le public moins apte à penser correctement et peut conduire à la remise en question de (...) ses valeurs les plus fondamentales, mais pour de mauvaises raisons. La puissance qu’a la fiction de mettre en scène ces scénarios imaginaires la munit donc du pouvoir de détériorer son public. Afin de justifier cette thèse, l’article s’appuie sur une analyse de la manière dont la série 24 heures chrono met en scène l’expérience de pensée de la bombe à retardement. (shrink)

Some of the most successful works of art throughout history have dealt with tragic themes. From Romeo and Juliet to Jack and Rose in the film Titanic, millions of people have sat captivated through stories of death, separation, and loss. John Green’s The Fault in Our Stars has captivated audiences for half a decade, despite it depicting two young teens whose lives are threatened by cancer. Why is it that we actively seek out movies, books, paintings, and music that bring (...) us to tears? What about the agony of these works makes them worth revisiting, especially when we shy away from similar scenarios in our everyday lives? In her essay, “A Strange Kind of Sadness,” Marcia Eaton attempts to explain this phenomenon, arguing that we engage with tragic works because of the control we have over them. In this paper I will argue that her solution is inadequate, instead claiming that our attraction to these works stems from a desire for a safe, detached experience which results in emotional catharsis. I will also argue that these works draw us in because they foster connections in the global community, exposing us to new experiences and ways of life. (shrink)

Norms have a strong influence on human social interactions, but the emotions and actions associated with norm-breaking events have not been systematically studied. We asked subjects to imagine themselves in a conflict situation and then to report how they would feel, how they would act, and how they would imagine the feelings and actions of their opponent. By altering the fictional scenario that they were asked to imagine (weak vs. strong norm) and the perspective of the subject (norm-breaker vs. (...) the one whose norm has been violated), the emotions and actions associated with norm-breaking events could be examined. We tested the following hypotheses: (1) norms create emotional asymmetries that resolve conflicts in otherwise symmetrical contest situations; (2) sex differences exist in response to norm-breaking events, with males more prone to violence than females; (3) individual differences exist in response to norm-breaking events, along the lines predicted by theoretical models; and (4) emotions and actions attributed to one’s opponent are distorted in ways that can be interpreted as adaptive for the believer. In addition to these basic hypotheses, we address more subtle issues concerning the particular emotions provoked by norm-breaking events, the degree to which emotional response is fine-tuned to the situation, and the degree to which emotional response correlates with anticipated behavioral response. We discuss the relevance of our study to the general study of emotions and the use of fictional scenarios as a research method in addition to the study of norms from an evolutionary perspective. (shrink)

In this article, I use science-fiction scenarios drawn from Dan Simmons’ “Hyperion Cantos” (Hyperion, The Fall of Hyperion, Endymion, The Rise of Endymion) to explore a cluster of issues related to the evolutionary history and neural bases of human moral cognition, and the moral desirability of improving our ability to make moral decisions by techniques of neuroengineering. I begin by sketching a picture of what recent research can teach us about the character of human moral psychology, with a particular (...) emphasis on highlighting the importance of our evolutionary background as social mammals. I then consider how the moral psychology of intelligent machines might differ from our own, and argue that the differences would depend on the extent to which their evolutionary background resembled our own. I offer two very different case studies—the “Technocore AIs” that have evolved from early, parasitic computer programs, and the mysterious “Shrike,” who travels backward through time. I close by looking at the character of Aenea, a messianic figure that is a joint descendant of humans and machines. I argue that while the sort of “moral enhancement” she represents is far beyond the scope of either contemporary neuroscience or artificial intelligence research, it nevertheless represents a worthwhile goal. (shrink)

The personal identity relation is of great interest to philosophers, who often consider fictional scenarios to test what features seem to make persons persist through time. But often real examples of neuroscientific interest also provide important tests of personal identity. One such example is the case of Phineas Gage – or at least the story often told about Phineas Gage. Many cite Gage’s story as example of severed personal identity; Phineas underwent such a tremendous change that Gage “survived (...) as a different man.” I discuss a recent empirical finding about judgments about this hypothetical. It is not just the magnitude of the change that affects identity judgment; it is also the negative direction of the change. I present an experiment suggesting that direction of change also affects neuroethical judgments. I conclude we should consider carefully the way in which improvements and deteriorations affect attributions of personal identity. This is particularly important since a number of the most crucial neuroethical decisions involve varieties of cognitive enhancements or deteriorations. (shrink)

Despite the numerous benefits associated with forgiveness, many individuals find it difficult to forgive. This is especially true in organizations, where forgiveness is rare and can be under-valued. Across two studies, we explore how to facilitate forgiveness within organizational contexts and in the aftermath of workplace unfairness. We examine whether individuals can reduce the “injustice gap” that can be created by violations and enhance forgiveness through expressive writing interventions—guided writing techniques that can be self-administered. Participants wrote about their reactions to (...) a fictional scenario or an actual workplace experience. Results indicate that expressive writing was associated with higher reported perceived resolution. Whereas negative emotions mediated this relationship in Study 1, positive emotions and perceived injustice mediated this relationship in Study 2. Perceived resolution also mediated the relationship between expressive writing and forgiveness. Theoretical, methodological, and practical implications are discussed. (shrink)

This article investigates the relationships between forms of humor that conjure up possible worlds and real-world social critiques. The first part of the article will argue that subversive humor, which is from or on behalf of historically and continually marginalized communities, constitutes a kind of aesthetic experience that can elicit enjoyment even in adversarial audiences. The second part will be a connecting piece, arguing that subversive humor can be constructed as brief narrative thought experiments that employ the use of fictionalized (...) scenarios to facilitate an open, playful attitude, encouraging a space for collaborative interpretation. This interaction between humorist and audience is an aesthetic experience that is enjoyable in and of itself, as the feelings of mirth are intrinsically valuable. But connected to the “Ha-ha!” experience of these sorts of humorous creations is an “Aha!” or potentially revelatory experience that is a mixture of cognitive comprehension and motivated (emotional) response. The third part of the article will attempt to go beyond the consciousness-raising element with an account of how such possible worlds created in the realm of imagination through subversive humor can bleed into the real world of flesh and blood people. Finally, an example of subversive humor will be analyzed. (shrink)

Is there a role for aesthetic judgements in science? One aspect of scientific practice, the use of thought experiments, has a clear aesthetic dimension. Thought experiments are creatively produced artefacts that are designed to engage the imagination. Comparisons have been made between scientific (and philosophical) thought experiments and other aesthetically appreciated objects. In particular, thought experiments are said to share qualities with literary fiction as they invite us to imagine a fictional scenario and often have a narrative form (Elgin (...) 2014). But philosophical discussions of aesthetics in science have focused mainly on the epistemic role of beauty and elegance when it comes to theories and mathematical proofs, and thought experiments have been widely overlooked. My aim in this chapter is to address how the aesthetic choices scientists make in the design of a thought experiment contribute to its function: to communicate, convince, or explain a theory or phenomenon. A key issue is whether any aesthetic features in science provide anything beyond catching our attention, or are at best, a mere heuristic aid. I respond to accounts that argue this way and show how formulation is important in scientific thought experiments and, similarly to literary fictions, there is more than one way of interpreting a thought experiment scenario. I end by considering which literary examples are most appropriate when making comparisons with thought experiments. As a result, the difference between representations in art and science raised in current discussions is not as stark as it has been made out to be, and science is a more heterogeneous practice than has been allowed. Part of the value of thought experiments in scientific practice includes the qualities they share with literary works. (shrink)

Differences in undergraduate students' perceptions of unequal status dating relationships in academia were investigated. Two hundred sixty college undergraduates from a private northeastern university evaluated three types of dating relationships: (a) professor-undergraduate student, (b) professor-graduate assistant, and (c) graduate assistant-undergraduate student. Fictional scenarios were used to assess participants' perceptions of the three types of dating relationships. Responses were analyzed both quantitatively and qualitatively. Quantitative results indicated the professor-undergraduate student dating relationship was labeled unethical whereas the qualitative results revealed (...) a possible gender effect. (shrink)

The Nanosilver Linings role play case offers participants first-person experience with interpersonal interaction in the context of the wicked problems of emerging technology macroethics. In the fictional scenario, diverse societal stakeholders convene at a town hall meeting to consider whether a nanotechnology-enabled food packaging industry should be offered incentives to establish an operation in their economically struggling Midwestern city. This original creative work was built with a combination of elements, selected for their established pedagogical efficacy and as topical dimensions (...) of the realistic scenario. The product life cycle is used as a framework for integrated consideration of scientific, societal, and ethical issues. The Nanosilver Linings hypothetical case was delivered through the format of the 3-hour workshop Ethics when Biocomplexity meets Human Complexity, providing an immersive, holistic ethics learning experience for STEM graduate students. Through their participation in the Nanosilver Linings case and Ethics when Biocomplexity meets Human Complexity workshop, four cohorts of science and engineering doctoral students reported the achievement of specific learning objectives pertaining to a range of macroethics concepts and professional practices, including stakeholder perspectives, communication, human values, and ethical frameworks. Automated text analysis of workshop transcripts revealed differences in sentiment and in ethical framework preference between societal stakeholder roles. These resources have been recognized as ethics education exemplars by the U.S. National Academy of Engineering. (shrink)