About the main psychological and philosophical aspects detached from the film Solaris directed by Andrei Tarkovski, as well as the cinema techniques used by the director to convey his messages to the spectator. In the "Introduction" I briefly present the relevant elements of Tarkovski's biography and an overview of Stanislav Lem's Solaris novel and the film Solaris directed by Andrei Tarkovsky. In "Cinema Technique" I talk about the specific rhythm of the scenes, the radical movement triggered by Tarkovsky in modern (...) cinema, the role of symbolic and iconic elements, and affinities with the fantastic area of Russian literature. In Psychological Aspects I analyze the issue of communication in a human society of the future considered by Tarkovsky as rigid, the obsession of the house, and the personal evolution of Kris, Hari, and the relationships between them. In Philosophical Aspects, the film is analyzed through the philosophy of the mind (Cartesian dualism, reductionism and functionalism), the problem of personal identity, the theory of heterotopic spaces developed by Michel Foucault, and the semantic interpretations that can be deduced from the film. It also analyzes the issue of personal identity through Locke's philosophy. "Conclusions" show the general ideas of this essay, namely that Man's attempts to classify and maintain forms of interaction with unknown entities will always be condemned to failure and will reflect a major mistake in the panoptic world in which we live. In this framework of analysis of the philosophy of mind, functionalism seems to be the most intuitive. Solaris is, however, a movie that begins as a search for answers and comes to provide these answers with a whole range of different questions. -/- CONTENTS: -/- Abstract Introduction 1 Cinema technique 2 Psychological Aspects 3 Philosophical aspects Conclusions Bibliography Notes -/- DOI: 10.58679/MM59030 , ISBN 978-606-033-225-1. (shrink)

I argue that Hume’s philosophy of time is relationist in the following two senses. 1) Standard definition of relationism. Time is a succession of indivisible moments. Hence there is no time independent of change. Time is a relational, not substantial feature of the world. 2) Rigid relationism. There is no evidence of uniform natural standard for synchronization of clocks. No absolute temporal metric is available. There are countless times, and no time is privileged. Combining 1) and 2) shows that Hume’s (...) ontology of time is thoroughly relationist. (shrink)

This paper responds to the recent situationist critique of practical rationality and decision-making. According to that critique, empirical evidence indicates that our choices are governed by morally irrelevant situational factors and not durable character traits, and rarely result from overt rational deliberation. This critique is taken to indicate that popular moral theories in the Western tradition are descriptively deficient, even if normatively plausible or desirable. But we believe that the situationist findings regarding the sources of, or influences over, our moral (...) agency do not reflect durable features of human nature, and claim that these findings are a byproduct of a deficient approach to moral education. Existing models of moral education, which are “positive” in nature, do a poor job of developing virtuous people. Instead, we argue that a “negative” approach to moral education, traceable to Locke, Smith, and Rousseau, would be more successful. This strategy represents something of a compromise between the strategies adopted by thinkers like Rachana Kamtekar : 458–491 2004), who argues that traditional moral categories escape largely untouched by findings in social psychology, and John Doris :504–530 1998) and Gilbert Harman : 87–94 2003), who argue that findings in psychology prove our traditional moral theories are defective. (shrink)

În acest eseu evidențiez principalele aspecte psihologice și filosofice desprinse din filmul Solaris regizat de Andrei Tarkovski, precum și tehnicile cinematografice utilizate de regizor pentru a-și transmite mesajele spectatorului. În ”Introducere” prezint pe scurt elementele relevante din biografia lui Tarkovski și o prezentare generală a romanului Solaris a lui Stanislav Lem și filmul Solaris în regia lui Andrei Tarkovsky. În ”Tehnica cinematografică” vorbesc despre ritmul specific al scenelor, mișcarea radicală declanșată de Tarkovsky în cinematografia modernă, rolul elementelor simbolice și iconice, (...) , și afinitățile cu zona fantastică a literaturii ruse. În ”Aspecte psihologice” analizez problema comunicării într-o societate umană a viitorului considerată de Tarkovsky ca rigidă, obsesia casei, și evoluția personală a lui Kris, Hari, și a relațiilor dintre ei. În ”Aspecte filosofice” se analizează filmul prin prisma filosofiei minții (dualismul cartezian, reducționismul și funcționalismul), a problemei identității personale, a teoriei spațiilor heterotopice dezvoltată de Michel Foucault, și interpretările semantice care se pot deduce din film. De asemenea, se analizează problema identității personale prin prisma filosofiei lui Locke. ”Concluziile” expun ideile generale rezultate din acest eseu, respectiv că Tentativele omului de a clasifica și de a păstra forme de interacțiune cu entități necunoscute vor fi întotdeauna condamnate la eșec și vor reflecta o greșeală majoră în lumea panoptică în care trăim. În acest cadru de analiză a filosofiei minții, funcționalismul pare a fi cel mai intuitiv. Solaris este, totuși, un film care începe ca o căutare a răspunsurilor și ajunge să ofere aceste răspunsuri împreună cu o serie de întrebări cu totul diferite. (shrink)

Models of memory in cognitive science and philosophy have traditionally explained human remembering in terms of storage and retrieval. This tendency has been entrenched by reliance on computationalist explanations over the course of the twentieth century; even research programs that eschew computationalism in name, or attempt the revision of traditional models, demonstrate tacit commitment to computationalist assumptions. It is assumed that memory must be stored by means of an isomorphic trace, that memory processes must divide into conceptually distinct systems and (...) phases, and that human remembering consists in inner, cognitive processes that are implemented by distinct neural processes. This dissertation draws on recent empirical work, and on philosophical arguments from Ludwig Wittgenstein and others, to demonstrate that this latent computationalism in the study of memory is problematic, and that it can and should be eliminated. Cognitive psychologists studying memory have encountered numerous data in recent decades that belie archival models. In cognitive neuroscience, establishing the neural basis of storage and retrieval processes has proven elusive. A number of revised models on offer in memory science, that have taken these issues into account, fail to sufficiently extricate the archival framework. Several impasses in memory science are products of these underlying computationalist assumptions. Wittgenstein and other philosophers offer a number of arguments against the need for, and the efficacy of, the storage and retrieval of traces in human remembering. A study of these arguments clarifies the ways that these computationalist assumptions are presently impeding the science of memory, and provides ways forward in removing them. We can and should characterize and model human memory without invoking the storage and retrieval of traces. A range of work in connectionism, dynamical systems theory, and recent philosophical accounts of memory demonstrate how the science of memory can proceed without these assumptions, toward non-archival models of remembering. (shrink)