A decision maker bets on the outcomes of a sequence of coin-tossings. At the beginning of the game the decision maker can choose one of two coins to play the game. This initial choice is irreversible. The coins can be biased and the player is uncertain about the nature of one (or possibly both) coin(s). If the player is an expected-utility maximizer, her choice of the coin will depend on different elements: the nature of the game (namely, whether she can (...) observe the outcomes of the previous tosses before making her next decision), her utility function, the prior distribution on the bias of the coin. We will show that even a risk averter might optimally choose a riskier coin when learning is allowed. We will express most of our results in the language of stochastic orderings, allowing comparisons that are valid for large classes of utility functions. (shrink)

Jean-Luc Godard’s Alphaville puts forward a cultural critique of modern capitalism in a poetic form. The film subverts the standard classification of cinematographic “genres” and of cinematographic languages, without separating the content of the criticism from its form of expression. Thus, it uses an original language that integrates both philosophical and poetic referents, putting together elements from the dystopic imagination, the science fiction, the romantic film, and other cinematographic “genres”. Unlike Orwell and Huxley’s dystopias, Alphaville depicts a deeper, insidious, invisible (...) and more efficacious form of totalitarianism that invades the so-called “democratic” societies. This type of totalitarianism is dominated by instrumental rationality and techno-science, which expel art and imagery, the poetic and the possible, emotion, feelings and everything that is free. This paper analyzes the construction of this original form and interprets its critical content from the perspective of Godard’s thought. It is an exercise of looking and knowing how to look. (shrink)