There is a strong intuition that for a change to occur, there must be a moment at which the change is taking place. It will be demonstrated that there are no such moments of change, since no state the changing thing could be in at any moment would suffice to make that moment a moment of change. A moment in which the changing thing is simply in the state changed from or the state changed to cannot be the moment of (...) change, since these states are respectively before and after the change; moreover, to select one of these moments over the other as the moment of change would be arbitrary. A moment in which the changing thing is neither in the state changed from nor in the state changed to cannot be the moment of change, since there are changes for which it is impossible for something to be in neither state. Finally, the moment of change cannot be a moment in which the changing thing is in both the state changed from and the state changed to, as suggested by Graham Priest and others. Even if, like proponents of this view, we are willing to accept the contradictions that the account entails, it is demonstrated that on such a model, every change would require an infinite number of other changes, every change would take an infinite amount of time, and some changes would occur without occurring at any time. Further, the model is grossly counterintuitive, with the exact nature of the counterintuitive element depending on what model of time and space one endorses. Finally, it is demonstrated that this model is incompatible with the Leibniz Continuity Condition. (shrink)

The paper is an examination and critique of the philosophy of science fiction horror of seminal American horror, science fiction and fantasy writer H.P. Lovecraft (1890-1937). Lovecraft never directly offers a philosophy of science fiction horror. However, at different points in his essays and letters, he addresses genres he labels “interplanetary fiction”, “horror”, “supernatural horror”, and “weird fiction”, the last being a broad heading covering both supernatural fiction and science fiction. Taken together, a philosophy of science fiction horror emerges. Central (...) to this philosophy is the juxtaposition of the mysterious, unnatural and alien against a realistic background, in order to produce the emotion that Lovecraft calls “cosmic fear”. This background must not only be scientifically accurate, but must accurately portray human psychology, particularly when humans are faced with the weird and alien. It will be argued that Lovecraft’s prescriptions are overly restrictive and would rule out many legitimate works of science fiction horror art. However, he provides useful insights into the genre. (shrink)

Graham Priest has argued that changes occur at a moment of change in which objects are in a contradictory state, being in both the state changed from and the state changed to. In “Moments of Change,” the current author rejected this model on the grounds that every change would require an infinite number of other changes, and that for similar regress problems, the model is not compatible with the Leibniz Continuity Condition that Priest appeals to in the model’s support. In (...) “Contradiction and the Instant of Change Revisited,” Priest rightly points out in response that any regress can be stopped by allowing that some changes can occur without a moment of change and that there are some exceptions to the lcc in the case of change. It is argued here that while the regress can be stopped by allowing for exceptions to the rules, the more exceptions that must be allowed and the more similar the excepted cases are to cases of supposed contradiction, the less attractive both the contradictory account of change and the lcc should be. Secondly, it is argued that the intuitions that make the contradictory account of change seem appealing are likely to disappear if we adopt an eternalist model of spacetime, which we should do in any case in order to best accommodate the special theory of relativity. In particular, eternalism undermines our intuitions that there must be a moment of change in order for change to occur, that contradictory moments are required to allow for a Laplacian universe, that motion must be intrinsic to an object at a time, and that change obeys the lcc. (shrink)

George Orwell wondered why oppressed proletariats in the communist and capitalist worlds did not rise up and replace the governments that oppressed them with something better for them. This is a puzzle we still face today, wherever a majority faces exploitation. The chapter examines the question of why exploited peoples don’t replace exploitative governments in their own best interest, whether through revolution or through the ballot box. The question is examined through the lens of the political philosophy and political fiction (...) of George Orwell, with special attention to how his philosophy applies to the modern USA and the Trump administration. It is argued that in the modern US, there are many reasons why the masses are exploited, but the most important is that they don’t understand the nature of their exploitation. Citizens are often isolated in reality bubbles. Our basic human irrationality, hypocrisy, and willingness to rewrite the past, are harnessed and used against us. International conflicts stoke nationalism and prevent the masses from finding a common identity with the masses worldwide. Within the US, conflicts between different social groups pit the masses against one another, and prevent them from recognizing their common condition. (shrink)

Since the time of Charles Darwin, there has been concern that the theory of evolution provides fuel for skepticism. This paper presents new arguments that humanity's evolutionary origins are grounds for accepting that the universe is not as it appears to be to us. Firstly, it is argued that we should expect to have an incomplete capacity to comprehend the universe: both the mental limitations of all non-human life and the narrow interests of most humans provide evidence for this. Secondly, (...) it is argued that we should expect the universe as it appears to us to have nothing more than a relationship of correlation to the universe as it actually is: both simplicity and the huge number of ways in which the universe may be represented provide reason for evolution to produce such a correlative system. (shrink)

A Liar sentence is a sentence that, paradoxically, we cannot evaluate for truth in accordance with classical logic and semantics without arriving at a contradiction. For example, consider L If we assume that L is true, then given that what L says is ‘L is false,’ it follows that L is false. On the other hand, if we assume that L is false, then given that what L says is ‘L is false,’ it follows that L is true. Thus, L (...) is an example of a Liar sentence. Several philosophers have proposed that the Liar paradox, and related paradoxes, can be solved by accepting the contradictions that these paradoxes seem to imply (including Priest 2006, Rescher and Brandom 1980). The theory that there are true .. (shrink)

The chapter is a comparison of Platonic and Aristotelian conceptions of artistic value in literature, with particular focus of the appropriate role of the divine and supernatural. The issue is explored through the lens of Neil Gaiman's popular fantasy novel, American Gods. It is argued that Aristotle’s less restrictive model of literary value better allows literature to benefit us as human beings. In particular, Aristotle's appreciation of the need for dark themes and counter-factual portrayals of the universe allows for much (...) richer art. The discussion of Platonic and Aristotelian conceptions of art is demonstrated to be relevant to modern artistic debate though consideration of how their views apply to modern fantasy literature. (shrink)

That twenty-first century Prometheus Dr. Nicolas Michaud and his uncannily dedicated team have stitched together sundry pieces of tissue torn from movies, TV shows, comics, and novels, and assembled these into a single bodily form with some resemblance to an intelligent being, yet possessed of disconcerting oddities, including the disturbing habit of asking strange questions:- Why do we assume that ugly is evil?- Are we responsible for what our creations do?- Was Dr. Frankenstein's creature a monster, and what makes something (...) a monster anyway?- If it's wrong to make monsters, can it really be okay to make babies?- Is God equally as guilty as Dr. Frankenstein?- Has science become a monster, or is that all down to capitalism? (shrink)

Writing philosophy to be read by people who are not professional philosophers ought to be central to the work of professional philosophers. Writing for the public should be central to their work because their professional end is to produce ideas for use by people who are not professional philosophers. Philosophy is unlike most disciplines in that the ideas produced by professional philosophers generally have to be understood by a person before they can be of any use to them. As a (...) tool for delivering philosophical ideas to the public, writing philosophical works is invaluable. The need to write philosophy directly for the public should be clear regardless of one’s conception of the value of philosophy, since writing directly for the public is in the spirit of all the most popular modern philosophical movements. (shrink)

This chapter examines the ethics of political comedy as exemplified by The Daily Show, investigating the issue of when, if ever, it is appropriate to use comedy as a political tool. It is argued that mockery may be useful as a way to keep political issues on people's minds, though it becomes dangerous when used as a substitute for reason.

One reason why the continued popularity of the film Alien (1979) is philosophically interesting is that it bears out the aesthetic theories of seminal American horror-writer H.P. Lovecraft (1890-1937) about what makes good science-fiction horror. Lovecraft never directly offers a philosophy of science-fiction horror. However, at different points in his essays and letters, he address genres he labels “interplanetary fiction”, “horror”, “supernatural horror”, and “weird fiction”, the last being a broad heading covering both supernatural fiction and science fiction. Taken together, (...) a philosophy of science-fiction horror emerges. The chapter is an examination of the philosophy of science fiction horror of H.P. Lovecraft, illustrated using examples drawn from the film Alien. (shrink)

This chapter examines the ethics of political comedy as exemplified by The Daily Show, investigating the issue of when, if ever, it is appropriate to use comedy as a political tool. It is argued that mockery may be useful as a way to keep political issues on people's minds, though it becomes dangerous when used as a substitute for reason.