The Puzzle of Imaginative Failure asks why, when readers are invited to do so, they so often fall short of imagining worlds where the moral facts are different. This is puzzling because we have no difficulty imagining worlds where the descriptive facts are different. Much of the philosophical controversy revolves around the question of whether the reader's lack of imagination in such cases is a result of psychological barriers (an inability or a difficulty on the reader's part to (...) imagine what she is asked to imagine) or whether it is instead a result of wilful resistance (a desire not to imagine what she's asked to imagine). I argue for a different kind of solution. I maintain the primary reason for such systematic failures on the reader's part is due to an inability on the author's part to make clear that she is inviting the reader to engage in such imaginings. (shrink)

If a work of literary fiction prescribes us to imagine that the Devil made a bet with God and transformed into a poodle, then that claim is true in the fiction and we imagine accordingly. Generally, we cooperate imaginatively with literary fictions, however bizarre, and the things authors write into their stories become true in the fiction. But for some claims, such as moral falsehoods, this seems not to be straightforwardly the case, which raises the question: Why not? The puzzles (...) such cases raise are sometimes grouped under the heading “imaginative resistance”. In this paper, I argue against what I take to be the best attempts to dismiss the puzzles and solve them. I also tease out subtleties not sufficiently addressed in the existing literature and end by defending a unified solution of my own. According to this solution, the puzzling phenomena occur when literary works offer inadequate and exhaustive grounds for claims. The solution’s novelty lies in its giving a normative rather than psychological or alethic explanation for the puzzling phenomena, the relevant norms being those of proper artistic appreciation. (shrink)

The article addresses the problem of disability in the context of reproductive decisions based on genetic information. It poses the question of whether selective procreation should be considered as a moral obligation of prospective parents. To answer this question, a number of different ethical approaches to the problem are presented and critically analysed: the utilitarian; Julian Savulescu's principle of procreative beneficence; the rights-based. The main thesis of the article is that these approaches fail to provide any appealing principles on which (...) reproductive decisions should be based. They constitute failures of imagination which may result in counter-intuitive moral judgments about both life with disability and genetic selection. A full appreciation of the ethical significance of recognition in procreative decisions leads to a more nuanced and morally satisfying view than other leading alternatives presented in the article. (shrink)

This essay describes the emergence of the 9/11 attacks on the World Trade Center and Pentagon as an object of conspiratorial intrigue and imagination, offering a snapshot of the “9/11 truth movement” and its various theories as they began to reach full bloom. Theories about the attacks have come to constitute the dominant conspiratorial present – a present that looks remarkably like the mid- and late-twentieth-century past, despite significant changes in information technology and the continuing institutionalization and ironization of conspiracy (...) theory as an influential form of popular politics. In addition to the 9/11 conspiracy community, the essay considers the battle over the 9/11 Commission’s review of the government’s failure to anticipate the terrorist attacks. The Commission engaged in knowing and savvy efforts to respond to conspiracy theories and to preempt popular belief in them, offering an authoritative narrative (or, more precisely, set of narratives) to explain what occurred. Meanwhile, the 9/11 truth movement made equally knowing and savvy efforts to critique the official account, responding with its own efforts to reinterpret and re-narrate the attacks, their causes, and what they signify about the contemporary world. While the 9/11 Commission may have criticized the federal government and its intelligence services for their failures of imagination prior to the attacks, the truth movement criticized the Commission either for a failure of imagination – an explanation for the attacks that could see through the “official” account – or for a quite imaginative cover-up of the hidden truths of 9/11. By considering the clash between official authorities and an active conspiracy community, this essay considers how the movement attempted to form a collective political and scholarly community, producing a blizzard of texts offering narratives that compete with the ones told by the Commission that seek the impossible grail of conspiracy theory: the truth. The essay also considers the effects, if any, of the state’s attempt to preempt and respond to conspiracy theories. (shrink)

Ethical choice and action in the built environment are complicated by the fact that moral agents often get stuck as they pursue their goals. A common way of getting stuck has its roots in human cognition: the failure of moral imagination, which shows most clearly when moral agents stand on either side of a sharp cultural divide, like the traditional divide between city and suburb. Being stuck is akin to bad moral luck: it is a situation beyond the control (...) of the moral agent for which that agent might nevertheless be held responsible. (shrink)

This piece is intended to explicate - by providing a precising definition of - the common cinematic figure which I term “the failure of the cinematic imagination,“ while presenting a logical puzzle and its solution within a simple Gricean framework. -/- It should be noted that this is neither fully accurate nor fully precise, because of the audience; one should examine the remaining articles in the issue to understand what I mean.

Marcel Duchamp's preoccupation with the French army can be seen in a note he included in the Box of 1914. The note is known as loignement, and with it he declares his opposition to military conscription and then speculates that the army might telephonically reconnect the limbs and organs of its soldiers that have been left scattered across the battlefield. Duchamp wrote this note before field telephones were issued to French troops but his grotesque proposition can be seen in light (...) of his experience as an army corporal. In 1912, before making these caustic suggestions Duchamp had taken a motor journey and written an account of it where he describes the aggressive invasion of territory by an alien force. This invasion travelled from France's liminal frontiers to its metropolitan centre. His text is known as the Jura-Paris Road and again Duchamp reveals his military concerns. He formulates territory that proceeds from topographical amplitude to the delimitation of a straight line. In spite of its sophisticated morphology, it is threatened by alien forces aimed at testing boundaries. Duchamp published his text as a facsimile of his handwritten original, which displays the amendments and uncertainties of a man of military age attempting to evade the imperatives of military service. The essay continues with an analysis of Duchamp's influences in writing this text and suggests a link with the philosopher Edmund Husserl in the context of the profoundly anti-German atmosphere in the French military build-up to war between 1912 and 1914. The argument closes with a survey of a military thematic in Duchamp's work after he left France for America in 1915. (shrink)

Intelligence estimates based on models keyed to frequency and recency of past occurrences make people less secure even if they predict most harmful events. The U.S. presidential commission on WMDs, the 9/11 commission, and Spain's comisión 11-M have condemned the status quo mentality of the intelligence community, which they see as being preoccupied with today's “current operations” and tactical requirements, and inattentive to tomorrow's far-ranging problems and strategic solutions. But the overriding emphasis in these commissions' recommendations is on further vertically (...) integrating intelligence collection, analysis, and operations. Such proposals to further centralize intelligence and unify command and control are not promising given recent transformations in Jihadist networks to a somewhat “leaderless resistance” in the wake of Al Qaeda's operational demise. To defeat terrorist networks requires grasping novel relations between an englobing messianic moral framework, the rootless intellectual and physical mobility of immigrant and diaspora communities, and the overarching conceptual, emotional, and logistical afford- ances of the Internet. Britain's WWII experience provides salutary lessons for think- ing creatively with decentralized expertise and partially autonomous approaches. (shrink)

In this essay, the focus is not on what imagination is but rather on what it is like. Rather than exploring the various accounts of imagination on offer in the philosophical literature, we will instead be exploring the various accounts of imaginative experience on offer in that literature. In particular, our focus in what follows will be on three different sorts of accounts that have played an especially prominent role in philosophical thinking about these issues: the impoverishment view (often (...) associated with Hume), the will-dependence view (often associated with Wittgenstein), and the nonexistence view (often associated with Sartre). While there are important insights to be drawn from each of these views, each seems to me to be importantly flawed in various ways. As I will suggest, close examination reveals that none of them gives us an adequate account of the character of imaginative experience. Ultimately, in the final section of this paper, I briefly explore what their failure teaches us about the project of giving an account of imaginative experience. (shrink)

Recently, philosophers have identified certain fictional propositions with which one does not imaginatively engage, even where one is transparently intended by their authors to do so. One approach to explaining this categorizes it as 'resistance', that is, as deliberate failure to imagine that the relevant propositions are true; the phenomenon has become generally known (misleadingly) as 'the puzzle of imaginative resistance'. I argue that this identification is incorrect, and I dismiss several other explanations. I then propose a better (...) one, that in central cases of imaginative failure, the basis for the failure is the contingent incomprehensibility of the relevant propositions. Why the phenomenon is especially commonplace with respect to moral propositions is illuminated along the way. (shrink)

How good are we at imagining what it is like to be someone else? Clearly, we sometimes get it right. Proponents of empathy suggest that it is an important and useful tool in our interactions with other people. But, also clearly, there are many inauspicious instances where we badly misimagine what it is like to be someone else. In this paper, I consider the epistemic utility of empathic imagination. I argue that most views fail to explain the distinctive patterns of (...) success and failure of empathic imagination, and I put forward a view that seems to offer the best explanation of those patterns. (shrink)

Malevolence and cruelty are commonly attributed to a failure of moral reasoning or a lack of moral imagination. We present the contrasting viewpoint – immorality as an active, creative, or resourceful act. More specifically, we develop the concept of "immoral imagination" (Jacobs, 1991) and explore how it can enter into Rest's (1986) four processes of decision making: sensitivity, judgment, intention, and implementation. The literature on revenge and workplace deviance illustrates these processes.

This chapter begins with conversations in a prison on Samuel Beckett and pedagogy, conversations that emerged from the authors classes in philosophy. There are two interwoven strands in the chapter. One questions the emphasis on competition and achievement in contemporary education and its implications for the author's relationship to failure. The second, strongly influenced by Beckett, explores ways of reimagining the relationship to failure in such a way that allows them to reflect on what matters in life. Rather (...) than seeking to eliminate failure, it is more interesting to think about how the concept of failure could be reimagined if, as Beckett suggests, failure is not accompanied by disappointment but became simply what we do, rather than being something we are. (shrink)

This chapter explores insights concerning the relations among imagination, imagined selves, and knowledge of one’s own self that are to be found in Fernando Pessoa’s The Book of Disquiet. The insights are explored via close reading of the text and comparison with contemporaries of Pessoa. First, a tempting account of the importance of imagination in The Book of Disquiet is set out. On this reading, Pessoa is immersed in miasmatic boredom, but able to temporarily rise above it through the restorative (...) powers of escapist imagination. But, it is suggested, Pessoa neither enjoys his prolific imaginings, nor returns from them restored. It is argued that Pessoa’s disquiet owes to failures of imagination; the book presents a sharp contrast between Pessoa’s keen awareness of the importance of a successful, active imaginative life, and his failure to maintain such a thing. It is further argued that these failures point us towards a better account of imagination’s importance to Pessoa, an account that both prefigures and goes beyond Sartre’s ideas about the relations between nothingness, imagination, and self-consciousness. (shrink)

In the past few decades, a growing number of philosophers have tried to explain the phenomenon of imaginative resistance, or why readers often resist the invitation of authors to imagine morally deviant fictional scenarios. In this paper, I critically assess a recent proposal to explain IR in terms of a failure of empathy, and present a novel explanation. I do so by drawing on Peter Goldie’s narrative account of empathic perspective-taking, which curiously has so far been neglected in (...) the IR-literature. I argue that, in some cases, IR is due to a partial confusion of two kinds of imaginative perspective-taking towards a fictional character: an internal, genuinely empathic, perspective-taking, on the one hand, and an external, crypto-empathic, stance that can be characterized as in-her-shoes-imagining, on the other. I argue that, in the cases at issue, IR is not so much a resistance to imagining but, rather, to empathically enacting an evildoer’s moral and phenomenal first-person perspective. I conclude by considering some more general lessons that follow from my account for what has recently been called sadistic empathy and point to an unresolved issue for future thinking about IR. (shrink)

In this article, I explore the implications of Karsten Stueber's account of imaginative resistance, particularly as it relates to the phenomenon of moral dumbfounding described by Jonathan Haidt and colleagues. I suggest that Stueber's account allows us to redescribe the phenomenon as a failure of the folk psychological project of interpretation and so to challenge Haidt's metaethical conclusions. I close by considering some implications for moral deliberation and judgment in those, such as autistic people, whose interpretive capacities are (...) impaired. (shrink)

The interstate highway system and environmental are seldom discussed conjointly in works on climate and sustainability programs. In this essay I employ a metaphor, likening the interstate system to environments, to illustrate a cognitive shortcoming, a failure of imagination, by the organisms found in both. I argue that several failures of the imagination combine to constitute a failure to be aware of the limitations of our situations and the parameters set by climatological considerations. However, by re-engaging with our (...) environment through the use of imaginative exercises, we can become aware of our surrounding in terms of both geographic and organismic limitations of our environment. Furthermore, to develop these sustainable policies, we can employ Kantian ethical deliberations that engage our sense of imagination to become ?situationally aware? of our place in the climates we inhabit and of others members of our environment. (shrink)

The politics of climate change is marked by the fact that countries are dragging their heels in doing what they ought to do; namely, creating a binding global treaty, and fulfilling the duties assigned to each of them under it. Many different agents are culpable in this failure. But we can imagine a stylised version of the climate change case, in which no agents are culpable: if the bad effects of climate change were triggered only by crossing a particular (...) threshold, and it was reasonably, but mistakenly, believed by each country that insufficiently many other countries were willing to cooperate in order for that threshold to remain uncrossed, no country would be required to make a unilateral contribution. Yet even without culpability, we can diagnose a moral ill: the world has gone other than it should have. If not for the mistaken beliefs, there would have been a global climate treaty, and all the avoidance of future suffering that would come with it. In this article I argue that this moral ill has implications for the non-culpable agents, in that it generates duties to disgorge actual holdings over and above the counterpart holdings in the relevant counterfactual: those holdings the agents would have had, were the world to have gone as it should. (shrink)

By way of an engagement with the thought of Stuart Hampshire and his account of the ‘normality of conflict’, this article articulates a novel distinction between two models of value pluralism. The first model identifies social and political conflict as the consequence of pluralism, whereas the second identifies pluralism as the consequence of social and political conflict. Failure to recognise this distinction leads to confusion about the implications of value pluralism for contemporary public ethics. The article illustrates this by (...) considering the case of toleration. It contends that Hampshire’s model of pluralism offers a new perspective on the problem of toleration and illuminates a new way of thinking about the accommodation of diversity as ‘civility within conflict’. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Practical Wisdom and Moral Imagination in Sense and SensibilityKaren StohrThere is no single virtue more important to Aristotle's ethical theory than the intellectual virtue of phronesis, or practical wisdom. Yet for all its importance, it is not easy to make sense of this virtue, either in Aristotle's own writings or in virtue ethics more generally. Insofar as Aristotle defines it, he does so opaquely, saying it is "a state (...) grasping the truth, involving reason, concerned with action about things that are good or bad for a human being." 1Practical wisdom is a form of knowledge aimed fundamentally at acting well. It requires both a general understanding of what is worthwhile in human life and the ability to act in ways that reflect that understanding. 2 My goal in this paper is to explore the latter aspect of practical wisdom in its application to ordinary social behavior. The circumstances that will interest me here are often thought to be the domain of manners or decorum, rather than morals proper. Although no one who takes Hume seriously can deny the moral significance of manners, the relationship between one's inner state of character and how that character is expressed in seemingly mundane behavior has received insufficient attention from moral philosophers. 3 In such a task, there can be few better places to begin than with Jane Austen, whose novels reveal the intricacies of ordinary moral behavior with extraordinary acumen.I shall use Austen's Sense and Sensibility to examine the skill associated with knowing how to behave rightly in the sense we associate with propriety or decorum. This skill is essential to pleasant social life, and hence, on the Aristotelian view, to human flourishing. Yet it is often lacking, even among those who have sound moral principles and good hearts. Well-meaning people frequently say or do what is inappropriate. [End Page 378] Consider, for instance, how common it is for kindly disposed people to say to bereaved friends things like, "it's all for the best" or "be thankful for your other healthy children" or "you're young, you'll marry again." The intricacies of offering sympathy are hard to get right, and otherwise good people can unwittingly leave behind disasters in their wakes.The skill of acting well in complex social situations has interesting links to the capacity for moral imagination. Engaging in imaginative identification with others is essential to empathy. 4 Without suggesting that empathy is at the root of all fluid social interactions, I shall argue that certain characteristic failures to act well in that sphere are imaginative failures. In other words, insofar as the exercise of practical wisdom is present in the realm of manners, it requires moral imagination.Failures of moral imagination, however, can take different forms and have different social effects. I shall use two of Austen's characters in Sense and Sensibility—Marianne Dashwood and Mrs. Jennings—to illustrate different ways in which inadequate imaginative capacity can impede the exercise of practical wisdom. The contrast I shall draw is with Elinor Dashwood, to whom I ascribe practical wisdom in full. 5 This contrast is especially interesting because it is not always very sharp: all three characters have fundamentally good moral principles and warm hearts. Yet unlike Elinor, Mrs. Jennings and Marianne routinely fail to act well, and in characteristic ways. Despite the differences in their characters, they have in common an inability to use moral imagination appropriately. The moral errors of Marianne and Mrs. Jennings occur in relatively insignificant circumstances, but the errors themselves point to something deeper about how the virtue of practical wisdom functions in ordinary moral practice.In exploring the link between moral imagination and moral practice, it will help to remember Aristotle's emphasis on the reciprocity between practical wisdom and the moral virtues. Aristotle held that that practical wisdom is necessary for the exercise of the moral virtues and that conversely, the moral virtues are necessary for the exercise of practical wisdom. 6 The justification for the first of these two claims is clearest in the context of Aristotle's doctrine of the mean. Since what counts as a virtuous action depends on features... (shrink)

Heidegger argues that modern technology is quantifiably different from all earlier periods because of a shift in ethos from in situ craftwork to globalised production and storage at the behest of consumerism. He argues that this shift in technology has fundamentally shaped our epistemology, and it is almost impossible to comprehend anything outside the technological enframing of knowledge. The exception is when something breaks down, and the fault ‘shows up’ in fresh ways. Stiegler has several important addendums to Heidegger’s thesis. (...) Firstly, that Heidegger fails to fully appreciate the early Greek myth of Prometheus, and the technological depth that fire offers all human societies. Secondly, the fall, or failure, which is doubled in the myth of Prometheus, and shows up in epistemology accordingly. Thirdly the acceleration of technology since the onset of Information Technology, and the way this is disorientating our Being. I argue the fall in both Heidegger and early Stiegler has encaptured their imagination. In later work, Stiegler argues that acceleration is fused with algorithmic pretensions, that are distorting and undermining the creative political imaginary, and making it difficult to revalue the values that underpin the nihilist Anthropocene. The overcoming of the Anthropocene engages politics, economics, power, physics, and ecology. (shrink)

“Rien n’arrive ni comme on l’espère, ni comme on le craint. Nothing really happens as we hope it will, nor as we fear it will.” 1 Améry appropriates this quote of Proust to highlight how our imaginative powers can never approach its reality during an extreme event. This failure of what he coins our anticipatory imagination is depicted in his phenomenological account of torture, an event whose extremity is later compared to another embodied experience: that of aging. Equating (...) torture with aging may seem shocking to some, and Améry was critiqued for suggesting such a parallel, particularly since he narrates a lived experience with the latter at the mere age of fifty-five. He revisits this critique in the preface to the fourth edition of On Aging: Revolt and Resignation where he states: "Today as much as yesterday I think that society has to undertake everything to relieve old and aging persons of their unpleasant destiny. And at the same time I stick to my position that all high- minded and reverential efforts in this direction, though indeed capable of being somewhat soothing- are still not capable of changing anything fundamental about the tragic hardship of aging." - Jean Améry, On Aging [Améry’s emphasis] The “today” of society that Améry referenced was 1977. But what about today? Is Améry correct in projecting that despite our best efforts nothing fundamental can change the quite unbearable experience of aging? Are attempts to aid the aging complicit in a “vile dupery” that ends in “metaphorically empty” phrases such as “rest in peace”? 3 I would like to pose these questions in the wake of a heated debate in France regarding the legality of assisted suicide for aging persons. Thus, this paper seeks to not only dissect his account of aging but to ask whether his philosophy could be read alongside current French thinkers to better assess comment mourir dans la dignité. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Just ImagineAlisse Waterston (bio)The united states is a flower of harm.—Tongo Eisen-Martin, “Taking a Common Name (after Claudia Rankine’s Just Us)”I never have to go far for evidence of the truth of this line from Tongo Eisen-Martin’s response to Claudia Rankine’s Just Us.On a Friday, Kyoo Lee, coeditor of philoSOPHIA, invited me to offer my own response to Eisen-Martin’s and Fanny Howe’s essays in what she said would be (...) “like a game of exquisite corpse,” a productive way, I think, to build up rather than tear down, the latter of which is too often the case in academia. I had to think about it, to think about Just Us, Claudia Rankine’s powerful, generous, sharp, and profound book. In it, she makes an urgent request for “an American conversation” on whiteness. Rankine teaches us: “Universalized whiteness, that racial imaginary, lives in every moment” (2020, 329).I pace around the house, make some tea, and pick up the New York Times, scanning the headlines. There it is, front-page news this very day: “Sights Set on School Districts as G.O.P. Targets Race Theory” (Saul 2021, A1). Scarlett Johnson, profiled in the article, is a dirty-blond “just a mom” from Mequon-Thiensville, a school district in Wisconsin. Johnson has made it her mission to refuse the conversation; she is buttressed by a set of powerful and wealthy behind-the-scenes interest groups. Rankine writes, “I have only lived as me, a person who regularly has to negotiate dismissal, erasure, disrespect, and abuse” (2020, 23).The news article goes on: “Republicans say critical race theory has invaded classrooms.” Then, Wisconsin senator Ron Johnson implores, “take back our school boards, our county boards, our city councils” (Saul 2021, A12; emphases [End Page 141] mine). Rankine observes, “Among white people, black people... are not allowed to implicate the present company in [their] precariousness. They are not allowed to point out its causes” (2020, 155). She explains “the narrative of white privilege that secures white spaces,” then quotes legal scholar Cheryl Harris on “the set of assumptions, privileges, and benefits that accompany the status of being white... a valuable asset that whites sought [and seek] to protect” (Rankine 2020, 25). Only connect.§§§The spiraling back, the turn of the screw to take it out, to look at what happened, to break apart the cover, to disclose in reverse, recalibrate and recapitulate, to find points of composure and recognition—to view the news as what happened already but left the stain of reportage and evidence of fraud and failure.... The time we live in and the way we make use of our “screws” to construct a new stage to play on.—Fanny Howe, “After Reading Just Us”Here, Fanny Howe offers a beautiful metaphor for Rankine’s gift to the world, if it will take it. Many people, not enough, have joined in turning the screw. Those who have are engaging the process of thinking, without which the catastrophe of universalized whiteness and its human toll will endure. Howe writes of a new stage to play on, which I interpret as an exciting challenge to re-create. Claudia Rankine writes: “what if ” (2020, 3).What if we imagine. The Oxford English Dictionary defines imagine as the process of forming an image of something in the mind, something akin to dreaming, visualizing, thinking, supposing. To imagine is to form a mental image of something, perhaps a goal, an end to which one yearns to arrive, an achievement not yet actualized. On the last pages of Upside Down: A Primer for the Looking-Glass World, the Uruguayan writer Eduardo Galeano dares readers to exercise the right to dream. “Suppose we rave a bit?” he asks, and he offers a long list of possibilities for an alternative world (Galeano 2000, 333–36; see figure 1).In a classroom exercise designed by my former student James Williams, I ask my undergraduates at a public university in New York City to rave a bit, writing out on a slip of paper one thing they would change to make for an alternative world. The world they... (shrink)

In the wake of uncivil strife—of genocide, "ethnic cleansing," apartheid— the prospect of forgiveness seems as elusive as the notion itself. In this paper, I seek to assess the complex factors that render forgiveness or social reconciliation such vexed concepts. For Desmond Tutu's pleas for "confession, forgiveness, and reconciliation in the lives of nations" meet with his fellow Nobel Laureate, Wole Soyinka's objection that justice is ill "served by discharging the guilty without evidence of mitigation—or remorse." One may, of course, (...) speak of unspeakable suffering; yet tragedy is never given simply. How we remember the Rwandan genocide, the legacy of apartheid, or the Shoah—whether as morally tragic or merely an unimportant political failure—depends upon how we "see" or imagine evil. To remember such suffering, we must first evoke what is effaced, bring to word the transgressed command. Only then can we speak of social reconciliation, forgiveness, or the fitting measures of retribution and reparation. Imagining, remembering, redressing evil—these, I will argue, comprise distinct, yet finally inseparable elements of social reconciliation, each admitting of no less distinct orders of legal-political, ethical, and religious interpretation. (shrink)

The paper uses the example of the failure of bankers and financial managers to understand the risks of dealing in structured financial products, before the financial collapse, to investigate how people respond to crises. It focuses on whether crises cause people to challenge their habitual frames by the application of moral imagination. It is proposed that the structure of financial products and their markets triggered the use of heuristics that contributed to the underestimation of risks. It is further proposed (...) that such framing heuristics are highly specialised to specific contexts and are part of a wider set of heuristics that people carry in their cognitive ‘adaptive toolboxes’. Consequently, it is argued, when a crisis occurs, the heuristics are not challenged, but are simply put away, and other more appropriate heuristics are put to use until a sense of normality returns, and the use of the old heuristics is resumed. (shrink)

The paper uses the example of the failure of bankers and financial managers to understand the risks of dealing in structured financial products, before the financial collapse, to investigate how people respond to crises. It focuses on whether crises cause people to challenge their habitual frames by the application of moral imagination. It is proposed that the structure of financial products and their markets triggered the use of heuristics that contributed to the underestimation of risks. It is further proposed (...) that such framing heuristics are highly specialised to specific contexts and are part of a wider set of heuristics that people carry in their cognitive ‘adaptive toolboxes’. Consequently, it is argued, when a crisis occurs, the heuristics are not challenged, but are simply put away, and other more appropriate heuristics are put to use until a sense of normality returns, and the use of the old heuristics is resumed. (shrink)

We propose to characterize imaginative resistance as the failure or unwillingness of the reader to take a fictional description of a deviant reality at face value. The goal of the paper is to explore how readers deal with such a breakdown of the default Face Value interpretation strategy. We posit two distinct interpretative ‘coping’ strategies which help the reader engage with the resistance-inducing fiction by attributing the offending content to one of the fictional characters. We present novel empirical (...) evidence that shows that actual readers use these strategies and we flesh out the exact workings of these strategies by integrating them into a general formal semantic framework for interpreting fiction. (shrink)

Allen Funt was one of the great psychologists of the twentieth century. His informal demonstrations on Candid Camera showed us as much about human psychology and its surprising limitations as the work of any academic psychologist. Here is one of the best : he placed an umbrella stand in a prominent place in a department store and filled it with shiny new golf-cart handles. These were pieces of strong, gleaming stainless steel tubing, about two feet long, with a gentle bend (...) in the middle, threaded at one end and with a handsome spherical plastic knob on the other end. In other words, about as useless a piece of stainless steel tubing as you could imagine, unless you happened to own a golf cart missing its handle. He put up a sign. It didn't identify the contents but simply said: "50% off. Today only! $5.95." Some people purchased them, and, when asked why, they were quite ready to volunteer one confabulated answer or another. They had no idea what the thing was, but it was a handsome thing, and such a bargain! These people were not brain- damaged or drunk; they were normal adults, our neighbors, ourselves. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Criticism, Imagination, and the Subjectivization of AestheticsRoger W. H. SavageThe growing discontent with reductivist practices signals a new current in contemporary criticism's understanding of music, literature and art. George Levine's unease with critics who are unable or unwilling to account for their continuing preoccupation with literary texts they expose as "imperialist, sexist, homophobic and racist" illumines the contradiction fueling the reduction of aesthetics to ideology.1 Cultural studies that deploy (...) literature as evidence of the aesthetics' socio-historical substance mask literature's capacity to break open new perspectives on reality by assuming that literary works are politically complicit with the aesthetics' strategic "mystification of the status quo" (A&I, p. 3). Criticism's indifference to its philosophical presuppositions exacerbates the paradox of denouncing a body of works that constitute criticism's aesthetic and intellectual heritage. According to Mario Valdés, literary studies' coming of age mandates that criticism take account of a tradition nurtured by a succession of philosophers including Hans-Georg Gadamer and Paul Ricoeur.2 For Valdés, the post-structuralist realization that literary texts are indeterminate and inexhaustible prohibits replacing the work of art with critical commentaries on it; criticism's collective and determining role belongs to a shared community of commentary whose history and thought is a record of the changing interpretations and understandings of literary texts' meanings. [End Page 164]Valdés's claim extends to the field of contemporary music criticism, where the fashion of denouncing aesthetics as socially pernicious turns against traditional musicology's institutional authority. By demystifying absolute music (instrumental music devoid of programmatic associations), a self-proclaimed critical musicology revolts against traditional musicology's perceived political and ideological agenda. Critical musicology militates against the aesthetic conceit that absolute music transcends its social construction. Yet, by overlooking the philosophical presuppositions that set music's autonomy against practical affairs, new musicology accedes to the schema it recoils against.The tradition nurtured by Gadamer's philosophical hermeneutics and Ricoeur's hermeneutic phenomenology represents a critical current whose significance has been overshadowed by postmodernist investments in decoding music's social and political content. Gadamer's critique of the subjectivization of aesthetics and Ricoeur's meditations on the imagination's capacity for invention offer an alternativeto contemporary music criticism's reaction against the principle of music's aesthetic autonomy. Gadamer and Ricoeur question art's formal separation from reality, which belongs to the history of Kant's radical subjectivization of aesthetics. Gadamer's critique of art's aesthetic differentiation prepares the ground for revealing how socially informed analyses conform to the schema Kant initiates by divorcing judgments of taste from their surrounding cultural ethos. Gadamer argues that, by discrediting theoretical knowledge that does not rely on the methodology of the natural sciences, the transcendental function Kant ascribes to aesthetic judgment lays the foundation for differentiating between art's aesthetic constitution and a concept of truth that accommodates the standard of the natural sciences. Through reducing the "sensus communis to a subjective principle," Kant legitimates his critique of aesthetic judgments by denying taste any importanceas a mode of knowledge.3Ricoeur's hermeneutical reflections on imagination complement Gadamer's critique of a differentiating consciousness that abstracts art works from their cultural worlds. For Ricoeur, imagination is productive when the fictions that works create affect our understanding of ourselves and our world by re-describing reality. Aesthetics' alignment with ideology encounters a limit in the power works evince by unfolding different ways of seeing or hearing reality. Ricoeur's reflections on imagination stand in stark contrast to the idea that individual works represent a form of cultural capital in the struggle for social position [End Page 165] and power. Contemporary critical practices' failure to account for the philosophical separation of judgments of taste from knowledge of reality precipitates the impasse criticism encounters when it identifies aesthetics with ideology at the expense of a work's capacity to affect reality in productive ways. The dispersal and potential disappearance of music's aesthetic character into the recesses of cultural and political analysis keeps step with the conceptual narrowing imposed by a restrictive sociological critique. Demystifying music's ideological representations of gender, race and identity purges romantic... (shrink)

Typically, Kant describes maxims that violate the moral law as engaging in a kind of comparative judgement: the person who makes a false promise judges it best – at least subjectively – to deceive her friend. I argue that this is not the only possible account of moral failure for Kant. In particular, when we examine maxims of so-called despondency (Verzagtheit) we find that some maxims are resistant to comparative judgement. I argue that this is true for at least (...) two reasons: first, the despondent agent has a maxim to avoid suffering at all costs; second, this anxious preoccupation with suffering makes the despondent agent prone to failures associated with the imagination and its role in creating an ideal of happiness. (shrink)

As reaction to the failures of the globalization process, which is based on a commodification of the whole life new resistance mobilizations occurred. The Occupy Wall Street Movement has underlined that the social consequences of the neoliberal empire call for new resistances, new visions of solidarity, and new ways of representation. It has become clear, that capitalism’s influence on democracy has made that concept insufficient. The sovereign biopower is regulating life and survival via granting access or exclusion from resources. It (...) not only disciplines and normalizes sexualities, bodies and gender but regulates health, security, etc. of everybody. Therefore responsible theology needs to expand Feminist, Gender and Queer critique and my approach is to offer a reaction by developing a critical Bio-Theology using Foucault’s critique of biopower and Castoriadis’ concept of the radical social imaginary. This paper uses inter- and transdisciplinary methodology bringing together ‘beyond liberation theology’ approaches with queer, postcolonial, epistemological intersectionality critique and post-secular debates. (shrink)

This paper explores the significance of Adam Smith's ideas for defending non-cognitivist theories of aesthetic appreciation of nature. Objections to non-cognitivism argue that the exercise of emotion and imagination in aesthetic judgement potentially sentimentalizes and trivializes nature. I argue that although directed at moral judgement, Smith's views also find a place in addressing this problem. First, sympathetic imagination may afford a deeper and more sensitive type of aesthetic engagement. Second, in taking up the position of the impartial spectator, aesthetic judgements (...) may originate in a type of self-regulated response where we stand outside ourselves to check those overly humanizing tendencies which might lead to a failure in appreciating nature as nature. (shrink)

This paper examines the journals of Frances W. Willard, founder and organ izer of the Woman's Christian Temperance Union in the United States, and their revelations about the gender battle that raged within the psyche of Willard and other young women of her day. The failure of organized Chris tianity to provide solace or unbiased counsel to women such as Willard is apparent in a close reading of Willard's work. Within the pages of her journals, the struggle she faced (...) is obvious on almost every page; her strug gle with what society said she should do, and what she knew she was capable of doing, is present for all to see. The paper argues that because, however, lived in the United States within a short window of nineteenth- century time, she was able to form a 'Boston Marriage' with a young woman who provided her with the comfort and support she needed. The Boston Marriage, arguably, was available only for relatively well-to-do, white-middle-class women of an educated class, who had attended col lege and, because they were able to find a 'service' career of some kind, could live together in harmony. Enlightened families, like that of Henry James, were able to support female members of their class who did not 'fit in' to societal norms of the day and accept their lifestyle, while negat ing the sexuality of it. Organized religion, however, did not, and it is the failure of her church to help her find a way of life she can tolerate about which Willard writes. You shall not lie with a male as with a woman; it is an abomination. So God created humankind in his image, in the image of God he created them; male and female he created them. (shrink)

This paper responds to Bernecker’s attack on Michaelian’s simulationist account of confabulation, as well as his defence of the causalist account of confabulation :432–447, 2016a) against Michaelian’s attack on it. The paper first argues that the simulationist account survives Bernecker’s attack, which takes the form of arguments from the possibility of unjustified memory and justified confabulation, unscathed. It then concedes that Bernecker’s defence of the causalist account against Michaelian’s attack, which takes the form of arguments from the possibility of veridical (...) confabulation and falsidical relearning, is partly successful. This concession points the way, however, to a revised simulationist account that highlights the role played by failures of metacognitive monitoring in confabulation and that provides a means of distinguishing between “epistemically innocent” and “epistemically culpable” memory errors. Finally, the paper responds to discussions by Robins and Bernecker of the role played by the concept of reliability in Michaelian’s approach, offering further considerations in support of simulationism. (shrink)

Sometimes it is wrong to imagine or take pleasure in imagining certain things, and likewise it is sometimes wrong to prompt these things. Some argue that certain fictive imaginings—imaginings of fictional states of affairs—are intrinsically wrong or that taking pleasure in certain fictive imaginings is wrong and so prompting either would also be wrong. These claims sometimes also serve as premises in arguments linking the ethical properties of a fiction to its artistic value. However, even if we grant that it (...) might sometimes be wrong to imagine x or to take pleasure in imagining x, nothing follows about the ethical status of fictively imagining x, with or without pleasure. Prompting some fictive imagining is intrinsically wrong only when the fiction is a means to encourage for export from the fiction to the actual world some belief or attitude that it would be blameworthy to hold. The failure of arguments for the wrongness of certain fictive imaginings and their prompting lies in part in a failure to recognize that imagining x and fictively imagining x are distinct mental acts. This distinction blocks many arguments attempting to forge a link between a work's ethical properties and its artistic properties. (shrink)

What are the primary characteristics that define what it means to be human? And what happens to those characteristics in the face of technology past, present, and future? The three essays in Image, by leading philosophers of religion Mark Taylor, Mary-Jane Rubenstein, and Thomas Carlson, play at this intersection of the human and the technological, building out from Heidegger's notion that humans master the world by picturing or representing the real.Taylor's essay traces a history of capitalism, dwelling on the lack (...) of humility, particularly in the face of our own mortality, that is the persistent failure of humans, before turning to art as a possible way to bring us back to earth and recover humility before it is too late. Rubenstein zeroes in on the delusions of imaginative conquest associated with space travel. Through a genealogy of the modern "view from space" from the iconic Earth rise photo of 1968 up to the new privatized American space race, Rubenstein provides an analysis of the perils of the one-world and the false unity it projects. In his essay, Carlson takes as his starting point the surveillance capitalism of facial recognition technology. He dives deep into Heidegger to meditate on the elimination of individuals through totalizing gestures and the relationship between such elimination and our encounters with mortality. Each of these essays, in its own way, reflects on the nature of imagination, the character of technological vision in contemporary culture, and the implications of these for the kinds of sociality and love that condition our human experience. (shrink)

To date, economics has failed to develop a useful theory of entrepreneurship because of its inability to break out of the static equilibrium framework and the modeling of success/failure as a 0-1 variable. Entrepreneurship research also has not achieved this task due to its preoccupation with the quest for “the successful entrepreneur” and/or the successful firm. This essay calls for a new vocabulary for entrepreneurship, consisting of (1) a plural notion of the entrepreneurial process as a stream of successes (...) and failures, wherein failure management becomes the key science of entrepreneurship; (2) an effectual notion of bringing together particular entrepreneurs and particular environments through creative action; and (3) a contingent notion of aspirations that places imagination at the center stage of economics. Together, the new vocabulary allows us to ask new questions and develop new approaches that allow entrepreneurship to tackle the central task of imagination in economics, i.e., to create from the society we have to live in, the society we want to live in. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry in order (...) to make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry in order (...) to make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry in order (...) to make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

Imagine a moral agent with the native capacity to act rightly in every kind of circumstance. She will never, that is, find herself thrust into conditions she isn’t equipped to handle. Relationships turned tricky, evolving challenges of parenthood, or living in the midst of a global pandemic—she is never mistaken about what must be done, nor does she lack the skills to do it. When we are thrust into a new kind of circumstance, by contrast, we often need time to (...) practice discernment, new forms of compassion, different kinds of courage, or whatever else conditions call for. Unfortunately, such practice usually takes the form of on-the-job training—it is hard to cultivate the skills of an excellent parent, for example, until we actually are parents. Even more unfortunately, on-the-job training basically guarantees mistakes. This paper focuses on errors that (a) cause harm to others, and that (b) we make non-culpably because our skills are (understandably) not yet up to snuff. It argues that agent regret—the attitude singled out for non-culpable failures by much moral philosophy—is inapt in such cases. Rather, we need an attitude I will call stoic determination. (shrink)

Focusing on the paradoxes revealed in the multibillion dollar mistake of the Universal Camouflage Pattern and the expansive ambit of a leaked National Security Agency briefing on its approach to “identity intelligence,” this article analyzes security glitches arising from the state’s application of mechanized logics to security and visibility. Presuming that a digital-looking pattern would be more deceptive than designs inspired by natural forms, in 2004, the US Army adopted a pixelated “digital” camouflage pattern, a print that rendered soldiers more, (...) rather than less, visible in the field; it acknowledged this error in 2012. Two years later, “Identity Intelligence: Image Is Everything” visualized the episteme of National Security Agency surveillance with an illustration detailing hundreds of different types of data—biometric, biographic, and contextual—that the agency believes it could exploit to identify and monitor “targets of interest.” These glitches originate in technofetishistic convictions about the nature of digital images and information, limited ways of imagining bodies and lives, and reductive understandings of complex relationships between power and perception. Together, they expose the paradoxes that arise as the state tries to extend its power over the body and the contingency of that power on the smallest of things. (shrink)

Abstract:Frantz Fanon is best known as the author of two monographs: Black Skin, White Masks (1952), a literary and psychological account of Black experience and anti-Black racism, and The Wretched of the Earth (1961), a political manifesto arguing for the need to respond to colonial oppression with revolutionary violence. His critics contend that the disciplinary division evinces a failure to successfully integrate the psychological with the political, which detracts from his intellectual legacy. In this article, I employ criminologist Jon (...) Frauley’s theory of the analytic value of fictional film to demonstrate that Denis Villeneuve’s Blade Runner 2049 (2017) not only provides an empirical referent for Fanon’s psychological and political theories but also reveals an underlying coherence that is not always obvious. I begin with a summary of Frauley’s theory and then alternate between Fanon’s theories and the way in which the film provides those theories with empirical referents. My conclusion, which highlights an essential continuity between individual transcendence and collective action in Fanon, draws on both Blade Runner 2049 and the military tactic of pseudo operations, which was employed to devastating effect against anti-colonial struggles in Africa in the second half of the twentieth century. (shrink)

To date, economics has failed to develop a useful theory of entrepreneurship because of its inability to break out of the static equilibrium framework and the modeling of success/failure as a 0-1 variable. Entrepreneurship research also has not achieved this task due to its preoccupation with the quest for “the successful entrepreneur” and/or the successful firm. This essay calls for a new vocabulary for entrepreneurship, consisting of (1) a plural notion of the entrepreneurial process as a stream of successes (...) and failures, wherein failure management becomes the key science of entrepreneurship; (2) an effectual notion of bringing together particular entrepreneurs and particular environments through creative action; and (3) a contingent notion of aspirations that places imagination at the center stage of economics. Together, the new vocabulary allows us to ask new questions and develop new approaches that allow entrepreneurship to tackle the central task of imagination in economics, i.e., to create from the society we have to live in, the society we want to live in. (shrink)