This article explores the nature and theoretical import of a hitherto neglected class of fictions which we term 'self-involving interactive fictions' (SIIFs). SIIFs are interactive fictions, but they differ from standard examples of interactive fictions by being, in some important sense, about those who consume them. In order to better understand the nature of SIIFs, and the ways in which they differ from other fictions, we focus primarily on the most prominent example of the category: video-game fictions. We argue that appreciating the self-involving nature of video-game fictions is key to understanding various otherwise puzzling phenomena concerning the ways in which consumers respond to them. Video-game fictions are, however, far from being the only extant example of this class; and we suggest that the recent philosophical interest in video games would be better focused on the wider class of self-involving interactive fictions.
In this paper, we argue that time travel is problematic for the endurantist. For it appears to be possible, given time travel, to construct a wall out of a single time travelling brick. This commits the endurantist to one of the following: (a) the wall is composed of the time travelling brick many times over; (b) the wall does not in fact exist at all; (c) the wall is identical to the brick. We argue that each of these options is unsatisfactory.
It is frequently claimed that we can learn very little, if anything, about the aesthetic character of an artwork (or other object of aesthetic appraisal) on the basis of testimony. Such disparaging assessments of the epistemic value of aesthetic testimony contrast markedly with our acceptance of testimony as an important (perhaps even basic) source of knowledge in many other areas. There have, however, been a number of challenges to this orthodoxy of late; from those who seek to deny that such a contrast exists (optimists) as well as attempts by those who accept the distinction (pessimists) to provide an explanation and defence of the contrast. In , I outline a little of the nature and history of the debate over aesthetic testimony. , focuses on the opposing positions on aesthetic testimony, optimism and pessimism, and takes steps to clarify what exactly is at issue between them. In , I survey considerations which have been adduced in favour of pessimism ranging from brute appeal to intuition to complex argumentation before turning in , to look at motivations for optimism. Finally, in , I consider some alternative views which claim that, for a variety of reasons, it is a mistake to construe the debate over aesthetic testimony as concerned (or at least as primarily concerned) with the epistemic standing of aesthetic beliefs formed on the basis of testimony.
The problem of evil is typically presented as a problem – sometimes the problem – facing theistic realists. This article takes no stance on what effect (if any) the existence of evil has on the rationality of theistic belief. Instead, it explores the possibility of using the problem of evil to generate worries for some of those who reject theistic realism. Although this article focuses on the consequences for a particular kind of religious fictionalist, the lessons adduced are intended to have more general application.
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