This paper will defend scientific study of the social by scrutinizing Clifford Geertz's interpretive anthropology, and evolutionary psychologists' criticism of it. I shall critically examine Geertz's identification of anthropology with literary criticism, his assumption that a science of society is possible only on a positivist model, his view of the relation between culture and mind, and his anti anti-relativism. Then I shall discuss evolutionary psychologists' criticism of Geertz's view as an exemplar of the so-called "Standard Social Science Model." Finally, I (...) shall claim that both Geertz and evolutionary psychologists misunderstand the aim of the social sciences, which is to explain the unintended consequences of human actions in institutional contexts. Key Words: Clifford Geertz • evolutionary psychology • interpretive anthropology • positivism • Standard Social Science Model (SSSM). (shrink)

Popular film has become a significant venue for meaning‐making in modern society. Like religion, film provides models for understanding and behaving within the social world. Like religion, film reinforces this content through emotional resonance. Myths slip under a viewer's intellectual defenses in the non‐threatening guise of entertainment. In a mainstream culture skeptical of religion, film presents an alternative mechanism for the transmission and processing of “religious” ideas and ideals.

Everyday (mis)uses of deepfakes define prevailing conceptualizations of what they are and the moral stakes in their deployment. But one complication in understanding deepfakes is that they are not photographic yet nonetheless manipulate lens-based recordings with the intent of mimicking photographs. The harmfulness of deepfakes, moreover, significantly depends on their potential to be mistaken for photographs and on the belief that photographs capture actual events, a tenet known as the transparency thesis, which scholars have somewhat ironically attacked by citing digital (...) imaging techniques as counterexamples. Combining these positions, this paper sets out two core points: (1) that conceptions about the nature of photography introduce imperatives about its uses; and (2) that popular cultural understandings of photography imply normative ideas that infuse our encounters with deepfakes. Within this, I further raise the question of what moral ground deepfakes occupy that allows them to have such a potentially devastating effect. I show that answering this question involves reinstating the notion that photographs are popularly conceived of as transparent. The rejoinder to this argument, however, is that to take the sting out of deepfakes we must, once again, become skeptical of the veracity of all images, including photoreal ones. This kind of critical mindedness was warranted before the invention of photography for both pictorial imprints and written accounts from various media sources. Given this, along with the fact that photographic trickery is nothing new, deepfakes need not push us into a post-truth epistemic abyss, for they imply a decidedly old turn. (shrink)

Film is frequently employed in philosophy classes to illustrate philosophical themes. I argue that making short films or videos in the philosophy classroom can also be a valuable learning exercise for philosophy students. One such assignment, focused on showing the relevance of philosophy to everyday issues, is described and defended here. The exercise is valuable both as a way to clarify the character of philosophical inquiry and its connection to life, and also because questions about film as a medium relate (...) directly to concerns of the major traditional branches of philosophy. (shrink)