In the massive plot twist at the end of BioShock Infinite, the writers beautifully put forth a hypothesis that individuals might exist in more than one possible world. In philosophy, the idea that an individual can exist in more than one world is called transworld identity. An important rival to transworld identity theory is counterpart theory, the idea that individuals cannot exist in more than one possible world and are therefore “world bound.” Modal realism is the thesis according (...) to which there is an infinite number of possible worlds that really exist in the most robust sense, relative to themselves. The world of Columbia is one possible world. The world of Rapture is another possible world. Both the actualist and the possibilist agree on these claims. Most important to the themes present in BioShock, transworld individuality has profound implications for differing notions of freedom. (shrink)

BioShock Infinite is a piece of fiction that lets one peer into a world where this linearity seems overridden by a multiverse where all the possibilities exist. Stories are important for video games. Its story is one of the reasons BioShock Infinite resonates with audiences all around the world. The field of philosophy that deals with art is called aesthetics. If one think that it's even worth asking the question of whether BioShock Infinite is (...) art or not, then one might want to consider this: What is it we're asking about in this case? When we ask whether Infinite is art, we're asking about the experience of playing it. BioShock Infinite is still one of the greatest video game stories and worlds of all time. In this, it represents a big step towards artful video game design. BioShock succeeds in showing that the possibilities for artful storytelling are infinite. (shrink)

BioShock Infinite begins with the question of “founding.” One enters Columbia for the first time on “Secession Day,” the anniversary of Columbia's secession from the United States in 1902, and the commemoration of the founding of Columbia as the “New Eden.” Racial difference is one of the major antagonisms in BioShock Infinite. BioShock Infinite exemplifies Carl Schmitt's concept of the political, as grounded on fundamental antagonisms that express the will of “the people” of Columbia. (...) Sovereignty is the power to decide what one will do outside of any rules or laws. The questions of decision and responsibility play a key role in the story and gameplay of BioShock Infinite. Players are forced to make a number of decisions throughout BioShock Infinite, without any way of knowing what the outcomes of these decisions will be. It turns out that none of these decisions has any real impact on the game. (shrink)

At the end of BioShock Infinite, Booker is faced with the challenge of not allowing the tragedy to befall Columbia. There has to be a way, he believes, to prevent the rise of Father Comstock, the imprisonment and abuse of Elizabeth, and the creation of a Columbia that persecutes people for both religious and racial reasons. Booker's action is predicated on the necessity of Booker becoming Comstock. Elizabeth takes Booker back to Father Comstock's creation and it is revealed (...) that Comstock's coming to power took place when DeWitt accepted Christian baptism after his participation in the Wounded Knee massacre. The notion that Booker DeWitt had to become Father Comstock because of his baptism portrays a God that is overly deterministic, however. In reality, God may be omnipotent and omniscient, and yet humans may be free. (shrink)

The story of the Vox Populi embodies conflict theory, one popular interpretation of Marx's ideas, portraying a bloody revolution that loses sight of its ideals, turns anarchistic, and becomes the new oppressor. In Columbia, Zachary Hale Comstock and Jeremiah Fink illustrate the way the bourgeoisie may come to create and control the means of production. As the friction builds between the bourgeoisie and the proletariat, historical processes contribute to the inevitable collapse of capitalism. In BioShock Infinite, the simmering (...) friction between the upper and lower classes boils over into the rise of the Vox Populi. The functionalist perspective often casts religion as a social structure that keeps society together despite any negative costs it may have for any particular group. In order for the bourgeoisie to own the means of production and keep the working class oppressed, it uses propaganda and indoctrination as powerful agents of control. (shrink)

“Father” Zachary Hale Comstock is a self‐professed prophet, religious zealot, and racist, who has kept his “heir” under lock and key in the floating city of Columbia. Booker DeWitt is a washed‐up, disgraced ex‐Pinkerton agent haunted by his participation in the Wounded Knee Massacre. He enters Columbia to rescue Elizabeth in exchange for having his gambling debts settled. After much bloodshed, Booker saves Elizabeth and kills Comstock. In the past, Booker attended a baptism to assuage his guilt over Wounded Knee. (...) In some worlds he rejected the baptism, got married, had a daughter, Anna, and ended up as an indebted alcoholic ex‐Pinkerton agent. In the Comstock world, Anna is renamed Elizabeth in order to conceal her true origins. BioShock Infinite paints a metaphysical picture that treats the many‐worlds interpretation of quantum mechanics as reality. (shrink)

BioShock Infinite follows the journey of Booker DeWitt, a reluctant detective from New York City who is transplanted via rowboat and lighthouse‐turned‐rocket to the city of Columbia. Booker is charged with the task of bringing back a girl in order to wipe away his debt. The girl, Elizabeth Comstock, has been locked in a tower since infancy by her father, Zachary Comstock, and is protected by a menacing Songbird. Although the game centers on Booker and his story, this (...) chapter focuses on Elizabeth, looking at her through a feminist lens. Freeing Elizabeth from her tower, one could argue, is in a way freeing her from oppression of men. If we take Elizabeth as her own person, rather than as a mere companion, does Elizabeth's freedom from tower mean real freedom for her? Does Booker treat Elizabeth any differently than Comstock does? And, what really is Elizabeth's role in Booker's drowning?. (shrink)

If one knows everything there is to know about a person's state while playing BioShock, if one could describe the exact neurons firing, the synapses responding, and so on, one still wouldn't know what it is like to play BioShock. This is precisely what phenomenology is interested in. Some philosophers would argue that there are a great number of phenomenological methods, but the author thinks they basically fall into two categories: the phenomenological tradition and art as phenomenology. (...) class='Hi'>Infinite is phenomenologically interesting because the game's designers have poured phenomenological ideas into Columbia and Elizabeth, which one can then read as if they were books containing a phenomenological analysis of reality. Once the player is comfortable in the role of protagonist, one is easily absorbed by the worlds of Rapture and Columbia. The phenomenological relevance of these insights is that they reveal something about oneself. (shrink)

Aggregative consequentialism and several other popular moral theories are threatened with paralysis: when coupled with some plausible assumptions, they seem to imply that it is always ethically indifferent what you do. Modern cosmology teaches that the world might well contain an infinite number of happy and sad people and other candidate value-bearing locations. Aggregative ethics implies that such a world contains an infinite amount of positive value and an infinite amount of negative value. You can affect only (...) a finite amount of good or bad. In standard cardinal arithmetic, an infinite quantity is unchanged by the addition or subtraction of any finite quantity. So it appears you cannot change the value of the world. Modifications of aggregationism aimed at resolving the paralysis are only partially effective and cause severe side effects, including problems of “fanaticism”, “distortion”, and erosion of the intuitions that originally motivated the theory. Is the infinitarian challenge fatal? (shrink)

The purpose of this paper is to explain how infinitism—the view that reasons are endless and non-repeating—solves the epistemic regress problem and to defend that solution against some objections. The first step is to explain what the epistemic regress problem is and, equally important, what it is not. Second, I will discuss the foundationalist and coherentist responses to the regress problem and offer some reasons for thinking that neither response can solve the problem, no matter how they are tweaked. Then, (...) I want to present the infinitist solution to the problem and defend it against some of the well known objections to it. (shrink)

BioShock begins simply with the text “1960 Mid‐Atlantic.” The player's horizon shifts to accommodate this fact, like not being so surprised that Jack can smoke in the airplane. What follows in BioShock is the development of a narrative where it is assumed that Jack is entering Rapture for the first time in his life. Later, it is revealed that he is not. When Andrew Ryan exposes Jack's real identity, Ryan is falsifying both the narrative of Jack coming to (...) Rapture for the first time and the meta‐narrative of the player operating a free agent as an avatar. Understanding how BioShock effectively manipulates players will take us through a variety of territories: cognitive science, philosophy of mind, philosophical hermeneutics, philosophy of video gaming, and philosophy of free will. It's all a testament to the brilliance of BioShock and a demonstration of how video games can teach us‐ even change us. (shrink)

Renowned scholar Robert Adams explores the relation between religion and ethics through a comprehensive philosophical account of a theistically-based framework for ethics. Adams' framework begins with the good rather than the right, and with excellence rather than usefulness. He argues that loving the excellent, of which adoring God is a clear example, is the most fundamental aspect of a life well lived. Developing his original and detailed theory, Adams contends that devotion, the sacred, grace, martyrdom, worship, vocation, faith, and other (...) concepts drawn from religious ethics have been sorely overlooked in moral philosophy and can enrich the texture of ethical thought. (shrink)

According to Friedrich Schleiermacher, religiosity is rooted in feeling (Gefühl). As a result of our engagement with the world, on which we depend and which we can influence, we have both a sense of dependence and of freedom. Schleiermacher speculated that a sense of absolute dependence in reflective beings with self-consciousness (human beings) gave rise to religion. Using insights from contemporary philosophy of biology and cognitive science, I seek to naturalize Schleiermacher's ideas. I moreover show that this naturalization is in (...) line with Schleiermacher's outlook on biology, as he already had evolutionary considerations in mind when he wrote the Christian Faith (1830). While Schleiermacher rejects natural theology in a narrow sense (proofs for the existence of God), his project is natural theological in a broader sense, as it roots religion in experiences that we can examine using naturalistic theories. (shrink)

Everyone misses the point of Plato's cave. What a coincidence, because everyone also misses the point of BioShock. The moment one's interactivity with the game is revealed as a fake isn't the moment when one kills Andrew Ryan in a cutscene. It's what happens after that. Atlas tells to abort the self‐destruct sequence. One has the choice of whether to abort self‐destruct sequence or not, but, positioned as it is, that choice has been exposed as meaningless within the basic (...) fabric of game's mechanics. The non‐choice of disarming self‐destruct sequence ends up in the same place as the other, more famous ethical dilemma of BioShock; the choice of whether to harvest the Little Sisters or to save them. That's the part that everyone gets wrong where BioShock is concerned, and so it's the part where comparing the game to Plato's cave can really help get both of them right. (shrink)

This paper presents an in-depth analysis of the anatomy of both thermodynamics and statistical mechanics, together with the relationships between their constituent parts. Based on this analysis, using the renormalization group and finite-size scaling, we give a definition of a large but finite system and argue that phase transitions are represented correctly, as incipient singularities in such systems. We describe the role of the thermodynamic limit. And we explore the implications of this picture of critical phenomena for the questions of (...) reduction and emergence. (shrink)

We give a constructive proof of McNaughton's theorem stating that every piecewise linear function with integral coefficients is representable by some sentence in the infinite-valued calculus of Lukasiewicz. For the proof we only use Minkowski's convex body theorem and the rudiments of piecewise linear topology.

The singularity arising from the violation of the Lipschitz condition in the simple Newtonian system proposed recently by Norton (2003) is so fragile as to be completely and irreparably destroyed by slightly relaxing certain (infinite) idealizations pertaining to elastic phenomena in this model. I demonstrate that this is also true for several other Lipschitz-indeterministic systems, which, unlike Norton's example, have no surface curvature singularities. As a result, indeterminism in these systems should rather be viewed as an artefact of certain (...) infinite idealizations essential for these models, depriving them of much of their intended metaphysical import. (shrink)

We study the relationship between the cofinality $c(Sym(\omega))$ of the infinite symmetric group and the cardinal invariants $\frak{u}$ and $\frak{g}$ . In particular, we prove the following two results. Theorem 0.1 It is consistent with ZFC that there exists a simple $P_{\omega_{1}}$ -point and that $c(Sym(\omega)) = \omega_{2} = 2^{\omega}$ . Theorem 0.2 If there exist both a simple $P_{\omega_{1}}$ -point and a $P_{\omega_{2}}$ -point, then $c(Sym(\omega)) = \omega_{1}$.

This paper offers a defense of Charles Parsons’ appeal to mathematical intuition as a fundamental factor in solving Benacerraf’s problem for a non-eliminative structuralist version of Platonism. The literature is replete with challenges to his well-known argument that mathematical intuition justifies our knowledge of the infinitude of the natural numbers, in particular his demonstration that any member of a Hilbertian stroke string ω-sequence has a successor. On Parsons’ Kantian approach, this amounts to demonstrating that for an “arbitrary” or “vaguely represented” (...) string of strokes, we can always “add” one more stroke. Critics have contested the cogency of a notion of an arbitrary object, our capacity to vaguely represent a definite object, and the role of spatial and temporal representation in the demonstration that we can “add” one more. The bulk of this paper is devoted to demonstrating how to meet all extant criticisms of his key argument. Critics have also suggested that Parsons’ whole approach is misbegotten because the appeal to mathematical intuition inevitably falls short of providing a complete solution to Benacerraf’s problem. Since the natural numbers are essentially and exclusively characterized by their structural properties, they cannot be identified with any particular model of arithmetic, and thus a notion of intuition will fail to capture the universality of arithmetic, its applicability to all entities. This paper also explains why we should not reject appeal to mathematical intuition even though it is not itself sufficient to fully “close the gap” on Benacerraf’s challenge. (shrink)

This article addresses “Creativity after Computation” by looking into the concept of artificial imagination, namely the machine’s ability to produce images that challenge artmaking and surprise human beings with the aid of machine learning algorithms. What is at stake is not only art and creativity but also the tension between the determination of machines and the freedom of human beings. This opposition restages Kant’s third antinomy in the contemporary technological condition. By referring to the debate on the question of imagination (...) in Kant, Heidegger, and Stiegler, the article suggests that imagination is always already artificial and that it is more productive to develop an organology of artificial imagination. It clarifies the notion of artificial imagination and offers an organological reading through a reinterpretation of Leibniz’s monadology, Kant’s sublime, and Schiller’s aesthetic education against the backdrop of recursive algorithms. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bioshock and the Art of RaptureGrant TavinorI am Andrew Ryan, and I am here to ask you a question. Is a man not entitled to the sweat of his brow? "No!" says the man in Washington, "It belongs to the poor." "No!" says the man in the Vatican, "It belongs to God." "No!" says the man in Moscow, "It belongs to everyone." I rejected these answers; instead, I (...) chose something different. I chose the impossible. I chose Rapture! A city where the artist would not fear the censor; where the scientist would not be bound by petty morality; where the great would not be constrained by the small! And with the sweat of your brow, Rapture can become your city as well.Andrew Ryan, opening BioshockIBioshock is the Masterpiece of recent gaming. Genre-wise the game is a first person-shooter survival-horror game—already a complicated mix of gaming forms—and Bioshock is excellent in these gaming terms: playing the game is a consistently engaging, challenging, and tense experience. The narrative of the game, set in Rapture, a dystopian city beneath the sea, fits perfectly with this interactive gaming form. The premise of Bioshock is a parody of Ayn Rand's objectivist novel Atlas Shrugged. Led by the magnate Andrew Ryan, the industrialists, artists, and scientists have retreated from the world and built Rapture through sheer force of will. But when the player enters the city at the beginning of the game, it is evident that nature is pushing back, and that the sea is slowly but surely retaking Rapture, while its citizens have become corrupted by the arts and sciences the city was built upon: as genetically manipulated "splicers" they now creep through Rapture's darkened halls bemoaning their lost humanity. Andrew Ryan "chose the impossible," [End Page 91] and inevitably his hubris is being repaid by the recalcitrance of human nature and the impermanence of human achievement. Much of the immense fun of Bioshock derives from the irony of an objectivist utopia running amok.The immediate visual impact of Bioshock, depending on its employment of cutting-edge high definition 3D computer graphics, is striking. The aesthetic qualities of the water, in particular, have drawn wide praise. The world of Rapture is also presented through an engaging and excellent style. To depict this decaying world, Bioshock draws on the architectural motifs and cultural themes of 1930s and 1940s America. Portrayals of decaying art deco facades, faded Hollywood socialites, and echoes of Hearst, Hughes, and Citizen Kane, are combined with period music and philosophical and literary references to produce a coherent artistic statement.Two features of Bioshock bear out its unique artfulness as a game. First is the role in the game-world of the Little Sisters: cute little girls that pose a game obstacle with which the player must decide how to deal. In Bioshock, the task of harvesting the game-world resources needed to survive is given a moral dimension in that the resources can be extracted only from the Little Sisters by killing them, and so a key part of the gameplay rests on an emotionally provocative moral choice. The second artful aspect of the game that warrants special attention is a narrative twist partway through the game where it becomes evident that player's principle sympathetic source of information in the game-world is a dissemblance. Bioshock has an interactive twist on an untrustworthy narrator, which clouds and complicates the decisions the player has made in Rapture. Rather than an actor, the player-character is a pawn in someone else's game. At the forefront of both of these aspects of Bioshock are considerations of freewill and morality.To really appreciate the art of Bioshock we need to understand its nature as a game, and moreover, to treat the gaming nature seriously and with sympathy. Bioshock is a videogame, and it is also clearly art; but it is not as if the game is art despite its being a videogame and that the art is a mere gloss or veneer. Rather, Bioshock's nature as a game allows it to be art of a distinctive kind. Treating videogames as a kind... (shrink)

The Overgeneration Argument is a prominent objection against the model-theoretic account of logical consequence for second-order languages. In previous work we have offered a reconstruction of this argument which locates its source in the conflict between the neutrality of second-order logic and its alleged entanglement with mathematics. Some cases of this conflict concern small large cardinals. In this article, we show that in these cases the conflict can be resolved by moving from a set-theoretic implementation of the model-theoretic account to (...) one which uses higher-order resources. (shrink)