This paper develops an aesthetics of crossword puzzles. I present a taxonomy of crosswords in the Anglophone world and argue that there are three distinct sources of aesthetic value in crosswords. First, and in common with other puzzles, crosswords merit aesthetic experiences of our own agency: paradigmatically, the aesthetic experience of struggling for and hitting upon the right solution. In addition to instantiating the aesthetic value of puzzles in general, crosswords in particular can have two other sources of aesthetic (...) value: the visual appeal of grid art and the poetic delight of idiomatic language. Crossword aesthetics takes place at the intersection of the recently popular aesthetics of puzzles and games and the more familiar aesthetics of the visual and literary arts. (shrink)

. Neither the correspondence nor the coherence theory of truth does justice to the truth claims made in science and theology. I propose a new definition that relates truth to solving puzzles. I claim that this definition is more adequate than either of the traditional theories and that it offers two additional benefits: first, it provides grounds for a theory regarding the relations between theology and science that may stand up better to philosophical scrutiny than does critical realism; and second, (...) it blocks the move to relativism based on recognition of the plurality of perspectives and the historical and social conditioning of knowledge. (shrink)

This paper argues that the crossword puzzle analogy is great for scientific rationality, but not scientific warrant. It provides a critical analysis of foundherentist conceptions of scientific warrant, especially that of Susan Haack, and closely related positions, such as non-doxastic coherentism. Foundherentism takes the middle ground between foundationalism and coherentism. The main idea is that warrant, including that of scientific theories, is like warrant of crossword entries: the degree to which a theory is warranted depends on one’s (...) observations, the extent to which it coheres with one’s other scientific theories and whether one’s evidence includes a sufficiently large portion of the relevant evidence. I identify three problems for a foundherentist conception of scientific warrant, two of which are also problems for the image of science as a crossword puzzle. First, Haack’s conceptions of personal and social warrant of scientific theories are incompatible. Second, the notion of warrant defe.. (shrink)

This article discusses some continuous limit cases of Susan Haack’s crossword puzzle metaphor for the coherent development and foundation of science. The main objective of this discussion is to build a bridge between Haack’s foundherentism and the epistemological framework of objective cognitive constructivism, including its key metaphor of objects as tokens for eigen-solutions. The historical development of chemical affinity tables is used to illustrate our arguments.

In this article I defend Freud’s method of dream interpretation against those who criticise it as involving a fallacy—namely, the reverse causal fallacy—and those who criticise it as permitting many interpretations, indeed any that the interpreter wants to put on the dream. The first criticism misconstrues the logic of the interpretative process: it does not involve an unjustified reversal of causal relations, but rather a legitimate attempt at an inference to the best explanation. The judgement of whether or not a (...) particular interpretation is the best explanation depends on the details of the case in question. I outline the kinds of probabilities involved in making the judgement. My account also helps to cash out the metaphors of the jigsaw and crossword puzzles that Freudians have used in response to the ‘many interpretations’ objection. However, in defending Freud’s method of dream interpretation, I do not thereby defend his theory of dreams, which cannot be justified by his interpretations alone. (shrink)

Academic writing, even in prestigious journals, is frequently ugly and arduous. The writing in academic philosophy is no exception, especially given philosophers’ tendency to overlook prose and to focus exclusively on philosophical content. This paper argues that good prose matters for moral, prudential, and philosophical reasons. After glossing these reasons, the authors offer advice, born of experience, to academic writers who want to achieve clear, effective prose. Their advice includes how to improve sentence structure (e.g. eliminate undue repetition and forms (...) of “to be,” be careful with comma use, evaluate sentences by reading them aloud), global considerations (e.g. use technical notation cautiously, avoid prose in footnotes, read and report opponents’ views with charity), how to practice reiterating the same point in different words (e.g. play language games likes crossword puzzles, read non-academic prose, aim to communicate one’s point succinctly), and the suggestion to take prose seriously in the evaluation of student work. (shrink)

Patients may show a more-or-less complete deviation of the head and eyes towards the right (ipsilesional) side [that is, to the same side of egocentric space as the brain lesion responsible for their disorder]. If addressed by the examiner from the left (contralesional) side [the opposite side to their lesion], patients with severe extrapersonal neglect may fail to respond or may look for the speaker in the right side of the room, turning head and eyes more and more to the (...) right. Frequently these patients will not pick up food from the left half of the plate. Given a crossword puzzle, they may complete only the squares to the right. If walking is not prevented by hemiparesis, neglect patients may lose their bearings, since they do not make use of left sided cues. (shrink)

Playing with the reader is one of the main characteristics of V. Nabokov’s creativity. His books is a ‘literary crossword puzzle‘, charade, and mystification that demand parity, intellectually equal, and with the similar art preferences reader. Reader equally participates with author in an esthetic process. The reader follows the writer-‘wizard‘ in the text, and first, enters game process to take esthetic ‘pleasure from the text‘; second, he is getting involved in the ‘composite games by rules‘. The main means (...) of the organization of literary game in Russian-language novels of V. Nabokov is a play with ‘someone else’s word‘. V. Nabokov addressed to someone else’s texts to mock social writers or to degrade a certain hero in parodic and ironic ways. The writer in ‘someone else’s word‘ did not mock predecessors similar to his own spirit, but discredited a modern person who disappeared from the world of the real culture. One of the important composition elements of game in V. Nabokov’s novels is symbolics of key. The theme of keys obviously or indirectly sounds both in the debut Nabokov’s novel ‘Mashenka‘, and in later books: ‘Invitation to execution‘, ‘Luzhin’s Protection‘, ‘Feat‘, and ‘Gift‘. A number of motives is connected with the theme of keys and the closed doors: wandering, homelessness, downtime, initiation, and crossing. The process of searching for those keys is an attempt to find answers to ontological questions, and this is essential for V. Nabokov. (shrink)

For example, in the traditional "who done it" , the basic pleasure is in the creation and solution of the riddle itself - somewhat akin to the pleasure of solving a difficult crossword puzzle. In such works the riddle itself must be sufficiently ingenious to surprise us but never so labyrinthine as to destroy the illusion that we may beat the professional to the solution. In no case may necessary clues be withheld for, failing to solve the riddle (...) ourselves, we must at the very least see how we should have been able to solve it with the same information as the professional; given an unreliable narrator, we will feel deceived rather than pleasantly surprised. It is clear that in such instances the value judgments, as opposed to the riddle, should be as unoriginal and conventional as possible. The agents or agent whose initial act caused the riddle might best perform an act of murder for obvious gain or because he wants to replace a current wife with a beautiful mistress. Complexity of thought and judgment must never reach the point where it distracts our attention from the pleasure of the riddle itself; ethical values must merely be minimally consonant with our desire to see the riddle solved in terms that prevent moral indignation. The detective in turn may be given minimal idiosyncrasies that define him as a character, but again since, in this kind of work, the alteration of circumstances of who commits the crime is merely pro forma—usually he is merely caught and his future in prison or the electric chair is unstressed—the traits possessed by the detective are almost solely restricted to those that allow him to solve the riddle that we should have been able to solve ourselves. It is this kind of work that is frequently advertised by plaintive requests "please don't reveal the ending." We rarely read such works a second time. We are completely remote from the pursuit of Lew Archer. (shrink)

Many contemporary philosophers favor coherence theories of knowledge (Bender 1989, BonJour 1985, Davidson 1986, Harman 1986, Lehrer 1990). But the nature of coherence is usually left vague, with no method provided for determining whether a belief should be accepted or rejected on the basis of its coherence or incoherence with other beliefs. Haack's (1993) explication of coherence relies largely on an analogy between epistemic justification and crossword puzzles. We show in this paper how epistemic coherence can be understood in (...) terms of maximization of constraint satisfaction, in keeping with computational models that have had a substantial impact in cognitive science. A coherence problem can be defined in terms of a set of elements and sets of positive and negative constraints between pairs of those elements. Algorithms are available for computing coherence by determining how to accept and reject elements in a way that satisfies the most constraints. Knowledge involves at least five different kinds of coherence - explanatory, analogical, deductive, perceptual, and conceptual - each requiring different sorts of elements and constraints. (shrink)

To what extent should humans transfer, or abdicate, responsibility to computers? In this paper, I distinguish six different senses of responsible and then consider in which of these senses computers can, and in which they cannot, be said to be responsible for deciding various outcomes. I sort out and explore two different kinds of complaint against putting computers in greater control of our lives: (i) as finite and fallible human beings, there is a limit to how far we can acheive (...) increased reliability through complex devices of our own design; (ii) even when computers are more reliable than humans, certain tasks (e.g., selecting an appropriate gift for a friend, solving the daily crossword puzzle) are inappropriately performed by anyone (or anything) other than oneself. In critically evaluating these claims, I arrive at three main conclusions: (1) While we ought to correct for many of our shortcomings by availing ourselves of the computer''s larger memory, faster processing speed and greater stamina, we are limited by our own finiteness and fallibility (rather than by whatever limitations may be inherent in silicon and metal) in the ability to transcend our own unreliability. Moreover, if we rely on programmed computers to such an extent that we lose touch with the human experience and insight that formed the basis for their programming design, our fallibility is magnified rather than mitigated. (2) Autonomous moral agents can reasonably defer to greater expertise, whether human or cybernetic. But they cannot reasonably relinquish background-oversight responsibility. They must be prepared, at least periodically, to review whether the expertise to which they defer is indeed functioning as he/she/it was authorized to do, and to take steps to revoke that authority, if necessary. (3) Though outcomes matter, it can also matter how they are brought about, and by whom. Thus, reflecting on how much of our lives should be directed and implemented by computer may be another way of testing any thoroughly end-state or consequentialist conception of the good and decent life. To live with meaning and purpose, we need to actively engage our own faculties and empathetically connect up with, and resonate to, others. Thus there is some limit to how much of life can be appropriately lived by anyone (or anything) other than ourselves. (shrink)

Many epistemologists classify themselves as either foundationalists or coherentists and assume that the distinction between those epistemic positions is exclusive and exhaustive. Haack explodes that assumption by developing and defending a position which, like foundationalism, grounds knowledge in experience but which incrementally justifies claims by means of coherence. She calls the position foundherentism and takes the crossword puzzle as her model of justification. Just as the clues provide evidence for the correctness of response with respect to individual rows (...) and columns of a crossword puzzle, so empirical experience provides evidence for epistemic claims. Just as the probability of the correctness of one's individual answers increases as the answers fit together in the grid, so the degrees of certainty of one's knowledge increases as bits of empirical evidence fit together in explanatory and logical relations. Her principal explication of foundherentism is developed in chapter 4. (shrink)

With the spread of new media, traditional media, such as TV faced a problem: how to attract and retain the audience and how to offer something new, that competitors do not have. And for a long time now even well-known and influential mass media have been using interactive content. The statement is that interactive content just for fun is no longer perceived. Interactive content includes quizzes, puzzles, crosswords, various polls, games, tests, quests, memories, interactive graphics, flash games, etc. Interactive elements (...) in the media are used both separately and as a part of journalistic material. For the research of using interactive content in media, we examined the official sites of 30 channels in Ukraine, which belong to DTV and are translated for each region. In general, we have revealed 593 elements of interactive content on the sites of TV media. In the article, there were examined the kinds, types, themes, and amount of interactive content on each site of Ukrainian TV channels. It is investigated that such content can help to stay in touch with the audience and to popularize content that is broadcasted on the TV channel. Interactive media content has several obvious benefits, including the influx of new readers and, consequently, the growth of unique visitors, the growing number of people who talk about your media on social media and in real life, and the opportunity to draw attention to your television projects. (shrink)

In this paper I will present a puzzle about epistemic akrasia, and I will use that puzzle to motivate accepting some non-standard views about the nature of epistemological judgment. The puzzle is that while it seems obvious that epistemic akrasia must be irrational, the claim that epistemic akrasia is always irrational amounts to the claim that a certain sort of justified false belief—a justified false belief about what one ought to believe—is impossible. But justified false beliefs seem (...) to be possible in any domain, and it’s hard to see why beliefs about what one ought to believe should be an exception. I will argue that when we get clearer about what sort of psychological state epistemic akrasia is, we can resolve the puzzle in favor of the intuitive view that epistemic akrasia is always irrational. (shrink)

A common objection to coherentism is that it cannot account for truth: it gives us no reason to prefer a true theory over a false one, if both theories are equally coherent. By extending Susan Haack's crossword metaphor, the authors argue that there could be circumstances under which this objection is untenable. Although these circumstances are remote, they are in full accordance with the most ambitious modern theories in physics. Coherence may perhaps be truth conducive.

This is the 1991 (2nd) edition of the 1986 book (MIT Press), considered to be the classic defense of Millianism. The nature of the information content of declarative sentences is a central topic in the philosophy of language. The natural view that a sentence like "John loves Mary" contains information in which two individuals occur as constituents is termed the naive theory, and is one that has been abandoned by most contemporary scholars. This theory was refuted originally by philosopher Gottlob (...) Frege. His argument that the naive theory did not work is termed Frege's puzzle, and his rival account of information content is termed the orthodox theory. In this detailed study, Nathan Salmon defends a version of the naive theory and presents a proposal for its extension that provides a better picture of information content than the orthodox theory gives. He argues that a great deal of what has generally been taken for granted in the philosophy of language over the past few decades is either mistaken or unsupported, and consequently, much current research is focused on the wrong set of questions. Salmon dissolves Frege's puzzle as it is usually formulated and demonstrates how it can be reconstructed and strengthened to yield a more powerful objection to the naive theory. He then defends the naive theory against the new Frege puzzle by presenting an idea that yields both a surprisingly rich and powerful extension of the naive theory and a better picture of information content than that of the original orthodox theory. Nathan Salmon is Professor of Philosophy, University of California at Santa Barbara. (shrink)

Contemporary Complex Cinema. Complex conditions: the resurgence of narrative complexity ; Complex cinema as brain-candy for the empowered viewer ; Narrative taxonomies: simple, complex, puzzle plots -- Cognitive Approach to Contemporary Complex Cinema. Why an (embodied-)cognitive approach? ; Various forms of complexity and their effects on sense making ; Problematizing narrative linearity ; Complicating narrative structures and ontologies ; Under-stimulation and cognitive overload ; Contradictions and unreliabilities ; A cognitive approach to classifying complexity ; Deceptive unreliability and the twist (...) film ; Disorienting but solvable puzzle films ; Impossible puzzle films -- Narrative Complexity and Dissonant Cognitions. The concept of cognitive dissonance ; Cognitions in dissonance: from social psychology to narrative engagement ; Types of dissonance in narrative comprehension ; Narrative incongruities ; Narrative impossibilities ; Cognitive access to impossible storyworlds: immersed and reflected operations ; 'Impossibilities' and embodied cognition ; Disrupting viewers' reliance on image schemas by perceptual impossibility ; Disrupting viewers' reliance on image schemas by formal impossibility -- Taming Dissonance: Cognitive Operations and Interpretive Strategies. Cognitive dissonance versus narrative coherence ; Reducing dissonance: interpretation and naturalization ; Foregrounding ; Narrating agency and authorship ; Artefact emotions and metareflexive appreciation ; Interpretation as dissonance reduction ; Coping with dissonance: frame-switches and poetic and aesthetic readings ; Frame-switching as hermeneutic play in impossible puzzle films ; Switching between narrative and symbolical readings: Enemy and Mulholland Drive ; Cognitive hesitation and the fantastic -- Impossible Puzzle Films: Between Art-Cinema and (Post-) Classical Narration. From art-cinema to puzzle films ; Art-cinema as a narrative mode ; Dissonance in modernist art-cinema ; Art-cinema as a cognitive reception frame ; Narrative complexity and meaning-making in art-cinema ; Impossible puzzle films and (post-)classical narration ; High degree of tellability ; Identification with goal-oriented characters ; Strong reliance on classical genre elements ; Adherence to classical narrative cohesion devices ; Inclusion of quasi-rational frames of naturalization -- Wallowing in Dissonance: The Attractiveness of Impossible Puzzles. Hermeneutic play and interpretive multiplicity ; Orientation, navigation, mapping ; Game logic and the fascination in failure ; Effort justification ; Diegetization of decoupling ; Fascination in infinity ; Destabilized ontological certainty ; Eudaimonic motivations and intrinsic needs. (shrink)

It is a widely held principle that no one is able to do something that would require the past to have been different from how it actually is. This principle of the fixity of the past has been presented in numerous ways, playing a crucial role in arguments for logical and theological fatalism, and for the incompatibility of causal determinism and the ability to do otherwise. I will argue that, assuming bivalence, this principle is in conflict with standard views about (...) knowledge and the semantics for ‘actually’. I also consider many possible responses to the argument. (shrink)

In examining the puzzle of experience, and its possible solutions, Valberg discusses relevant views of Hume, Kant, Heidegger, Wittgenstein, and Strawson, as well as ideas from the recent philosophy of perception. Finally, he describes and analyzes a manifestation of the puzzle outside philosophy, in everyday experience.

Verdejo, Víctor_A Puzzle about Disagreement.

Like other epistemic activities, inquiry seems to be governed by norms. Some have argued that one such norm forbids us from believing the answer to a question and inquiring into it at the same time. But another, hither-to neglected norm seems to permit just this sort of cognitive arrangement when we seek to confirm what we currently believe. In this paper, I suggest that both norms are plausible and that the conflict between them constitutes a puzzle. Drawing on the (...) felicity conditions of confirmation requests and the biased interrogatives used to perform them, I argue that the puzzle is genuine. I conclude by considering a response to the puzzle that has implications for the debate regarding the relationship between credences and beliefs. (shrink)

This paper presents a puzzle about justification and withholding. The puzzle arises in a special case where experts advise us to not withhold judgment. My main thesis is simply that the puzzle is genuinely a puzzle, and so leads us to rethink some common assumptions in epistemology, specifically assumptions about the nature of justification and doxastic attitudes. Section 1 introduces the common assumptions. Section 2 presents the puzzle case. Section 3 assesses the puzzle case. (...) Section 4 explains the choice we're faced with. Sections 5 and 6 consider and reject some proposed solutions, and in the process refine and clarify the choice we're faced with. Section 7 considers and rejects a miscellany of different proposed solutions. (shrink)

This paper is dedicated to articulating the ethical puzzles that arise from the possibility of time travel. I divide the puzzles into three different categories: permissibility puzzles, obligation puzzles, and conflicts between past and future selves. In each category, I suggest that ethical problems involving time travel are not as dissimilar to parallel “normal” ethical puzzles as one might think.

How is it that a speaker S can at once make it obvious to an audience A that she intends to communicate some proposition p, and yet at the same time retain plausible deniability with respect to this intention? The answer is that S can bring it about that A has a high justified credence that ‘S intended p’ without putting A in a position to know that ‘S intended p’. In order to achieve this S has to exploit a (...) sense in which communication can be lottery-like. After defending this view of deniability I argue that it compares favorably to a rival account recently developed by Dinges and Zakkou (2023). (shrink)

Dion is a human person, Lefty is his left foot, and Theon is Lefty-Complement, a proper part of Dion. Lefty is annihilated and Dion survives left-footless. After Lefty’s annihilation Theon, if he survives, occupies the same region as Dion. I suggest that this scenario be understood as a fusion case in which Dion and Theon, initially overlapping but distinct, are identical after Lefty’s annihilation and propose an account of proper names that allows us to say that Dion and Theon have (...) ‘become identical’ without commitment to occasional identity or other controversial metaphysical doctrines. The proposed solution employs the semantics developed by Wolfgang Schwarz to address the ‘paradox of occasional identity’, posed by puzzle cases of fission, to deal with the problem of Dion and Theon, a body-minus puzzle. (shrink)

The puzzle of imaginative desire arises from the difficulty of accounting for the surprising behaviour of desire in imaginative activities such as our engagement with fiction and our games of pretend. Several philosophers have recently attempted to solve this puzzle by introducing a class of novel mental states—what they call desire-like imaginings or i-desires. In this paper, I argue that we should reject the i-desire solution to the puzzle of imaginative desire. The introduction of i-desires is both (...) ontologically profligate and unnecessary, and, most importantly, fails to make sense of what we are doing in the imaginative contexts in question. (shrink)

The “puzzle of the unmarked clock” derives from a conflict between the following: (1) a plausible principle of epistemic modesty, and (2) “Rational Reflection”, a principle saying how one’s beliefs about what it is rational to believe constrain the rest of one’s beliefs. An independently motivated improvement to Rational Reflection preserves its spirit while resolving the conflict.

This paper concerns Kripke’s puzzle about belief. I have two goals in this paper. The first is to argue that two leading approaches to Kripke’s puzzle, those of Lewis and Chalmers, are inadequate as they stand. Both approaches require the world to supply an object that the relevant intentional attitudes pick out. The problem is that there are cases which, I argue, exhibit the very same puzzling phenomenon in which the world does not supply an object in the (...) required way. The second goal is to draw out a more general lesson about Kripke’s puzzle. I argue that Kripke’s puzzle should be understood as intimately related to a phenomenon known as ‘intentional identity’, and that an adequate account of Kripke’s puzzle should be extensible to cases in which the relevant attitudes are empty. (shrink)

From Inception to The Lake House, moviegoers are increasingly flocking to narratologically complex puzzle films. These puzzle movies borrow techniques--like fragmented spatio-temporal reality, time loops, unstable characters with split identities or unreliable narrators--more commonly attributed to art cinema and independent films. The essays in Hollywood Puzzle Films examine the appropriation of puzzle film techniques by contemporary Hollywood dramas and blockbusters through questions of narrative, time, and altered realities. Analyzing movies like Source Code, The Butterfly Effect, Donnie (...) Darko, Déjà Vu, and adaptations of Philip K. Dick, contributors explore the implications of Hollywood's new movie mind games. (shrink)

Drawing upon the expertise of film scholars from around the world, Puzzle Films investigates a number of films that sport complex storytelling--from Memento, ...

Inquiry is guided, in the minimal sense that it is not haphazard. It is also often thought to have as a natural stopping point ceasing to inquire, once inquiry into a question yields knowledge of an answer. On this picture, inquiry is both telic and guided. By contrast, mind-wandering is unguided and atelic, according to the most extensively developed philosophical theory of it. This paper articulates a puzzle that arises from this combination of claims: there seem to be plenty (...) of examples of inquiry progressing within mind-wandering, yet theories of inquiry and mind-wandering can make wandering inquiry seem impossible or incoherent. I offer several solutions to this puzzle and make the case that taken together, they illuminate a prevalent form of inquiry that the burgeoning literature on that topic overlooks: inquiry that progresses spontaneously. (shrink)

The puzzle of cross-modal shape experience is the puzzle of reconciling the apparent differences between our visual and haptic experiences of shape with their apparent similarities. This paper proposes that we can resolve the cross-modal puzzle by reflecting on another puzzle. The puzzle of perspectival character challenges us to reconcile the variability of shape experience through shifts in perspective with its constancy. An attractive approach to the latter puzzle holds that shape experience is complex, (...) involving both perspectival aspects and constant aspects. I argue here that parallel distinctions between perspectival and constant aspects of shape experience arise in sight and touch, and that perspectival aspects are modality-specific while at least some constant aspects are constitutively multisensory. I then address a powerful challenge to the idea that aspects of spatial phenomenology are shared cross-modally. (shrink)