In this book the main emphasis is twofold: on autonomous machine intelligence, and on mind uploading. This chapter shows that, while science fiction (SF) has depicted the extreme embrace of the “prosthetic impulse,” most notoriously in Star Trek's“Borg,” this is used as a warning of the potential Faustian consequences of such tendencies. The Star Trek franchise has also highlighted the converse, the Pinocchio syndrome, a reverse prosthetic impulse, most notably in the android Commander Data. Data is a sentient android (...) and a full member of the Enterprise starship crew in Star Trek: The Next Generation. The inverse of the Pinocchio syndrome, the prosthetic impulse, is arguably exemplified by Star Trek's Borg, who constitute a relentless inhuman tide that threatens to overwhelm every species violently, assimilating all individual beings into the Borg collective, stifling their lan vital and incorporating them as part of a hive mind, with an inexorable “insect mentality”. (shrink)

The Pinocchio paradox poses one dialetheia too many for semantic dialetheists (Eldridge-Smith 2011). However, Beall (2011) thinks that the Pinocchio scenario is merely an impossible story, like that of the village barber who shaves just those villagers who do not shave themselves. Meanwhile, Beall maintains that Liar paradoxes generate dialetheia. The Barber scenario is self-contradictory, yet the Pinocchio scenario requires a principle of truth for a contradiction. In this and other respects the Pinocchio paradox is a (...) version of the Liar, unlike the Barber. One wonders why some Liars would be impossible if others generate dialetheias. (shrink)

The Pinocchio paradox, devised by Veronique Eldridge-Smith in February 2001, is a counter-example to solutions to the Liar that restrict the use or definition of semantic predicates. Pinocchio’s nose grows if and only if what he is stating is false, and Pinocchio says ‘My nose is growing’. In this statement, ‘is growing’ has its normal meaning and is not a semantic predicate. If Pinocchio’s nose is growing it is because he is saying something false; otherwise, it (...) is not growing. ‘Because’ stands here for a non-semantic relation; it might be supposed to be causal or of some other nature, but it is not semantic. The paradox is discussed in relation to Tarski’s and Kripke’s theories of truth. Although the paradox is not necessarily a counter-example to a theory of a truth predicate, it is a problem for a theory of truth of the kind preserved by validity. (shrink)

The Liar paradox is an obstacle to a theory of truth, but a Liar sentence need not contain a semantic predicate. The Pinocchio paradox, devised by Veronique Eldridge-Smith, was the first published paradox to show this. Pinocchio’s nose grows if, and only if, what Pinocchio is saying is untrue. What happens if Pinocchio says that his nose is growing? Eldridge-Smith and Eldridge-Smith : 212-5, 2010) posed the Pinocchio paradox against the Tarskian-Kripkean solutions to the Liar (...) paradox that use language hierarchies. Eldridge-Smith : 306-8, 2011) also set the Pinocchio paradox against semantic dialetheic solutions to the Liar. Beall argued the Pinocchio story was just an impossible story. Eldridge-Smith : 749-752, 2012b) responded that unless the T-schema is a necessary truth of some sort, the Pinocchio principle is possible. Luna : 77–86, 2016) argues that the Pinocchio contradiction proves the principle is false. D’Agostini & Ficara discuss a more plausible physical truth-tracking trait, the Blushing Liar, and argue that the Pinocchio contradiction is not a metaphysical dialetheia. I respond to Luna, and D’Agostini & Ficara, and prove that the Pinocchio paradox is a counterexample to hierarchical solutions to the Liar. (shrink)

Semantic dialetheists astutely dodge Explosion, the logical contagion of everything being true if a single contradiction is true. A dialetheia is contained in their semantics, and sustained by a paraconsistent logic. Graham Priest has shown that this is a solution to the Liar paradox. I use the Pinocchio paradox, devised by Veronique Eldridge-Smith, as a counter-example. The Pinocchio paradox turns on the truth of Pinocchio, whose nose grows if and only if what he is saying is not (...) true, saying ‘My nose is growing’. It is not just a matter of interpretation whether Pinocchio’s nose is and is not growing. (shrink)

Clark and Fischer analyze social robots as interactive depictions, presenting characters that people can interact with in social settings. Unlike other types of depictions, the props for social robot depictions depend on emerging interactive technologies. This raises questions about how such depictions depict: They conflate character and prop in ways that delight, confuse, mistreat, and may become ordinary human–technology interactions.

In this article, I imagine a scene in Plato’s cave where Gilles Deleuze and Félix Guattari encounter Pinocchio, the most famous puppet. I want to examine the forms of resistance created by the expressions of the Body Without Organs during the process of Pinocchio’s formation and bring together the elements that undermine the pedagogical causality established between telling a lie and the elongation of the nose to show that a different reading of The Adventures of Pinocchio is (...) possible. I hope to achieve this reading by demonstrating the constant conflict of the two logics in The Adventures of Pinocchio: the logic of punishment and the logic of symptoms. This research can also be read as preparing a possible strategic escape plan for Pinocchio, Deleuze and Guattari for a permanent escape from Plato’s cave. (shrink)

We develop an argument sketched by Luna (2011) based on the Pinocchio paradox, which was proposed by Eldridge-Smith and Eldridge- Smith (2010). We show that, upon plausible assumptions, the claim that mental states supervene on bodily states leads to the conclusion that some proposition is both paradoxical and not paradoxical. In order to show how the presence of paradoxes can be harnessed for philosophical argumentation, we present as well a couple of related arguments.

This paper argues that, contrary to P. Eldridge-Smith, the so-called Pinocchio paradox affords no argument against ‘simply semantic dialetheism’.

A more provocative subject than “lying in politics” is difficult to imagine. Everybody, from the proverbial “Joe Sixpack” to ivory-tower philosophers, can wax eloquently on the subject, if only because easy-to-find, shocking examples abound. If moral outrage were judged an essential vitamin, then condemning dishonesty undoubtedly guarantees a daily megadose. Unfortunately, at least for those who crave self-indulgent outrage, the anti-lying case is less than 100 percent compelling. It is a quagmire of the first order, if only because those who (...) cherish frankness also usually confess to lying. Hannah Arendt once suggested that lies are a necessary and justifiable tool of the statesman's trade. Formulating damnation criteria invites mind-boggling paradoxes, and strident defenders of truth-telling, with scant exception, admit that falsehoods are “sometimes” permitted for “good” reasons. And what might be these “good reasons”? Who can say for sure? Centuries of erudite scholarship on this point might be encapsulated as “Lying to me is bad, but I can consent to deceiving others for noble purposes, as artfully decided by myself.”. (shrink)

Explores humanity's biological roots and astounding capacity for self-creation and self-alteration, examining freedom and choice, sexuality and love, conscience and justice, work and pleasure, and other issues.

Within the body of Star Trek television series and movies, the concept of personhood stands out in one particular episode that may just be the best episode ever. Its title, “The Measure of a Man”, evokes the famous saying by Greek pre‐Socratic philosopher Protagoras, who claimed, “Man is the measure of all things”. The moral personhood of both Pinocchio and Data really comes from within rather than because of a legal decision: they both learn to be brave, truthful and (...) unselfish, and with conscience as their guide, a moral measure of a human. Immanuel Kant suggests that a truly moral action is one based on a principle that one can frame as a universal moral principle for everyone to follow, every truly moral action implies a duty. Kant anticipated Data's situation, arguing that any rational being should be treated as an end in himself or herself. (shrink)

The Italian philosopher Giorgio Agamben has always been an original reader of texts, understanding their many rich and multiple historical, aesthetic, and political meanings and effects. In Profanations, Agamben has assembled for the first time some of his most pivotal essays on photography, the novel, and film. A meditation on memory and oblivion, on what is lost and what remains, Profanations proves yet again that Agamben is one of the most provocative writers of our time. In ten essays, Agamben ponders (...) a series of literary and philosophical problems: the relation among genius, ego, and theories of subjectivity; the problem of messianic time as explicated in both images and lived experience; parody as a literary paradigm; and the potential of magic to provide an ethical canon. The range of topics and themes addressed here attest to the creativity of Agamben's singular mode of thought and his persistent concern with the act of witnessing, sometimes futile, sometimes earth-shattering: the talking cricket in Pinocchio; "helpers" in Kafka's novels; pictorial representations of the Last Judgment, of anonymous female faces, and of "Rosebud," the infamous object of obsession in Citizen Kane. "In Praise of Profanity," the central essay of this small but dense book, confronts the question of profanity as the crucial political task of the moment. An act of resistance to every form of separation, the concept of profanation reorients perceptions of how power, consumption, and use interweave to produce an urgent political modality and desire: to profane the unprofanable. Agamben not only provides a new and potent theoretical model but describes it with a writerly style that itself forges inescapable links among literature, politics, and philosophy.Giorgio Agamben is Professor of Aesthetics at the University of Venice. His many publications include Homo Sacer: Sovereign Power and Bare Life, Remnants of Auschwitz: The Witness and the Archive, The Coming Community, and State of Exception. (shrink)

Suppose a person blushes iff what she says is false and she says: ‘I am blushing’. If she blushes, she doesn’t, and if she doesn’t, she does. This Blushing Liar is a new paradox, similar in some respects to the Pinocchio Paradox : Pinocchio’s nose grows iff he says some falsity, and he says: ‘my nose is growing’. Both paradoxes involve physical properties, and both, supposedly, confirm the existence of metaphysical dialetheias. In the paper, we note first that (...) while PP relies on the rather implausible scenario of a wooden puppet whose nose grows iff he is lying, so it is debunked by the objection of fictionality, BL is more plausible. Many people in our world blush, and it is not difficult to imagine someone whose saying is causally related to blushing in a similar way. A second question is whether blushing can be directly connected to falsity, without deliberate conscience, on the part of the speaker, of saying a false statement. So we explore the consequences of intending ‘I am blushing’ as a ‘lie’, in the strict meaning of the term, and we claim there is no substantial difference, but for the fact that the paradoxical effect is even more plausible. Third, we check whether BL and PP do really release metaphysical dialetheias, and we argue they do not: they lack the fundamental requisite of Liar-like contradictions, i.e. the stratification of properties. (shrink)

The article is focused on the topic of how to practice philosophy and support creativity in kindergartens and elementary schools with the help of fairy tales, in particular with the help of the story of Pinocchio. Emphasis is placed on Lipman's activity of philosophy for children, which he tried to connect with Vygotsky's theories. The aim of the article is to show the importance of developing critical thinking in the form of dialogue in connection with creative thinking, which Gianni (...) Rodari focused on. Rodari was based on Vygotsky's theory of imagination as a process of the human mind, which is a characteristic of all human being. (shrink)

Mental body-representations are highly plastic and can be modified after brief exposure to unexpected sensory feedback. While the role of vision, touch and proprioception in shaping body-representations has been highlighted by many studies, the auditory influences on mental body-representations remain poorly understood. Changes in body-representations by the manipulation of natural sounds produced when one's body impacts on surfaces have recently been evidenced. But will these changes also occur with non-naturalistic sounds, which provide no information about the impact produced by or (...) on the body? Drawing on the well-documented capacity of dynamic changes in pitch to elicit impressions of motion along the vertical plane and of changes in object size, we asked participants to pull on their right index fingertip with their left hand while they were presented with brief sounds of rising, falling or constant pitches, and in the absence of visual information of their hands. Results show an "auditory Pinocchio" effect, with participants feeling and estimating their finger to be longer after the rising pitch condition. These results provide the first evidence that sounds that are not indicative of veridical movement, such as non-naturalistic sounds, can induce a Pinocchio-like change in body-representation when arbitrarily paired with a bodily action. (shrink)

Vigen Guroian illuminates the complex ways in which fairy tales and fantasies educate the moral imagination from earliest childhood. Examining a wide range of stories - from "Pinocchio" and "The Little Mermaid" to "Charlotte's Web", "The Velveteen Rabbit", "The Wind in the Willows", and the "Chronicles of Narnia" - he argues that these tales capture the meaning of morality through vivid depictions of the struggle between good and evil, in which characters must make difficult choices between right and wrong, (...) or heroes and villains contest the very fate of imaginary worlds. Character and the virtues are depicted compellingly in these stories; the virtues glimmer as if in a looking glass, and wickedness and deception are unmasked of their pretensions to goodness and truth. We are made to face the unvarnished truth about ourselves, and what kind of people we want to be. (shrink)

La vie est poèmeou pré-poème?Une communauté réfléchie dit qu’elle estdéjà poèmesilence marionnettiste,comme le roman est déjàsupposément le drame des matièrespremières de la conscience ouverte.La conscience est couchée?Ses couvertures sont vivantes?Et le poème est Pinocchio?Conscience régresse à l’infini dans la matièred’une vie manipulante et sans voix?Si la vie est poème, alorsla poésie, usine à phrasesdont le vers conscient est l’horizon,est défunte : le silence de la viel’actionne ou...

In lieu of an abstract, here is a brief excerpt of the content:From Bookworms to Enchanted Hunters: Why Children ReadMaria Tatar (bio)Sensation SeekersThe laws governing the conservation of cultural energy are particularly effective when it comes to children’s literature. Peter Pan, Alice in Wonderland, The Chronicles of Narnia, The Yearling, The Wizard of Oz, Pinocchio, The Wind in the Willows, The Secret Garden, The Snow Queen: these are just a few of the volumes that continue to pull and tug (...) on young readers, drawing them into enchanted other worlds. Their propulsive force has moved from one generation to the next, setting minds into motion, renewing senses, and almost rewiring brains. Favoring expressive intensity over intellectual heft, the books of childhood use no-holds-barred melodramatic strategies until we are under their spell. We can all remember the jolts and shimmer of books we read as children, the moments that sent shivers up and down the spine.“Wow” moments saturate children’s stories, exploiting the emotive power of language for maximum effect.1 Think of the multiple evocations of the web created by the spider Charlotte in E. B. White’s book, how it “glistens” in the light and makes a pattern of “loveliness and mystery.” “What a curious feeling,” Alice declares in Lewis Carroll’s Alice in Wonderland once she has tasted the contents of a bottle marked “Drink me.” After that, the world she enters only becomes “curiouser and curiouser.” Dorothy lands in Oz and her eyes grow “bigger and bigger” at the “wonderful sights” she sees. They continue widening as she follows the Yellow Brick Road to Oz with her three companions. “A million golden arrows” point the way to Neverland, as the Darling children begin to experience the first in a series of bursts of beauty and rumbles of violence. Those rumbles create similar wow effects. Who can forget the moment when Iorek Byrnison, one [End Page 19]Maria Tatar Maria Tatar is the John L. Loeb Professor of Germanic Languages and Literatures at Harvard University, where she chairs the Program in Folklore and Mythology. She is the author of Classic Fairy Tales, The Annotated Brothers Grimm, The Annotated Hans Christian Andersen, and The Hard Facts of the Grimms’ Fairy Tales and has written for the New York Times, the New Republic, and Slate.com.Copyright © 2009 Board of Trustees of the University of Illinois... (shrink)

Readers of Geczy's book are in for a wild ride. The lavishly illustrated narrative moves in broad strokes from the commedia dell'arte to cyborgs, with gross-out plastic surgery disasters and live sex dolls in between. The book's premise is simple: where humans once found their humanity in separating themselves from the artificial, in our current technologically infused age, humans want more than anything to become as artificial as possible. Geczy puts it simply: "In the humanist age, Pinocchio wanted to (...) become human; in the so-called post-humanist age, humans aspire to become Pinocchio". His examples are anything but simple, however. Arguing that in and around the 1980s, the move from "dolls imitating humans... (shrink)

Not only do we enjoy the company of fictional characters (such as Emma Bovary, Pinocchio, and the like) as we read a novel, watch a movie, or listen to a story ; but we also become emotionally involved with them and their adventures. This interaction with fiction constitutes the starting point of the ongoing philosophical debate on the ontological and metaphysical status of fictional objects, and challenges with various problems the theories of fiction currently found on the market. A (...) survey of these problems is offered in this contribution. (shrink)

ResumenLas aventuras de Pinocho es uno de esos pocos cuentos que no solo ha resistido al paso del tiempo, sino que se incorporó a la cultura y 139 años después, sigue recreándose en versiones literarias, cinematográficas, teatrales, plásticas, incluso pedagógicas. En este artículo tratamos de levantar algunos de los velos con los que Disney cubrió una parte importante de la historia dejando fuera, por ejemplo, el tema de la pobreza. Hoy nos preguntamos si un producto cultural como Las aventuras de (...) Pinocho puede detonar conversaciones y reflexiones con niños de hoy, y si la escuela puede apropiarse de este material para filosofar con los alumnos e incluso con los adultos. ¿Por qué en un mundo de malhechores que roban, engañan, cocinan, venden o cuelgan a los niños, la mirada reprobatoria está fija en un niño que dice mentiras? ¿Qué experiencias tiene que vivir un niño para verse a sí mismo como “malo”? ¿Cuáles son los riesgos de la clasificación, por otro lado, tan necesaria en el conocimiento? Si bien partimos de una experiencia realizada en una escuela de la Ciudad de México, el análisis que se presenta se ocupa principalmente del vínculo entre la(s) lectura(s) y la reflexión filosófica en este cuento.Palabras claveFilosofia con niños Pinocho Educación no formal Pinocchio is one of those few stories that has not only stood the test of time, but continues to be recreated in literary, cinematographic and theatrical versions... Pinocchio is no longer just the story written by Carlo Collodi at the end of the 19th century; over the course of 130 years, the social imaginary has incorporated numerous interpretations. In this article we ask ourselves whether a cultural product such as The Adventures of Pinocchio can trigger conversations and reflections with today's children, and whether the school can appropriate this material to philosophize with students and even with adults. Although we start from an experience carried out in Mexico City, the analysis presented here is mainly concerned with the link between reading and philosophical reflection in this story.Key wordsPhilosophy with children Pinocchio Non-formal education Pinóquio é um dos poucos contos de fadas que não apenas resistiu ao teste do tempo, mas continua a ser recriado em versões literárias, cinematográficas e teatrais... Pinóquio não é mais apenas a história escrita por Carlo Collodi no final do século XIX; ao longo de 130 anos, o imaginário social incorporou inúmeras interpretações. Neste artigo, nos perguntamos se um produto cultural como As Aventuras de Pinóquio pode desencadear conversas e reflexões com as crianças de hoje, e se a escola pode se apropriar desse material para filosofar com os alunos e até mesmo com os adultos. Embora partamos de uma experiência realizada na Cidade do México, a análise apresentada aqui se preocupa principalmente com o vínculo entre a leitura e a reflexão filosófica nessa história.Palavras-chaveFilosofia com crianças Pinóquio Educação não formal. (shrink)

Godel's and Tarski's theorems were inspired by paradoxes: the Richard paradox, the Liar. Godel, in the 1951 Gibbs lecture argued from his metatheoretical results for a metaphysical claim: the impossibility of reducing, both, mathematics to the knowable by the human mind and the human mind to a finite machine (e.g. the brain). So Godel reasoned indirectly from paradoxes for metaphysical theses. I present four metaphysical theses concerning mechanism, reductive physicalism and time for the only purpose of suggesting how it could (...) be argued for them directly from paradoxical sentences. (shrink)