By O. Bradley Bassler

This e-book charts the form of destiny philosophical research through posing the query: “What is the Matrix?” Guided by way of the instance of the Matrix movie trilogy, the writer examines matters starting from simulation, evidence and motion to worth, tradition and mythology, providing a gradually deeper prognosis of contemporary philosophical stipulations. unlike the modern concentration upon cognitive technological know-how and a dedication to the excellence among visual appeal and truth, this e-book is helping readers to discover the argument that such abstractions are unavoidably displaced through a extra concrete contrast among dreaming and waking, with the Matrix because the genuine and merely global we inhabit. Researchers and students will locate this paintings an attractive and enlightening exam of fact, through the medium of pop culture and film.

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Additional info for Diagnosing Contemporary Philosophy with the Matrix Movies

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The conceptual analysis of the argument has been pursued, among others, by Anthony Brueckner and Brian Weatherson, with responses from Bostrom in both cases. See Weatherson 2003, Bostrom 2005, Brueckner 2008, and Bostrom 2009. com. I discuss this debate briefly below and in Chap. 3. 7. For a discussion of the wetware conditions for life on this planet, see Conway Morris 2003, 23–27; for the wetware conditions for DNA, see 27–31. The overall argument of Conway Morris’s book supports the view that these wetware conditions are very specific; of course, the matter is a subject of intense debate.

The Level... 37 16. A couple of decades ago I might have felt the need to say “the contemporary Anglo-American mainstream,” but this tendency is now in the process of becoming pervasive in philosophical culture, at least in the First and Second Worlds, and I am inclined to think globally. 17. ) leads to a massive reconfiguration of artistic creation in an attempt to dissociate itself from the dominance of mechanical reproduction: “Modern painting’s aversion to figurative representation, which in art marks the same breach as does atonality in music, was an act of defense against mechanized art merchandise, primarily photography” (Adorno 2006, 9).

On pain of begging the question, we cannot assume that we are living in a simulation; even at the end of Bostrom’s paper, we don’t get this much as a conclusion. So, the obvious fact to recognize is that we have absolutely no idea what is required to make a simulation pass, since we don’t necessarily have any experience of that sort of simulation. This seems obvious in a way, but the implications of taking it seriously are not obvious at all. They point us frontally to the question: How on earth are we to evaluate what would make a simulation pass?

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