Paulo Castro

This paper begins with the examination of some premises of Mary Shelley's novel, Frankenstein or the Modern Prometheus, and briefly revisits some of the concepts or ideas that she had adapted and that will allow to determine the premises that characterize what we named as Frankenstein Paradigm. Such a paradigm, as we suggested, allows us to perceive, on the one hand, the avant-garde vision of Mary Shelley about human condition (regardless of literary immersion in gothic subjects), and on the other hand, the complexity of themes that would mark what is termed by post-human, that we will give some examples whether in contemporary art or in the framework of figures and representations of daily life (some illustrations on movies will be given). In this regard, we will notice the prosthetic transformations that have already occurred and, therefore, to verify the practical application of the premises contained in the Frankenstein paradigm. Next, it is necessary to carry out a reflection on the ethical and social implications posed by post-humanism as the well-known paradox of the ship of Theseus (which, as we all know, illustrates the problem of identity).

Contents Preface - ix I. Scientific fiction movies: is there any place for God?! 1. A brief introduction about the birth of science fiction - 15 2. Religious beliefs vs Science Fiction - 18 3. Is there any place for God?! - 20 II. The Village (M. Night Shyamalan) and The Giver (Phillip Noyce) or why utopia is (im)possible 1. Some utopian notions. Remembering Thomas More - 29 2. The Village and The Giver. Some remarks on ideal societies - 34 3. Notes about the possible and impossible of utopia - 39 III. The limits of Zombies films are the limits of philosophy? 1. Are zombies real? From folklore to films - 46 2. The mind-body problem and the empty-minded zombies? - 54 3. The fallacy of the question. Zombies films and philosophy with no limit - 61 IV. Lucy - why the brain cannot be a screen 1. Lucy and some other movies - The ten percent of the brain myth - 67 2. The enhancement of humanity -The pos-humanism after Nietzsche – 71 3. About the mind and the brain. Lucy or why the brain cannot be a screen – 74 V. Viktor Navorski and Sir Alfred: the limits of consciousness at the border of chaos 1. About the terminal, Locke and Lipovetsky - 83 2. Being someone at a non-place - 87 3. Reality vs fiction. Merhan Karimi Nasseri as Sir Alfred - 89 VI. Alienation and slavery from Precious or what we do not want to see 1. Cinema as a moment or the exclusive experience of feeling cinema - 97 2. Two movies, only one reality - 101 3. To conclude: the paradox of precious silence or what we don't want to see - 104 VII. Philosophy of time and being in Alice through the looking glass 1. Some initial considerations on Alice - 113 2. The impossible and the possible in Alice’s time - 116 3. About time and subjectivity and subjectivity in time – 120 References - cxxv

It is possible today to determine, with some precision (according to the most recent studies in neuroscience and evolutionary psychology), the areas of the brain and the neural networks involved when an individual contemplates art, when feeling pleasure, or when judging about aesthetic experience. However, many questions remain open. First, the philosophical question about the subjective nature of this kind of judgments. Then, what happens in the mind (or should it be said, in the brain?) of the beholder when contemplating art or judging in favor (or not) of the beauty of an object. And the ultimate question, if we have an aesthetic brain. Another issue that must be addressed is if bioart and especially neuroart can contribute to this analysis and if they can be effectively quantified as art. Thus, this brief essay seeks to provide some understanding about this questions but most importantly about the existence of an aesthetic brain, which may ultimately contribute to open doors to other problems of philosophy such as the hard brain-mind problem.

Este ensaio estabelece uma comparação estética e fenomenológica entre os pensamentos de Yves-Klein e Merleau-Ponty. Se o pintor materializou as suas reflexões e concepções em obra pictórica, o fenomenólogo francês dissertou na escrita filosófica o resultado da sua reflexão. Da análise conjunta entre um e outro resulta esta fenomenologia e estética comparativa que apresenta alguns conceitos fundamentais que alimentaram essas reflexões, tais como a visibilidade, o corpo, o mundo. Assim, para além dessa comparação, este ensaio viabiliza o diálogo entre ambos.Palavras-chave: Corpo. Mundo. Visibilidade. Merleau-Ponty. Yves Klein Abstract:This essay establishes an aesthetic and phenomenological comparison between the thoughts of Yves-Klein and Merleau-Ponty. If the painter materialized his reflections and concepts in pictorial work, the French phenomenologist disserted in the philosophical writing the result of his reflection. From the joint analysis between one and the other, this phenomenology and comparative aesthetics results, which presents some fundamental concepts that fed these reflections such as visibility, the body, the world. Thus, in addition to this comparison, this essay enables the dialogue between both.Keywords: Body. World. Visibility. Merleau-Ponty. Yves Klein.

Resumo: Procurar analisar um conceito como o de Substância é, por si mesmo, entrar no coração da metafísica. Quando este conceito se situa no Corpus Aristotelicum a tarefa ganha outra dimensão pois implica uma leitura conjunta das suas obras principais, a saber, As Categorias e a Metafísica. Tal leitura conjunta levanta desde logo vários problemas: a autenticidade, a articulação entre os seus próprios livros, e sobretudo, a questão fundamental: se é possível fazer uma tal leitura. O propósito do nosso ensaio é executar tal tarefa, levando-nos a efetuar uma desmontagem necessária e decisiva do conceito. A terminar, perceberemos como partir desta análise, o significado de substancia abriria para um modelo que persistiria durante séculos.

From the initial analysis of John Morris in 1976 about if computers can lie, I have presented my own treatment of the problem using what can be called a computational lying procedure. One that uses two Turing Machines. From there, I have argued that such a procedure cannot be implemented in a Turing Machine alone. A fundamental difficulty arises, concerning the computational representation of the self-knowledge a machine should have about the fact that it is lying. Contrary to Morris’ claim, I have thus suggested that computers – as far as they are Turing Machines – cannot lie. Consequently, I have claimed that moral agency attribution to a robot or any other automated AI system, cannot be made, strictly grounded on imitating behaviors. Self-awareness as an ontological grounding for moral attribution must be evoked. This can pose a recognition problem from our part, should the sentient system be the only agent capable of acknowledging its own sentience.

From the initial analysis of John Morris in 1976 about if computers can lie, I have presented my own treatment of the problem using what can be called a computational lying procedure. One that uses two Turing Machines. From there, I have argued that such a procedure cannot be implemented in a Turing Machine alone. A fundamental difficulty arises, concerning the computational representation of the self-knowledge a machine should have about the fact that it is lying. Contrary to Morris’ claim, I have thus suggested that computers – as far as they are Turing Machines – cannot lie. Consequently, I have claimed that moral agency attribution to a robot or any other automated AI system, cannot be made, strictly grounded on imitating behaviors. Self-awareness as an ontological grounding for moral attribution must be evoked. This can pose a recognition problem from our part, should the sentient system be the only agent capable of acknowledging its own sentience.

O livro Ensaios (modernos) de Filosofia Antiga reúne três ensaios filosóficos que se apresentam escritos de forma clara e descomprometida, não descurando, contudo, a composição académica que deve nortear os trabalhos de investigação. Assim, o primeiro ensaio aborda sem complexos a questão da vivência da sexualidade na antiguidade grega e resgata uma reflexão crítica para a interpretação moderna que pode ser definida como arte da sexualidade. O segundo ensaio destaca uma figura e um tema pouco abordado na história e filosofia antiga, a figura do coração como ponto fundamental para a compreensão do pensamento metafísico e da natureza humana no quadro geral do milagre da vida. O terceiro e último ensaio, talvez o mais académico dos três, debruça-se especificamente sobre o conceito de justiça no livro V da Ética a Nicómaco de Aristóteles, recordando ao leitor não apenas a importância da leitura dos clássicos para o entendimento do pensamento humano mas também da rectidão ética que deve pautar a conduta humana. É um livro essencialmente dirigido a estudantes de ciências sociais e humanas mas que pode ser lido por todos os que se interessem por estes temas.

O presente artigo pretende abordar o conceito de trágico, entendido como elemento principal ou elemento orquestrador do projecto nietzschiano em busca de uma determinação para uma nova forma de existência estética. Objectivo do autor é, pois, em primeiro lugar, explicitar o sentido da nova existência estética tal como Nietzsche, pela mão de Zaratustra, imputa à figura do Übermensch, o qual estabelece um projecto de justificação estética; em segundo lugar, trata-se de mostrar que o conceito de 'trágico'está estreitamente relacionado com o conceito metafísico de 'eterno retorno'de tal modo que isso pretende, por um lado, ultrapassar a dimensão determinada da vida humana em algo maior ou melhor, e, por outro, visa a completa realização da vida humana que pode ser repetida, salientando que este movimento de repetição afirma o retorno dionisíaco do trágico. Objectivo do autor do artigo é, assim, provar que o projecto nietzschiano anuncia o Übermensch como uma nova forma de existência estética, ao mesmo tempo que recupera os conceitos de 'trágico' e 'dionisíaco', conceitos estes que animam a obra Die Geburt der Tragödie. Consequentemente, trata-se de ver até que ponto o Übermensch está afirmado como objectivo necessário e primário neste projecto, o qual permanece, contudo, uma herança enigmática em que nos deixa a filosofia de Nietzsche. /// The present article presents a brief approach to the concept of the 'tragic' understood as a main element or a conducting element in the Nietzschean project that searches for a determination of a new form of aesthetic existence. The author aims, thus, at two things: first, to explicit the meaning of this new aesthetic existence that Nietzsche, by the hand of Zarathustra, imputes to the figure of the Übermensch, which establishes a project of aesthetic justification; secondly, to show that the concept of the 'tragic' is closely related to the metaphysical concept of the 'eternal return' in such a way that it purposes, on the one hand, to surpass a determined dimension of human life into something bigger or better, and, on the other, to bring about a complete realisation of human life that can be repeated, so that the movement of repetition qffirms the dionysiac return of the tragic. The goal of the article is, moreover, to prove that the Nietzschean project announces the Übermensch as a new form of aesthetic existence while recovering the main concepts of 'tragic' and 'dionysiac', concepts that animate the book Die Geburt der Tragödie. Therefore, we shall see how the Ubermensch is placed as a necessary and prime objective in this project, which remains part of the enigmatic legacy with which Nietzsche's philosophy leaves us.