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Dehlia Hannah, Ph.D.
Mads Øvlisen Postdoctoral Fellow—Art And Natural Science
Department Of Chemistry And Bioscience, Aalborg University-Copenhagen
Department Of Communication And Psychology, Aalborg University
Mads Øvlisen Postdoctoral Fellow—Art And Natural Science
Department Of Chemistry And Bioscience, Aalborg University-Copenhagen
Department Of Communication And Psychology, Aalborg University
Art direction and design by: Alexis Mark
Development by: Jules Laplace
Illustration:
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Development by: Jules Laplace
Illustration:
3D Work:
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Philosophers and scientists have long depended upon an array of imaginary creatures, places and things to stage arguments and thought experiments, exemplify points, and serve as counter- examples. Over the history of philosophy, such examples have taken on lives of their own within what Michelle Le Doeff calls the “philosophical imaginary”(1989).
Philosophical problems are often discussed using shorthand references to evil demons, grue emeralds, invisible hands, bats, cats and brains-in-vats; caves, imaginary islands, twin earth and other fictive worlds; color blind scientists, noble savages, trolley cars, spandrels… just to name a few of the endless array of hypothetical persons and literary characters that stand in for complex analyses. Pervading ancient and modern, continental and analytic philosophy alike (La Caze, 2002), these figures populate our imaginary geographies and structure what we take to be real, to be possible, and to be ethically and aesthetically virtuous.
Philosophical problems are often discussed using shorthand references to evil demons, grue emeralds, invisible hands, bats, cats and brains-in-vats; caves, imaginary islands, twin earth and other fictive worlds; color blind scientists, noble savages, trolley cars, spandrels… just to name a few of the endless array of hypothetical persons and literary characters that stand in for complex analyses. Pervading ancient and modern, continental and analytic philosophy alike (La Caze, 2002), these figures populate our imaginary geographies and structure what we take to be real, to be possible, and to be ethically and aesthetically virtuous.