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Detective dupin7/15/2023 ![]() With this division, fears of social regression and degeneration were heightened. Early Gothic fiction, centered in the first half of the nineteenth century, was influenced by the Enlightenment while the scientific and industrial revolutions of the eighteenth century brought forth advanced scientific theories and modes of reasoning, social stratification began to see a blurred division between the civilized and the barbaric. Psychological terror, whether in the form of a monster or a madman, reflects on the atmosphere of a given time period, focusing on the public’s deepest fears and anxieties and forcing the reader to face those fears through a winding maze of darkness and uncertainty. Characterized by what “shocks the conscience”, the Gothic genre is moulded by human nature and fear of the unknown, which exists on a continuum throughout history. The concept of Gothic is ever-evolving, with prevailing social anxieties dictating what constitutes the macabre. The Gothic era is characterized by the horrific and unknown death, psychological degeneration, and mystery are the typical elements intertwined in Gothic literature. The purpose of this essay is three-fold: first, to correlate the works of Poe and Doyle to the prevailing discourse of the nineteenth century, considering advances in epistemology, criminology and criminal investigations second, to draw attention to the role of ratiocination and various forms of reasoning in solving crimes and the resolution of the fear of death and monster through the works of Poe and Doyle third, to evaluate Poe and Doyle’s ideas regarding the police, crime solving and the intersection of science and crime as expressed through their stories. This essay introduces the reader to specific techniques of reasoning and the utilization of scientific methodology, specifically observation, to look beyond madness and mystery to arrive at logical conclusions for observed phenomena. In these works by Poe and Doyle, the investigative prowess of the narrator, along with the methods of observation and interpretation, are utilized to explain the macabre and unknown. Auguste Dupin Doyle’s tales of mystery and the supernatural and a selection of Doyle’s adventures of Sherlock Holmes. Such works include Poe’s stories of ratiocination in both his tales of horror and mystery Poe’s stories featuring the detective C. Elements of Gothic horror, scientific reasoning and crime are presented throughout various works of Edgar Allan Poe and Sir Arthur Conan Doyle. Literature of the Victorian Gothic era continued to explore the fears and anxieties of society, and was supplemented by knowledge obtained through developments in science, criminology and the criminal justice system. The public’s fascination with horror and the morbid extended from the Gothic era into the Victorian Gothic era, and tales of mystery and crime became intertwined with death and the monstrous. The scientific and industrial revolutions of the eighteenth century brought forth advanced scientific theories and modes of reasoning, which found their way into the narratives of Gothic works. This event is by invitation only.The Gothic era dealt in fear and the unknown, with early nineteenth century Gothic fiction being characterized by the macabre and influenced by the Enlightenment. We also explain (with demos) that some of the artificial agents and robots in our lab are conscious as well, as are some of the fictional machines we’ve conceived, but not yet built. We explain why Dupin is indeed conscious, and why-on the \Lambda (as opposed to Tononi’s \Phi) measuring system of the degree of consciousness enjoyed by a being-he’s highly so. Auguste Dupin as not only conscious, but very conscious-and the great sleuth doesn’t even exist: he’s the creation of Edgar Allen Poe, and purely fictional. Yet our view on and theory of consciousness casts an even wider net, for it counts Detective C. ![]() ![]() On some versions of panpsychism, even some non-physical but existing things are conscious (e.g., you, if you’re a non-physical thing). After all, a lot of physical things exist!-people, pebbles, electrons, meteorites, politicians, umbrellas, llamas. ad indefinitum. This view seems to imply that a lot of things are conscious. Presenter: Selmer Bringsjord (Director of the Rensselaer AI
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