LEGO and Philosophy E-Book

• Herausgeber: John Wiley & Sons
• Kategorie: Geisteswissenschaft
• Serie: The Blackwell Philosophy and Pop Culture Series
• Sprache: Englisch

Seitenzahl: 410

Veröffentlichungsjahr: 2017

Beschreibung

How profound is a little plastic building block? It turns out the answer is "very"! 22 chapters explore philosophy through the world of LEGO which encompasses the iconic brick itself as well as the animated televisions shows, feature films, a vibrant adult fan base with over a dozen yearly conventions, an educational robotics program, an award winning series of videogames, hundreds of books, magazines, and comics, a team-building workshop program for businesses and much, much more. * Dives into the many philosophical ideas raised by LEGO bricks and the global multimedia phenomenon they have created * Tackles metaphysical, logical, moral, and conceptual issues in a series of fascinating and stimulating essays * Introduces key areas of philosophy through topics such as creativity and play, conformity and autonomy, consumption and culture, authenticity and identity, architecture, mathematics, intellectual property, business and environmental ethics * Written by a global group of esteemed philosophers and LEGO fans * A lively philosophical discussion of bricks, minifigures, and the LEGO world that will appeal to LEGO fans and armchair philosophers alike

Leseprobe

The Blackwell Philosophy and Pop Culture SeriesSeries editor William Irwin

A spoonful of sugar helps the medicine go down, and a healthy helping of popular culture clears the cobwebs from Kant. Philosophy has had a public relations problem for a few centuries now. This series aims to change that, showing that philosophy is relevant to your life—and not just for answering the big questions like “To be or not to be?” but for answering the little questions: “To watch or not to watch South Park?” Thinking deeply about TV, movies, and music doesn’t make you a “complete idiot.” In fact it might make you a philosopher, someone who believes the unexamined life is not worth living and the unexamined cartoon is not worth watching.

Already published in the series:

24 and Philosophy: The World According to JackEdited by Jennifer Hart Weed, Richard Brian Davis, and Ronald Weed

30 Rock and Philosophy: We Want to Go to ThereEdited by J. Jeremy Wisnewski

Alice in Wonderland and Philosophy: Curiouser and CuriouserEdited by Richard Brian Davis

Arrested Development and Philosophy: They’ve Made a Huge MistakeEdited by Kristopher Phillips and J. Jeremy Wisnewski

Avatar and Philosophy: Learning to SeeEdited by George A. Dunn

The Avengers and Philosophy: Earth’s Mightiest ThinkersEdited by Mark D. White

Batman and Philosophy: The Dark Knight of the SoulEdited by Mark D. White and Robert Arp

Battlestar Galactica and Philosophy: Knowledge Here Begins Out ThereEdited by Jason T. Eberl

The Big Bang Theory and Philosophy: Rock, Paper, Scissors, Aristotle, LockeEdited by Dean Kowalski

The Big Lebowski and Philosophy: Keeping Your Mind Limber with Abiding WisdomEdited by Peter S. Fosl

BioShock and Philosophy: Irrational Game, Rational BookEdited by Luke Cuddy

Black Sabbath and Philosophy: Mastering RealityEdited by William Irwin

The Daily Show and Philosophy: Moments of Zen in the Art of Fake NewsEdited by Jason Holt

Downton Abbey and Philosophy: The Truth Is Neither Here Nor ThereEdited by Mark D. White

Dungeons & Dragons and Philosophy: Read and Gain Advantage on All Wisdom ChecksEdited by Christopher Robichaud

Ender’s Game and Philosophy: The Logic Gate isDown Edited by Kevin S. Decker

Family Guy and Philosophy: A Cure for the PetardedEdited by J. Jeremy Wisnewski

Final Fantasy and Philosophy: The Ultimate WalkthroughEdited by Jason P. Blahuta and Michel S. Beaulieu

Game of Thrones and Philosophy: Logic Cuts Deeper Than SwordsEdited by Henry Jacoby

The Girl With the Dragon Tattoo and Philosophy: Everything is FireEdited by Eric Bronson

Green Lantern and Philosophy: No Evil Shall Escape this BookEdited by Jane Dryden and Mark D. White

Heroes and Philosophy: Buy the Book, Save the WorldEdited by David Kyle Johnson

The Hobbit and Philosophy: For When You’ve Lost Your Dwarves, Your Wizard, and Your WayEdited by Gregory Bassham and Eric Bronson

House and Philosophy: Everybody LiesEdited by Henry Jacoby

House of Cards and Philosophy: Capitalism without ConsumerismEdited by J. Edward Hackett

The Hunger Games and Philosophy: A Critique of Pure TreasonEdited by George Dunn and Nicolas Michaud

Inception and Philosophy: Because It’s Never Just a DreamEdited by David Johnson

Iron Man and Philosophy: Facing the Stark RealityEdited by Mark D. White

Lost and Philosophy: The Island Has Its ReasonsEdited by Sharon M. Kaye

Mad Men and Philosophy: Nothing Is as It SeemsEdited by James South and Rod Carveth

Metallica and Philosophy: A Crash Course in Brain SurgeryEdited by William Irwin

The Office and Philosophy: Scenes from the Unfinished LifeEdited by J. Jeremy Wisnewski

Sons of Anarchy and Philosophy: Brains Before BulletsEdited by George A. Dunn and Jason T. Eberl

South Park and Philosophy: You Know, I Learned Something TodayEdited by Robert Arp

Spider-Man and Philosophy: The Web of InquiryEdited by Jonathan Sanford

Superman and Philosophy: What Would the Man of Steel Do?Edited by Mark D. White

Supernatural and Philosophy: Metaphysics and Monsters…for IdjitsEdited by Galen Foresman

Terminator and Philosophy: I’ll Be Back, Therefore I AmEdited by Richard Brown and Kevin Decker

True Blood and Philosophy: We Wanna Think Bad Things with YouEdited by George Dunn and Rebecca Housel

Twilight and Philosophy: Vampires, Vegetarians, and the Pursuit of ImmortalityEdited by Rebecca Housel and J. Jeremy Wisnewski

The Ultimate Daily Show and Philosophy: More Moments of Zen, More Moments of Indecision TheoryEdited by Jason Holt

The Ultimate Harry Potter and Philosophy: Hogwarts for MugglesEdited by Gregory Bassham

The Ultimate Lost and Philosophy: Think Together, Die AloneEdited by Sharon Kaye

The Ultimate South Park and Philosophy: Respect My Philosophah!Edited by Robert Arp and Kevin S. Decker

The Ultimate Star Trek and Philosophy: The Search for SocratesEdited by Kevin S. Decker and Jason T. Eberl

The Ultimate Star Wars and Philosophy: You Must Unlearn What You Have LearnedEdited by Jason T. Eberl and Kevin S. Decker

Veronica Mars and Philosophy: Investigating the Mysteries of Life (Which is a Bitch Until You Die)Edited by George A. Dunn

The Walking Dead and Philosophy: Shotgun. Machete. Reason.Edited by Christopher Robichaud

Watchmen and Philosophy: A Rorschach TestEdited by Mark D. White

Wonder Woman and Philosophy: The Amazonian MystiqueEdited by Jacob M. Held

X-Men and Philosophy: Astonishing Insight and Uncanny Argument in the Mutant X-VerseEdited by Rebecca Housel and J. Jeremy Wisnewski

LEGO® AND PHILOSOPHY

CONSTRUCTING REALITY BRICK BY BRICK

Edited by

Roy T. Cook and Sondra Bacharach

This edition first published 2017 © 2017 John Wiley & Sons Ltd

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by law. Advice on how to obtain permission to reuse material from this title is available at http://www.wiley.com/go/permissions.

The right of Roy T. Cook and Sondra Bacharach to be identified as the authors of the editorial material in this work has been asserted in accordance with law.

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LEGO®, DUPLO®, LEGOLAND®, Mindstorms®, Serious Play®, and Ninjago® are registered trademarks of the LEGO Group, which does not sponsor, endorse, or authorize this work. Batman®, Superman®, and Wonder Woman® are trademarks of DC Comics, which does not sponsor, authorize or endorse this work. Star Wars® is a trademark of LucasFilm, which does not sponsor, authorize or endorse this work. The Simpsons® is a trademark of Twentieth Century Fox Film Corporation, which does not sponsor, authorize or endorse this work. Harry Potter® is a trademark of Time Warner Entertainment Company, which does not sponsor, authorize or endorse this work. Visit the official Lego website at http://www.lego.com.

Library of Congress Cataloging-in-Publication data is available for this book.

ISBN 9781119193975 (paperback)

Cover Design: Wiley Cover Image: © photopia /Shutterstock

CONTENTS

Notes on Contributors

Introduction: Play Well, Philosophize Well!

Part I LEGO

®

AND CREATIVITY

1 Constructing Creativity

Originality and Creativity

Madmen, Oddballs, and Visionaries

Resolving the Paradox

Notes

2 Building Blocks of Thought: LEGO

®

and the Philosophy of Play

LEGO as a Thing You Think With

Philosophy as Serious Play

LEGO and Forms of Play

LEGO as a Metaphor for Philosophy

Notes

3 LEGO

®

Formalism in Architecture

Three Scenarios

LEGO and Formalism

Contextualism, Functional Beauty, and LEGO

Other LEGO Worlds and the Real World

Notes

4 “That Was

My

Idea!”: LEGO

®

Ideas and Intellectual Property

Avoiding Mistaken Identity

Defending Your Rights

Does Matter Matter?

A Formative Account

A Tale of Two Time Machines?

History Matters!

Notes

Part II LEGO

®

, ETHICS, AND RULES

5 “You Know the Rules!” What’s Wrong with The Man Upstairs?

“All of This That You See Before You is All Your Father's”

“Let's Take Extra Care to Follow the Instructions”

“You Know the Rules!”

“First Law of the Sea: Never Place Yer Rear End on a Pirate's Face”

“Instructions to Fit In, Have Everybody Like You, and Always Be Happy”

“That's a Suggestion!”

“Would You Like to Make an Appointment, or Shall I Summon the Micromanagers?”

Notes

6 Searching for “The Special”:

The LEGO

®

Movie

and the Value of (LEGO

®

) Persons

“You're Not The Special!”: President Business's Theory of Extrinsic Value

Emmet's Vacillating Value

Intrinsic Value and Emmet's Enlightenment

“You Still Can Change Everything”: The Implications of Emmet's Belief in Intrinsic Value

Notes

7 LEGO

®

and the Social Blocks of Autonomy

What Is Autonomy?

Emmet

Wyldstyle

Becoming The Special, “Everything is Awesome”

Notes

8 Building and Dwelling with Heidegger and LEGO

®

Toys

Emmet as Existentialist: No More Mr. Conformist

Moods and Play

Engaged Play with Modular Bricks

“It's a New Toy Everyday”

Serious Play as Art: The Saving Power in LEGO-building

Dwelling and Building with LEGO

Notes

Part III LEGO

®

AND IDENTITY

9 Ninjas, Kobe Bryant, and Yellow Plastic: The LEGO

®

Minifigure and Race

Where's Lando?

The Building Bricks of Race

Kobe Bryant, Ninjas, and Race

Race in

The LEGO Movie

Notes

10 Girl, LEGO

®

Friends is not your Friend! Does LEGO

®

Construct Gender Stereotypes?

Girls' Best

Friends

or Worst Toy of the Year?

LEGO Friends’ Friendly Sexism

Is LEGO Playing with Stereotypes?

Let the Friends Go to Space! How to Build a More Diverse World with Bricks

Notes

11 Representation in Plastic and Marketing: The Significance of the LEGO

®

Women Scientists

“Explore the World and Beyond!”

Girls' Toys, Boys' Toys: The Gendered Bias

One Small Step for LEGO, One Giant Leap for Women in Science?

Challenging the Representation of Women in Science: One Brick at a Time

Notes

12 Real Signature Figures: LEGO

®

Minifigures and the Human Individual

Laying the Foundation

Gathering the Right Pieces

My Own Creation Over Time

The Signature Figure of Philosophy

Putting It All Together

Notes

Part IV LEGO

®

, CONSUMPTION, AND CULTURE

13 LEGO

®

Values: Image and Reality

A Problem: The Greenpeace Video

Everything is

Not

Awesome? A Philosophical Assessment of LEGO

LEGO, Politics, and Values

Notes

14 Small Farms, Big Ideas: LEGO

®

Farm and Agricultural Idealism

What Can We Learn from a LEGO Farmer?

LEGO Farm Animals

What Else Is Misleading about LEGO Farm?

Let's Piece Together the Truth

Notes

15 The Reality of LEGO

®

: Building the Apocalypse

The Basics of Baudrillard

Stage 1: Basic Bricks Represent Reality

Stage 2: Conflict Play and Masking

Stage 3: Sky-fi and the Absence of Reality

Stage 4: ApocaLEGO and Self-Simulation

Notes

16 The American Archipelago : Touring the Nation at Miniland USA

Miniland

America as Fan Developed Theme(park)

America in Miniature: LEGOLAND California

Rebuilding America: LEGOLAND Florida

Diorama Americana

Notes

Part V LEGO

®

, METAPHYSICS, AND MATH

17 The Brick, the Plate, and the Uncarved Block : LEGO

®

as an Expression of

Dao

It's an Invitation, not a Toy

“It's Super Serious, Right, Babe?”

“Actually it's a Highly Sophisticated Interlocking Brick System”

“No Government, No Babysitters … and There's Also No Consistency”

“They're Expecting Us to Show Up in a Bat-Spaceship”

“Everything Is Awesome!”

Notes

18 LEGO

®

, Impermanence, and Buddhism

What Is Impermanence?

Benefits of an Impermanent Mindset

Aggregates of Impermanence

The LEGOs of Impermanence

Notes

19 LEGO

®

and the Building Blocks of Metaphysics

The Metaphysics of LEGO

LEGO Bricks and Fundamental Properties

Counting Worlds

LEGO Worlds, Change, and Causation

Notes

20 What Can You Build?

Modal Epistemology

Imagination Revisited

Working Knowledge

Beyond Working Knowledge

Purism

Notes

21 Playing with LEGO

®

and Proving Theorems

Plato against the Geometers

Proofs and the Logical Structuring of Mathsy Stuff

Follow the Instructions!

The Geometers Strike Back

Notes

Glossary

Index

EULA

List of Illustrations

Chapter 21

Figure 21.1

Minifig Gottlob Frege and minifig Bertrand Russell chatting about LEGO and math. Created by the author using http://www.ldraw.org/.

Figure 21.2

A mighty structure! Created by the author using http://www.ldraw.org/.

Guide

Cover

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Notes on Contributors

Sondra Bacharach is a Senior Lecturer in the philosophy department at Victoria University of Wellington (New Zealand). She works in philosophy of art, and is the coeditor of Collaborating Now: Art in the Twenty-first Century (with Jeremy Booth and Siv Fjaerstag, Routledge, 2016) and former coeditor of the American Society of Aesthetics Newsletter. When she's not doing philosophy, she can be found building Classic Spaceships (Spaceship, Spaceship, SPACESHIP!) with her kids' big box of LEGO.

Steve Bein is Assistant Professor of Philosophy at the University of Dayton. He is a regular contributor to Blackwell's Philosophy and Pop Culture series, including Wonder Woman and Philosophy and The Ultimate Star Trek and Philosophy. He's also a novelist and his sci-fi short stories have been used in philosophy and science fiction courses across the U.S. His books include Purifying Zen (University of Hawai‘i Press, 2011), Compassion and Moral Guidance (University of Hawai‘i Press, 2012), and the critically acclaimed Fated Blades trilogy from Penguin Roc. Steve is the proud owner of some 40,000 LEGO bricks. Don't judge.

Samantha J. Boardman is a public history and research consultant who received her PhD in American Studies from Rutgers University–Newark. Her projects have included research into expressions of U.S. nationalism in miniature tourist attractions, the digital preservation of Great Migration oral histories, short digital documentaries on civic and community institutions and curatorial services for a wide variety of exhibits. She has a five year-old daughter with whom she builds bangin' LEGO pirate ships.

Eric Chelstrom is Assistant Professor of Philosophy at St. Mary's University. Tacos in San Antonio are so awesome, they aren't just for Tuesdays. He worries about things like oppression and whether his children will share their LEGOs. Sure, they have been told to keep away from their father's precious LEGOs. He might sometimes also wonder if it's okay to make his kids share a double-decker-couch so that there's more space for LEGOs. In this he struggles with being maybe too much like The Man Upstairs, even if his students probably think he's way more like Emmet, before Emmet got special. 

Roy T. Cook is CLA Scholar of the College and Professor of Philosophy at the University of Minnesota Twin Cities, and Resident Fellow at the Minnesota Center for the Philosophy of Science. He is the author of Paradoxes (Polity, 2013) and The Yablo Paradox (Oxford, 2014), the editor of The Arché Papers on the Mathematics of Abstraction (Springer, 2007), and coeditor of The Art of Comics: A Philosophical Approach (with Aaron Meskin, Blackwell, 2012) and The Routledge Companion to Comics (with Frank Bramlett and Aaron Meskin, Routledge, 2016). No matter how much LEGO he buys, he never seems to have enough headlight bricks.

Ramon Das is a Senior Lecturer in philosophy at Victoria University of Wellington (New Zealand). He works mainly in normative ethics and political philosophy, and more recently has branched out into meta-ethics and philosophy of mathematics. An ex-patriot American, he occasionally (not often) wishes that he lived in a country where he could purchase a LEGO set for less than the cost of his monthly power bill.

Bob Fischer is an Assistant Professor of Philosophy at Texas State University. He is coeditor of two volumes—The Moral Complexities of Eating Meat (Oxford University Press, 2015) and Modal Epistemology After Rationalism (Springer, 2016)—the sole editor of College Ethics: A Reader on Moral Issues That Affect You (Oxford University Press, 2016), and the author of Modal Justification via Theories (Springer, 2017). In his spare time, he searches for vintage LEGO sets at garage sales. (The quest is quixotic, but he soldiers on anyway.)

Saul Fisher is Visiting Associate Professor of Philosophy at Mercy College (NY), where he serves as Executive Director for Grants and Academic Initiatives in the Office of the Provost. His work in philosophical aesthetics is centered on architecture, for which he was awarded a Graham Foundation grant (2009), and which includes the Stanford Encyclopedia of Philosophy article on philosophy of architecture (2015). The greatest works of his own architectural oeuvre, realized in the LEGO medium, are lost to the ages.

Michael Gettings is Associate Professor of Philosophy at Hollins University. Some of his philosophical work ranges from analyzing arguments for God's existence to developing new ontological categories for works of art. He has also contributed philosophical musings on topics from the Grateful Dead to the Daily Show. One of his proudest moments as a parent was the day his son presented him with a LEGO brick portrait of Ole Kirk Christiansen.

Rhiannon Grant is Tutor for Quaker Roles at Woodbrooke Quaker Study Centre (UK). Her work covers the philosophy of Wittgenstein, feminism in religion, and studies of British Quakers. She enjoys using tools from diverse academic disciplines, including philosophy, theology, sociology, and gender studies. If her career were a LEGO wall, it would be multicolored, with roof bricks dotted here and there in the middle and an upside-down door on the left-hand side.

Rebecca Gutwald is an Associate Professor of Philosophy at the University of Munich, Germany. Her main areas of research are political philosophy, feminism, and social ethics. Currently she is working on a book on the political philosophy of resilience and its role for future ethics. This includes gauging the potential of philosophy to solve problems in practice. She urges the philosopher to leave the armchair and visit the real world. As part of her own experience of doing so, she has taught philosophy outside of academia, especially to her children. Since her own children had to endure her philosophy lessons, she suspects that they are retaliating by leaving around their LEGOs for her to step on, which results in a severe form of pain which only parents know about. She has now bought some sturdy slippers and begun to wonder about the increasing gendering of toys, longing for the old days of LEGO in which boys and girls could just simply sit down, build a LEGO house, and dream of a better future.

David Kahn, PhD, is the author of Case, Spandex, Briefcase: Leadership Lessons from Superheroes (Starewell, 2015) and writes on ways to make leadership theories and research accessible through pop culture. David is a Leadership Expert, Human Resource Executive, Speaker, and Consultant concentrating on incorporating the principles of culture, leadership and organizational development to improve business strategies and, ultimately, performance. In his spare time, he is on a lifetime pursuit to “Create the Impossible” … or at least a life-sized LEGO Yoda.

Alice Leber-Cook has an MEd in Adult Education and an MA in Curriculum and Instruction, focusing on Family, Youth, and Community education, both from the University of Minnesota – Twin Cities. She keeps herself busy both as an educational researcher and as a very active Female Fan of LEGO (FFOL), LEGO User Group (LUG) member (go VirtuaLUG!), and coordinator for Brickworld, the largest Adult Fan of LEGO (AFOL) convention in North America. She breaks out in hives when she hears someone say “Legos.”

Stephan Leuenberger is a Lecturer in Philosophy at the University of Glasgow, working mainly in metaphysics and philosophical logic. He likes to give his papers pretentious titles, preferably including Latin words. Representative examples are “Ceteris absentibus physicalism” and “De jure and de facto validity in the logic of tense and modality.” He tried to do some clever word play with the Latin meaning of “lego,” but failed.

David Lueth is a Professional Writing Tutor at Anoka Ramsey Community College. He is slowly collecting college degrees; his third and most recent is an MFA in Creative Writing from Hamline University, and he is pondering how a couple more degrees in cultural anthropology would look on his wall. When not tutoring students on the finer points of comma splices or subjecting all his friends to monologues on the increasing relevance of Jean Baudrillard's concept of the hyperreal, he reminds himself that he really ought to finish that novel he's been working on for the past twelve years. Sometimes, to avoid the guilt those reminders bring up, he plays with his LEGO collection.

Robert M. Mentyka grew up as a fervent “LEGO Maniac” during the 1990s and long considered going into engineering or architecture thanks to the influence of these addictive little blocks. Although his attention was eventually won over by the charms of philosophy, he is still a lifelong LEGO fan and part-time builder of the “most radical” of spaceships. Having earned both his Bachelors and Masters in Philosophy at the Franciscan University of Steubenville, Ohio, he currently works nights as a Legal Document Processor and spends his days constructing arguments about Bioethics, Personalism, and the Philosophy of Warfare.

Ellen Miller is Associate Professor and Chair in the Department of Philosophy and Religion Studies at Rowan University where she has taught for fifteen years. Her book, Releasing Philosophy, Thinking Art: A Phenomenological Study of Sylvia Plath's Poetry (Davies Group Publishers), is the first full-length philosophical examination of Sylvia Plath's poetry. Her other publications and scholarly presentations focus on topics in philosophy of art, feminist philosophy, and environmental ethics. In her current Plath studies, she is exploring how Sylvia Plath's writings can help us better understand medicine and mental health care. She loves tacos on Tuesdays, or any day of the week!

Alexander Quanbeck has studied philosophy at St. Olaf College, the Center for Medieval and Renaissance Studies at Oxford University, and the Howard and Edna Hong Kierkegaard Library. His interests lie especially in epistemology and the philosophy of religion. Some days he wishes to realize his childhood aspiration to create a life-size LEGO model of the Great Wall of China, but other days his preoccupation with philosophical idealism makes him wonder whether LEGOs really exist in the material world.

Jon Robson teaches at the University of Nottingham in the UK. He has research interests in a bunch of different areas including aesthetics, epistemology, ethics, metaphysics and the philosophy of religion. He has previously written a chapter for Veronica Mars and Philosophy (Wiley Blackwell 2014) and is coauthor of A Critical Introduction to the Metaphysics of Time (Bloomsbury 2016). Also, he's from the planet Duplo and he's here to destroy you.

Tyler Shores is a PhD student at the University of Cambridge and received his Master's Degree from the University of Oxford. At the University of California, Berkeley, he created and taught a course on The Simpsons and Philosophy (inspired by William Irwin's book of the same name). Tyler has contributed to other volumes in this series including Alice in Wonderland and Philosophy, 30 Rock and Philosophy, and Inception and Philosophy. He previously worked at Google on the Authors@Google lecture series. Unlike Emmet in The LEGO Movie, Tyler definitely does not think overpriced $37 coffee is awesome.

Fenner Tanswell is just starting as a postdoctoral researcher in Oxford, after receiving his PhD in the philosophy of mathematics and logic at St Andrews and Stirling. He grew up in both the UK and the Netherlands, where the Christmas celebrations are three weeks apart, so December was always a double whammy of LEGO presents. 

Craig van Pelt is a doctoral student in sociology at the University of Oregon. He specializes in the sociology of food, environmental health, and food access issues. If he could build anything out of LEGO it would be a hoverboard, à la Back to the Future II. Yes, a fully functioning hoverboard would be the best LEGO set ever.

Ruth Wainman has recently completed a PhD in the School of History at the University of Kent. Most of the time she specializes in history of science but when this is not the case, she likes to build her childhood hobbies into her work, one brick at a time.

Mary Beth Willard is an Assistant Professor of Philosophy at Weber State University, where she teaches a little of everything and publishes primarily in metaphilosophy, metaphysics, and aesthetics. She wrote for this volume in the hope that she might have written something that will one day be interesting to her three-year-old son, whose research interests include LEGO, cars, and cars made with LEGO.

Introduction:Play Well, Philosophize Well!

Sondra Bacharach and Roy T. Cook

LEGO® is, of course, a children's toy. Or better yet, LEGO bricks and elements are the basic building blocks with which children, and adults, build such toys. But they are also the building blocks of a transgenerational multimedia empire. The LEGO Group is currently the largest toy manufacturer in the world, and the LEGO brand covers not just the basic bricks, but a massive multimedial empire including animated television shows, feature films, a vibrant adult fan base with over a dozen yearly conventions, an educational robotics program, an award-winning series of videogames, hundreds of books, magazines, and comics, a team-building workshop program for businesses, a clothing line, an endowed professorship at Cambridge University, and much, much more.

So, LEGO is much more than a mere toy—it's really big, and it involves a whole lot of different kinds of stuff. But is it philosophical? At first glance, one might not think so—after all, how deep and profound could a little plastic building block be? It turns out that the answer is “very”!

When we—especially adults—play or work with LEGO, it is natural to reflect on these iconic bricks and to ask questions about how we construct ourselves and our world, the difference between childhood and adulthood, and the role of sustainability and reusability in the modern industrial world. In addition, the LEGO Group's forays into business training (e.g., Serious Play®), robotics education (e.g., Mindstorms®), gender issues (e.g., Friends) and environmental debates (e.g., the Greenpeace LEGO/Shell video, LEGO Farm) invite us to ask hard questions about this particular toy company—questions that we might not ask of Mattel or Hasbro. But why is that? What makes LEGO so special?

The simple reason is that LEGO, unlike Mattel or Hasbro, doesn't actually make toys. Strictly speaking, LEGO isn't a toy. We can make toys with LEGO, either by following the steps in the little instruction books, or by constructing our own original creations. And, lots of us do. But, we can make virtually anything with LEGO—not just toys. These little plastic bricks are more like a building material or medium, and probably have as much or more in common with bricks and paint than they have with most of the items in the toy aisle at the local megamart.

Indeed, lots of people treat LEGO as a building material, constructing practical artifacts like desks, pinball machines, and even full-sized houses out of these little bits of ABS plastic. LEGO is special in part because it's a building tool—one that opens up a new world of possibility for the builder. And as soon as we appreciate that LEGO is a tool for making things, we can see how it gives rise to a whole new way of appreciating these brightly colored little bricks. For tools can be used to make toys; and tools can be used to make tables; but tools can also be used to make art. Suddenly the domain of LEGO covers not only what is in our ordinary, quotidian world, but also encompasses the world of art—a world that ends only at the limits of our imagination.

Artists like Sean Kenney, Zbigniew Libera, Nathan Sawaya, Adam Reed Tucker, and Ai Weiwei have used LEGO bricks the way other artists use marble or paint, creating artworks that have been displayed in galleries and museums around the world. And, LEGO is well aware of this rich potential of those little ABS bricks—one of the LEGO Group's most successful advertisement campaigns carried the minimal tagline “Imagine.”

Thinking about LEGO as part of the world of art—including the world of storytelling—explains why children can spend hours and hours lost in their imaginations, telling stories about their little ABS bricks: children know and appreciate how powerful LEGO, and the iconic minifigures so closely associated with the company, really are at storytelling! And, LEGO's narrative potential, when combined with vivid imaginations, explains how LEGO literally opens up new worlds of possibility for builders young and old. As a result, we can ask the same questions about LEGO creations that we might ask about artworks, narratives, and all the intimate connections between, and surprising combinations of, art, stories, and other creative endeavors.

This book explores just how far LEGO's reach into popular culture extends, and how that reach can help to illuminate philosophical problems old and new. The essays collected here highlight how LEGO has successfully infiltrated so many aspects of our popular culture, to say nothing of the pop-cultural ramifications of a toy that has enjoyed licensing deals with over a dozen hit Hollywood films. It turns out that properly understanding LEGO's rise to cultural pre-eminence is itself a deeply philosophical question—one that can be appreciated by coming back to our aesthetic roots with the ancient philosopher and playwright Aristophanes (c. 446–c. 386 BC). Aristophanes introduces the original concept of Cloud Cuckoo Land in his comic play The Birds in order to make a pointed critique of Athenian social life. It's no accident that Unikitty gives her chaotic, no-rules kingdom in The LEGO Movie the same name, since LEGO can also be used to make pointed commentary on, draw philosophical insights into, and learn more about the world we live in. Like Aristophanes and Unikitty, the essays included in this book attest to this variety of topics and approaches, ranging from the philosophy of architecture and the nature of autonomy to ApocaLEGO zombies and the Zen of LEGO, and pretty much everything in between.

As you are reading this volume, and thinking about your own past and future LEGO adventures, we only ask two simple things. First, as the very name of the company reminds us, “leg godt!,” or “play well!” But equally importantly, we also ask you to philosophize well!

Part ILEGO® AND CREATIVITY

1Constructing Creativity

Mary Beth Willard

My toddler concentrates mightily, his tiny brow furrowed, his tongue poking ever so slightly out of the corner of his mouth. He fails to acknowledge my entry to the playroom, nor does he notice when I sit next to him cross-legged on the floor. His eyes lock on to each LEGO® DUPLO® square in turn as he deliberately presses them into a single layer on a flat green board. After several minutes, he looks up, startles as he notices me, and then breaks into a grin. “Mommy,” he says, “I made you a pie!”

The pie is his first LEGO creation, and my heart swells with parental pride, but I would be lying if I said that such pride had not been leavened with a tiny scoop of self-congratulation. My spouse and I had ensured that one of his first toys was LEGO DUPLO because we believe, like many parents I know, that playing with LEGO encourages creativity. And look! It works! The moment of self-congratulation passes as my son encourages me to eat the pie, because as I dutifully pretend to nom away on raspberries (red bricks), blueberries (blue bricks), and bananas (you get the pattern), I wonder why the belief that LEGO contributes to creativity is so pervasive.

Originality and Creativity

We should pause here to distinguish between originality and creativity. True originality is rare, whether in art, science, or LEGO, because to be truly original means to have done something that no one has ever done before, and that no one could have anticipated.1 Most LEGO creations will not meet that condition, for with the exception of serious hobbyists who undertake massive builds, most players who make original creations are making creations that are commonplace. My son's DUPLO pie is not original, but it is creative, in the sense that constructing it was a new idea to him, and it is in this sense that we can ask whether playing with LEGO truly contributes to creativity.

On the one hand, LEGO allegedly encourages creativity by inviting us to build whatever we can imagine; on the other hand, actual LEGO play often involves following someone else's instructions or building meticulous scale models of real-world objects. Many LEGO enthusiasts, especially adult LEGO enthusiasts, enjoy building sets, and then displaying them. In such cases, the point is not to use the bricks in new ways; the point is to carefully follow the instructions so that every piece winds up in its proper place. Following the instructions might be challenging, but it is hardly creative to follow an exacting plan laid out by someone else.

Perhaps being creative with LEGO just means setting aside the instructions and striking off solo to build one's own creations. The system of play developed by the LEGO Group is commonly hailed as having the potential to contribute mightily to a child's creative development because even though many bricks are sold as sets, all of the bricks interlock, so they can be reused over and over. Moreover, the high quality of the ABS thermoplastic used in LEGO bricks ensures that the bricks can survive generations of use; my son's pie was made of DUPLOs that used to belong to his father. LEGO Batman® snaps into place happily alongside the original LEGO astronauts, and he may even borrow their space helmets; the only limits on Batman's adventures lie in the imagination of the child.

Yet even original LEGO creations must follow the constraints that result from the physical forms of the bricks. We might think of creativity as requiring significant artistic freedom to create whatever we want, and while the LEGO bricks facilitate stacking, the interlocking studs-and-bricks constrain what is possible. Working with LEGO requires working with edges and corners; it is no surprise that many large-scale creations are pieces that are well-suited to being built out of rigid plastic: cars, boats, buildings, and so forth.

Moreover, LEGO purists insist that only products produced by the LEGO Group should be used in an authentically original LEGO creation. Painting or remolding or placing stickers on the bricks counts against the spirit of LEGO creation.2 Though a fan could exercise creativity while remolding LEGO, according to this line of thought, she would not be building with LEGO creatively. Rather, doing so would be creatively using LEGO as raw materials, as one might repurpose any other piece of plastic. As a result, while we often hear that playing with LEGO encourages creativity, the implicit rules of fan culture, as well as the material constraints imposed by the bricks themselves, limit significantly what may be created.

Herein lies the paradox of creativity: how can the freedom required for true creativity be compatible with a toy that comes with incredibly detailed instructions for creating specific objects, let alone with a fan culture that constrains what counts as a legitimately creative use of LEGO? Confronted with this paradox, I am cynically tempted to assume that I am nothing more than a dupe of marketing. “Creativity” perhaps means nothing more than “buy this toy, o conscientious parent; you will certainly get a lot of use out of it, and trust us, you will have more fun if you buy lots and lots of bricks.”

Madmen, Oddballs, and Visionaries

The LEGO Movie embodies this paradox, presenting three conflicting models of creative LEGO play, illustrated by the Master Builders, Finn's father, and Emmet. The LEGO Movie winks knowingly at pop culture and LEGO fandom, so that I have to believe that the movie's creators were deliberately playing around with conflicting popular conceptions of creativity: creativity as madness, creativity as thinking outside the box, and creativity as vision.

Quite a lot of philosophical writing focuses on the experience of being creative as a kind of madness. The imagery is violent: we are seized by the Muse, or possessed by the Gods. The artist becomes a passive conduit as the madness works through him to produce something wholly novel.

In the Platonic dialogue Ion, Socrates likens the creativity of lyric poets, or rhapsodes, to divine possession or madness. When rhapsodes perform in front of an audience, the breath of the gods literally inspires (“breathes into”) the poets so that they become a conduit for the brilliance of the Muse.3 Centuries later, Kant argues that creativity resides in the free play of the imagination, consisting of the capacity to produce wholly original ideas. Yet, according to Kant, creativity remains mysterious to even the creative genius.4 Likewise, Coleridge's preface to Kubla Khan describes creativity as coming unbidden to an artist, possessing him, and leaving him bewildered, as if coming down from a drug high, marveling at the work he has created.

In The LEGO Movie, the Master Builders depict the madness model of creativity, represented as unfettered recombination. The Master Builders work to thwart the nefarious President Business, who plans to fix all of the worlds of the LEGO universe in place with the Kragle (Krazy Glue) so that they may never again be taken apart and recombined to make new things. President Business is the bad guy; he stifles creativity because he wishes to have all of his LEGO worlds neat and tidy. Pirates sail on the ocean; citizens stay in the cityscape; the Old West never need fear an invasion by laser guns and spaceships.

The creations of the Master Builders transcend mere instructions. In psychedelic Cloud Cuckoo Land, Unikitty builds mad rainbow-colored creations and insists that there are no rules (or consistency!). The heroine Wyldstyle repeatedly saves the day by constructing elaborate vehicles out of spare parts on the fly; the movie visualizes her as seeing the exact pieces she needs in piles of discarded city bricks meant to represent junk. She is an inspired genius, and when she exhorts the citizens of Bricksburg to rebel against President Business's plan, they do so with whatever bricks they have at hand. We next see a plucky citizen attempting to insert a croissant into a steering wheel.

The second conception of creativity developed in The LEGO Movie lies with the hero Emmet, who in the early scenes devotedly follows not just instructions for building but all rules. He is a conformist. Yet the movie also suggests that the roots of creativity lie in the simple act of thinking outside the box. Emmet is an oddball, the Special with nothing special about him. Emmet's first original creation is a double-decker couch, roundly mocked by his new Master Builder friends because it does nothing more than fill a much-needed gap in conceptual space. Emmet thought outside the box, but badly. Emmet is redeemed, however. Not only does his double-decker couch, which floats, rescue his friends from the destruction of Cloud Cuckoo Land, but he eventually manages to save the day not by designing a new spaceship but by building an ordinary Octan corporation transport. His most creative moment lies not in the development of something new but in recognizing that building an ordinary ship according to the instructions is the last thing that their enemies will expect. He uses the ship design creatively, even though it is not itself a creative design.

If these were the only conceptions of creativity open to us, then clearly LEGO's claim to creativity would be nothing more than clever marketing. Madness has no aim, yet to develop one's own creation, whether it is something as simple as a DUPLO pie, as unimaginative as a double-decker couch, or as complex as Richter's Sitting Bull, with 1.75 million pieces, requires having a goal in mind, and some idea of how to accomplish it. The builder will adapt her plans as she works through the challenges that arise as she builds, of course; no plan completely survives first contact with the studs. But she will not be astonished or mystified at what she has produced. Moreover, merely thinking outside the box would not be sufficient reason to bother with LEGO, because the creativity demonstrated by Emmet in using his creations is completely divorced from the utter conformity he exhibits in building his creations.

Fortunately, the madness model has been challenged by psychologists and philosophers who have a more workmanlike focus on creativity. Even in ancient Greece, the philosopher Aristotle argued against his teacher Plato that poets did indeed possess a skilled art, and were not merely the subjects of divine whims. According to Aristotle, the poets have the skill to produce rhythmic and rhymed verse directly calculated to provide catharsis of negative emotions. It may sound obvious, but Aristotle's point is that provoking catharsis is an identifiable, repeatable process. It can be taught; it can be mastered. So much for waiting for divine inspiration!5

Much more recently, the psychologist Robert Weisburg goes so far as to call the creative genius a myth. No genius is born; all are fired in the crucible of hard work. Simon Blackburn quotes with approval Thomas Edison's quip that genius is 1 percent inspiration and 99 percent perspiration, as well as Thomas Huxley's wry remark concerning Darwin's brilliant theory of evolution: “how extremely stupid not to have thought of that.”6 Scientists and engineers can be creative, but their genius sometimes lies in nothing more than having done the work necessary to be able to see the path for which everyone else is searching. Even Coleridge himself wrote drafts of Kubla Khan, and drew his inspiration from books that he read rather than the drugs he consumed. His preface is nothing more than conscious self-posturing, to advance the myth of the genius at the expense of the truth.7 Creativity lies not in madness but in extraordinary vision.

In The LEGO Movie, the vision model of creativity is represented by Finn's father. Toward the end of the movie, we learn that Emmet's adventures are the work of the imagination of eight-year-old Finn, who is furtively playing with his dad's LEGO creations, immense vistas that correspond to the vibrant LEGO worlds visited by Emmet. The movie implies that his uptight dad, who wears a coat and tie that eerily match those of the evil President Business, should recover his spirit of creativity and play by breaking down his meticulous yet static vistas and permitting Finn's free-for-all LEGO construction.

It's tempting to interpret the movie as implying that Finn's father isn't creative at all, merely following instructions, and that his future redemption lies in committing to unfettered recombination. Yet that's too quick.8 The elaborate vistas, arguably consisting of millions of bricks, lie far beyond even the most expensive and intricate LEGO kits. No set of instructions could have guided Finn's father as he painstakingly constructed the roiling ocean in Pirate world. If you were to encounter one of these displays at Brickfest or Brickfair, you would never think: what a waste! If only he'd had the vision to put a croissant on a steering wheel!

The movie criticizes Finn's father, in other words, not for his lack of creativity but for the lack of joy and spontaneity in his creations. He wants to glue the bricks so they can never be enjoyed as building blocks again. Some philosophers have argued that even if we set aside the madness model, any theory of authentic creativity must account for the subjective experience of being creative.9 Being creative does not feel like running mechanically through a series of algorithms; it feels like flying without a net, dangerous and thrilling and pregnant with expectation. All creative experiences share this feeling, for it is this feeling that separates working through a problem mechanically, as a computer might, and working through a problem as a fully creative being.

We might think that the subjective experience of creativity requires the cessation of conscious thought. Like Emmet, we must empty our minds if we are to become truly creative. Yet when solving a scientific or engineering problem, or even constructing an intricate LEGO display, we cannot afford the luxury of emptying our conscious minds.