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The reluctance of Dev Pandya to comply with accepted drum'n'bass programming and standards within his Paradox project has made him an increasingly influential figure within the movement. Over a decade since he first stepped into the studio with DJ Trax as Mixrace and offered the pairs' debut single for Moving Shadow, The Future Is Before Your Eyes, Pandya's sound remains characterized by an uncompromising approach to percussion. Having worked with a number of luminaries including 720, Partisan, Archive, Certificate 18, Timeless, and Renegade Hardware under a variety of monikers, he eventually settled his Paradox project at 4 Heroes' well-respected Reinforced imprint in the late '90s, collapsing beats with Nucleus in "This Side of Forever" " before going solo. His debut full-length as Paradox surfaced just over a year later, The Musician as Outsider Reinforcement took drum programming to the very limits with the Jimmy Castor referencing "Drum & Chase," and the windswept atmospheres of "Watchful Eye," both typical of an album which saw detailed percussion deconstructed by shards of outer space, melodic futurism with an admirable militancy. His sophomore album for the label, What You Don't Know, was released in the summer of 2002, confidently twisting midtempo funk with full-strength percussive drum'n'bass - the beats again providing the soul power - an eerily skeletal statement which dissected the core elements of drum'n'bass. In addition to his work at Reinforced, he remains one of the few artists to record material on both sides of drum'n'bass' unspoken divide, working with LTJ Bukem's Good Looking imprint under his Alaska pseudonym. His debut LP under the moniker saw release in the early months of 1999 for Subject 13's Vibez imprint, providing a balance between this characteristic intricacy of the beat programming through the use of warm key sounds and vast atmospheres. A seasoned live performer, he first took his studio out on the road in 2000, and has since toured Europe, North America, and Japan.
Wikipedia:
Further information: List of paradoxesA paradox is a statement or group of statements that lead to a contradiction or a situation which (if true) defies logic or reason, similar to circular reasoning. Typically, however, quoted paradoxical statements do not imply a real contradiction and the puzzling results can be rectified by demonstrating that one or more of the premises themselves are not really true, a play on words, faulty and/or cannot all be true together. But many paradoxes, such as Curry's paradox, do not yet have universally accepted resolutions. The word paradox is often used interchangeably with contradiction. The logician Willard V. O. Quine distinguishes between:
Falsidical paradoxes, which are seemingly valid, logical demonstrations of absurditiesVeridical paradoxes, such as the birthday paradox, which are seeming absurdities that are nevertheless true because they are perfectly logical.Paradoxes in economics tend to be the veridical type, typically counterintuitive outcomes of economic theory, such as Simpson's paradox. In literature a paradox can be any contradictory or obviously untrue statement, which resolves itself upon later inspection.
Logical paradox
See also: List of paradoxesCommon themes in paradoxes include self-reference, infinite regress, circular definitions, and confusion between different levels of abstraction.
Patrick Hughes outlines three laws of the paradox:
Self referenceAn example is "This statement is false", a form of the liar paradox. The statement is referring to itself. Another example of self reference is the question of whether the barber shaves himself in the barber paradox. One more example would be "Is the answer to this question no?" In this case, replying no would be stating that the answer is not "no". If the reply is yes, it would be stating that it is "no", as the reply was yes. But because the question was answered with a "yes", the answer is not "no". A negative response without saying the word "no", like "it isn't", would, however, render the question answered without bringing about a paradox.The concept of "nothingness" is the simplest classical example of a self-referential paradoxThe existence of the concept of "nothingness" invalidates it. It's the simplest paradox because it's a single word that means nothing.Contradiction"This statement is false"; the statement cannot be false and true at the same time.Vicious circularity, or infinite regress"This statement is false"; if the statement is true, then the statement is false, thereby making the statement true. Another example of vicious circularity is the following group of statements: "The following sentence is true.""The previous sentence is false.""What happens when Pinocchio says, 'My nose will grow now'?"Other paradoxes involve false statements or half-truths and the resulting biased assumptions. This form is common in howlers.
For example, consider a situation in which a father and his son are driving down the road. The car crashes into a tree and the father is killed. The boy is rushed to the nearest hospital where he is prepared for emergency surgery. On entering the surgery suite, the surgeon says, "I can't operate on this boy. He's my son."
The apparent paradox is caused by a hasty generalization; if the surgeon is the boy's father, the statement cannot be true. The paradox is resolved if it is revealed that the surgeon is a woman, the boy's mother.
Paradoxes which are not based on a hidden error generally happen at the fringes of context or language, and require extending the context or language to lose their paradoxical quality. Paradoxes that arise from apparently intelligible uses of language are often of interest to logicians and philosophers. This sentence is false is an example of the famous liar paradox: it is a sentence which cannot be consistently interpreted as true or false, because if it is known to be false then it is known that it must be true, and if it is known to be true then it is known that it must be false. Therefore, it can be concluded that it is unknowable. Russell's paradox, which shows that the notion of the set of all those sets that do not contain themselves leads to a contradiction, was instrumental in the development of modern logic and set theory.
Thought experiments can also yield interesting paradoxes. The grandfather paradox, for example, would arise if a time traveler were to kill his own grandfather before his mother or father was conceived, thereby preventing his own birth. W. V. Quine (1962) distinguished between three classes of paradoxes:
A veridical paradox produces a result that appears absurd but is demonstrated to be true nevertheless. Thus, the paradox of Frederic's birthday in The Pirates of Penzance establishes the surprising fact that a twenty-one-year-old would have had only five birthdays, if he was born on a leap day. Likewise, Arrow's impossibility theorem demonstrates difficulties in mapping voting results to the will of the people.A falsidical paradox establishes a result that not only appears false but actually is false due to a fallacy in the demonstration. The various invalid mathematical proofs (e.g., that 1 = 2) are classic examples, generally relying on a hidden division by zero. Another example is the inductive form of the horse paradox, falsely generalizes from true specific statements.A paradox which is in neither class may be an antinomy, which reaches a self-contradictory result by properly applying accepted ways of reasoning. For example, the Grelling–Nelson paradox points out genuine problems in our understanding of the ideas of truth and description.A fourth kind has sometimes been described since Quine's work.
A paradox which is both true and false at the same time in the same sense is called a dialetheism. In Western logics it is often assumed, following Aristotle, that no dialetheia exist, but they are sometimes accepted in Eastern traditions and in paraconsistent logics. An example might be to affirm or deny the statement "John is in the room" when John is standing precisely halfway through the doorway. It is reasonable (by human thinking) to both affirm and deny it ("well, he is, but he isn't"), and it is also reasonable to say that he is neither ("he's halfway in the room, which is neither in nor out"), despite the fact that the statement is to be exclusively proven or disproven.Paradox in literature
The paradox as a literary device has been assigned as an anomalous juxtaposition of incongruous ideas for the sake of striking exposition or unorthodox insight. It functions as a method of literary analysis which involves examining apparently contradictory statements and drawing conclusions either to reconcile them or to explain their presence. Literary or rhetorical paradoxes abound in the works of Oscar Wilde and G. K. Chesterton; other literature deals with paradox of situation. Rabelais, Cervantes, Sterne, and Borges, for instance, are all concerned with episodes and narratives designed around paradoxes. Two of literature's arguably most famous paradoxes is the Miltonic narrator's statement in Book One of 'Paradise Lost', that the fires of hell emit "no light, but darkness visible." Statements such as Wilde's "I can resist anything except temptation," Chesterton's "Spies do not look like spies" and Polonius' observation in Hamlet that "though this be madness, yet there is method in't" are examples of rhetorical paradox. Another example of a paradox is found in the dialogue between Touchstone and Corin in Act Three, Scene Two of As You Like It by William Shakespeare, when Touchstone says:
"Truly, shepherd, in respect of itself, it is a goodlife, but in respect that it is a shepherd's life,it is naught. In respect that it is solitary, Ilike it very well; but in respect that it isprivate, it is a very vile life. Now, in respect itis in the fields, it pleaseth me well; but inrespect it is not in the court, it is tedious. Asis it a spare life, look you, it fits my humour well;but as there is no more plenty in it, it goes muchagainst my stomach."Paradox in philosophy
A taste for paradox is central to the philosophies of Laozi, Heraclitus, Meister Eckhart, Hegel, Kierkegaard, and Nietzsche, among many others. Søren Kierkegaard, for example, writes, in the Philosophical Fragments, that
one must not think ill of the paradox, for the paradox is the passion of thought, and the thinker without the paradox is like the lover without passion: a mediocre fellow. But the ultimate potentiation of every passion is always to will its own downfall, and so it is also the ultimate passion of the understanding to will the collision, although in one way or another the collision must become its downfall. This, then, is the ultimate paradox of thought: to want to discover something that thought itself cannot think.
Moral paradox
In moral philosophy, paradox in a loose sense plays a role in ethics debates. For instance, it may be considered that an ethical admonition to "love thy neighbour" is not just in contrast with, but in contradiction to armed neighbors actively intending murder. If the hostile neighbors succeed, it is impossible to follow the dictum. On the other hand, to attack, fight back, or restrain them is also not usually considered "loving." This might be better termed an ethical dilemma rather than a paradox in the strict sense. However, for this to be a true example of a moral paradox, it must be assumed that "loving" and restraint cannot co-exist. In reality, this situation occurs often, notably when parents punish children out of love.
Paradox in media
Another example is the conflict between a moral injunction and a duty that cannot be fulfilled without violating that injunction. For example, take the situation of a parent with children who must be fed (the duty), but cannot afford to do so without stealing, which would be wrong (the injunction). Such a conflict between two maxims is normally resolved through weakening one or the other of them: the need for survival is greater than the need to abide by the law. However, as maxims are added for consideration, the questions of which to weaken in the general case and by how much pose issues related to Arrow's impossibility theorem; it may not be possible to formulate a consistent system of ethics rules with a definite order of preference in the general case, a so-called "ethical calculus."
Paradoxes in a more strict sense have been relatively neglected in philosophical discussion within ethics, as compared to their role in other philosophical fields such as logic, epistemology, metaphysics, or even the philosophy of science. Important book-length discussions appear in Derek Parfit's Reasons and Persons and in Saul Smilansky's 10 Moral Paradoxes.
Paradoxology
Paradoxology, "the use of paradoxes." As a word it originates from Thomas Browne in his book Pseudodoxia Epidemica."
Alexander Bard and Jan Söderqvist developed a "paradoxology" in their book Det globala imperiet ("The Global Empire"). The authors emphasize paradoxes between the world as static and as ever-changing, while leaning on loose allegories from quantum mechanics. One may also include the philosopher Derrida in a list of users of paradoxes. Derrida's deconstructions attempt to give opposing interpretations of the same text by rhetoric arguments, similar to how lawyers in a court case may argue from the same text, the same set of laws that is, to reach opposite conclusions.