Information has always been at the core of conflicts. When Napoleon planned to invade Italy, he duly upgraded the first telegraph network in the world, the French “semaphore”. He famously remarked that “an army marches on its stomach,” but he also knew that the same army acted on information. As Von Clausewitz once stated “by the word ‘information’ we denote all the knowledge which we have of the enemy and his country; therefore, in fact, the foundation of all our ideas (...) of actions [in war].”I am very grateful to Mariarosaria Taddeo for this citation and for our fruitful collaboration on a 2-year project about the ethics of information warfare, Marie Curie Fellowship Grant, FP7-PEOPLE-2009-IEF see now . This is why the radar, the computer, the satellite, the GPS system, and the Internet were initially developed as military technologies, while unmanned vehicles are becoming a reality thanks to DARPA. The difference between then and now is that information warfare .. (shrink)

The way in which folklorists study their “scientific subject”, that is the creativity and the rich ways people attach meanings to their existence, has often been considered to be static and decontextualized. An interest in popular culture for propaganda purposes is associated with past regimes. Therefore, the notion of “folklore” still carries contradictory meanings and connotations. The author starts from a debate prompted in Italy by Alberto M. Cirese: in recent decades, Italian “native” ethnology has focused on endangered village traditions (...) rather than opening itself up to new instances of cultural change. The main risk was misrepresenting the methodology proposed by Antonio Gramsci in 1929. Today Italian research into folklore places the subject of “folklore” in its broadest context, investigating developments in society associated with the shift from a peasant to an industrial society, and embarking on additional research domains through transnational cultures. This research draws on the growing interest in cultural heritage in the public sphere, and, simultaneously, draws on recent advances in the study of uses of culture and memory. The paper studies two aspects of daily life: pure yarn handmade clothes and ornaments, and long-life tomato sauce. The study concludes that contemporary everyday folklore takes on many free and unofficial forms that call for a renewed approach. To evaluate the multiplicity of folklore meanings and their capacity to integrate interactions between the traditional and the contemporary in specific contexts, the author explores the practicality of a new idea of folklore as sustainable, popular, domestic creativity using material and immaterial goods. This idea implies a rethink of the concept of heritage and of the complexity of its increasingly official, bombastic and rhetorical manifestations. (shrink)

-/- Shitstorms, Hate Speech oder virale Videos, die zum Klicken, Liken, Teilen bewegen: Die vernetzte Gesellschaft ist von Affekten getrieben und bringt selbst ganz neue Affekte hervor. -/- Die Beiträge des Bandes nehmen die medientechnologischen Entwicklungen unserer Zeit in den Blick und untersuchen sie aus der Perspektive einer kritischen Affekt- und Sozialphilosophie. Sie zeigen: Soziale Medien und digitale Plattformen sind nicht nur Räume des Austauschs, sie erschaffen Affektökonomien – und darin liegt auch ihre Macht. Indem sie neue Formen des sozialen (...) Umgangs stiften und bestimmen, wie wir kommunizieren, verschieben sie auch die politische Topographie. -/- Mit einem Beitrag von Antonio Negri. (shrink)

Buddhism has always produced epistemological systems, and those of the Mahāyāna, in particular, always showed knowledge and perception to be inherently delusive. “Higher” forms of Buddhism have a degenerative philosophy of history according to which a sort of Golden Age was disrupted by the rise and gradual development of knowledge and the delusion inherent in it, which have reached their apex in our time – the final phase of the “Era of Darkness.” From this standpoint, this paper intends to show (...) science, in which Marcuse saw an inherent instrumental/technological interest, to have been developed by delusion and to have simultaneously furthered the development of delusion, to the point at which they begot the deadly ecological crisis proper to this concluding phase of the Era of Darkness – which reveals as such the delusion at its root, achieving the latter’s empirical reductio ad absurdum and offering us the possibility of eradicating it and thus healing our minds and, hopefully, our world. (shrink)

This paper discusses the meaning of the concept of ‘second-order observation’ used by Niklas Luhmann (1927–1998). Luhmann identifies second-order observation as a defining characteristic of modern world society. According to Luhmann, all social systems construct a social reality on the basis of the observation of observations. Rating agencies in the economy or the peer-review process in the academic system are examples of social mechanisms manifesting second-order observation. Social media also represent organized second-order observation. The paper suggests that in a society (...) based on second-order observation, ‘genuine pretending’ is an adequate mode of existence. This notion is derived from the Daoist text Zhuangzi. It indicates a disassociation from social roles which allows their performers to exercise these roles with ease and, at the same time, maintain a state of sanity. (shrink)

Purpose. The purpose of the study is to show the connection of romanticism with the anthropological doctrine that goes back to Hegelianism and Kantianism, and at the same time – with the concepts of the future, structuralism and postmodernism. Theoretical basis. The man is a central figure of the Romantic literary, therefore it makes sense to single out romantic human anthropological doctrine and the image of man associated with a specific historical and cultural era called the "epoch of romanticism"; to (...) show that many romantic philosophical positions remained relevant to the basic foundations of contemporary anthropological research and coincide with it in analytical and critical thinking about a man, a person, his historical and evolutionary fate. Originality. The romantic worldview determined the specifics of anthropological discourse, both logical and illogical, remaining symbols and attaching, as for example, a real historical anecdote, a popular history, a philosophical thought, a myth, a famous literary episode and the arts multiplied by creative inspiration and imagination. This tendency determined the fragmentation of thinking and the scientific image of man as a dual being, nevertheless, presented and described in all the variety of relations with the world and with himself, that allows us to call this area of thought "the romantic human science". Conclusions. Structural analysis of numerous romantic texts allows us to draw the following conclusion: with mythopoetic imagery and anthropological thought about a man, romantic writers introduced the reader to any wisdom, to philosophical understanding of their human essence, to past and modern teachings, in a way processed antique, medieval and enlightening views, in which an important place was given to reflections on the place of man in nature, society, and history. Correlating the well-known statements about a person as a descendant of the "old Adam", "person", "personality", "soul", with the modern idea of historical and social development, about the evolution of the consciousness of a person who revealed himself as an individual in modern times, with scientific and aesthetic views, the writers of the first half of the XIX century gave romantic thought anthropological meaning and, in fact, laid the foundations of historical, social, psychological, cultural and psychoanalytic anthropology. (shrink)

Contrary to the general belief that modernist art and architecture reflect the technological society, Jacques Ellul maintains in his L’empire du non-sens that they are justifications for the integration of humankind into what he called the technicist complex. Modernism in art and architecture meant that every product must be qualified by a technological character. This unassailable belief exerted some far-reaching influences on symbolic thought, on artistic expression, on architectural character. If imitation and invention were the two inseparable concepts through which (...) art and architecture were produced and symbolized, it is because they operate on a certain transparency between an exemplar and a work of art. By contrast, in the mentality of technique, artistic production operates based on a certain opacity to meanings outside of itself. Imitation and invention were separated. Thus, one of the principal beliefs in modernism, that art and architecture symbolize the technological society is actually one of its weakest. In considering technology as both the symbol and the product, the artistic idea and its representation collapsed into each other. (shrink)

We can construct a typology of rumours - defined broadly as unverified news - according to their relation to reality after their degree of veracity has been established, at least in the current state of knowledge, by experts (historians, scientists, police officers, journalists, and so on). If a rumour turns out to be correct it becomes an item of information. If a rumour is untrue it comes into the categories of affirming or denying rumours. Affirming rumours, which are the most (...) common type, state the reality of imaginary facts, for instance the rumour claiming that bananas from Costa Rica pass on to people flesh-eating bacteria that cause general necrosis. Denying rumours, which are rarer, deny the reality of established facts, for example rumours claiming that Elvis Presley is not dead or that Americans have never walked on the moon.It seems useful to distinguish various terms indicating negation. Rumours will be termed negative when they state facts associated with fear or hostility, whereas positive rumours evoke happy, welcome events. French researchers, who assign colours to rumours, talk about ‘black’ rumours or ‘rose-tinted’ ones. Specialists agree that there are around nine black rumours for every rose-tinted one. Rouquette (1975, 1990) has thoroughly studied this ‘bias towards negativity’, which is one of the main features of rumours. I shall talk about denying rumours and ideas when they deny commonly accepted events. These rumours are not necessarily negative: for instance survival legends often express the wish that a loved person were not dead. Finally, among denying rumours and ideas, we shall reserve the word negationist for revisionist claims that the gas chambers did not exist, or that a Nazi did not plan to exterminate the Jews during the Second World War. (shrink)

This paper explores the «nature» of street art, highlighting its innovative features, the new socio-political status, and the differences between this emerging art form and dominant trends in contemporary visual art. This examination builds on the premise that artistic phenomena can only be considered from a critical perspective that situates questioning within a historical and specific gaze. Therefore, my aim is not to place this art movement within categorial boundaries, identifying the necessary and eternally true characteristics of street art, but (...) to identify the motives and tendencies that constitute it as a movement that runs against the dominant orientations in contemporary art. Building on this comparative analysis, the construens part of this paper explores the salient features of street art more thoroughly and more extensively, through an examination of the works of certain street artists. (shrink)

Este texto muestra cómo la tradición fenomenológica de la filosofía de la tecnología ha interrogado y cuestionado a la tecnología moderna entendida como ciencia aplicada y neutral. El análisis inicia con la indagación ontológica sobre el significado de la técnica para el hombre llevada a cabo por Heidegger y Ortega, para señalar luego la pertinencia de encontrar vínculoscon otros modos de considerar la acción práctica del hombre y explicitar con ello el acercamiento entre la racionalidad técnica con el poder humanizante (...) de la imaginación y la creatividad. Finalmente se muestra cómo este vínculo fue desarrollado por Gaston Bachelard bajo la sugerente idea de un racionalismo inventivo que debe acompañar tanto a la práctica científica del sabio como a la construcción técnica de los fenómenos por parte del ingeniero. (shrink)

The article is devoted to study of totalitarian and democratic types of rhetoric. The classical dichotomy of rhetorical influence has been discovered: monologic use of rhetoric as a verbal weapon through propaganda, demagoguery, populism, creation of the image of an enemy, division of society and dialogical use of rhetoric as consolidating communication, truth-seeking, social consent and understanding. It is shown that the trigger of democratic and totalitarian regimes is the existential of freedom. The active influence of the postmodern rhetoric of (...) the information age in its performativity in the acquisition of snack culture is determined, which significantly strengthens the manipulative strategies. Totalitarian tendencies of digital rhetoric are found in information warfare technologies, in the processes of censorship, ambivalence and negativism of information, spreading fake news, igniting conflicts in mass media. Militarization of vocabulary and spread of obscene language in ordinary communication as factors of compensatory aggression of the population, the danger of excessive information transparency of people’s private lives are noted. Democratism of the digital rhetoric is manifested in such phenomena as the direct creation of e-democracy, access of citizens to e-voting, e-services, e-petitions, overcoming digital inequality, the ability to communicate with officials and public officers live on TV and radio, in social networks. Democratic principles of rhetoric, especially in Ukraine as a state of “transitional democracy” should be supported by quality education, fostering critical thinking and activity of civil society. (shrink)

Сучасна філософія тяжіє до осмислення людської дійсності у дедалі ширших міждисциплінарних контекстах. Спочатку традиційні, а віднедавна й інтернет-медіа та інформаційні технології опинилися у полі зору філософів та стали джерелом для переосмислення чималої кількості так званих вічних філософських запитань. Серед них зокрема і найширші, як-от усвідомлення меж реального та розуміння, які саме явища й речі з тих, що конституюють людське, можна вважати реальними. Цю статтю присвячено дослідженню одного з понять, що є ключовим для осмислення реальності, – поняттю віртуальності. Авторка висвітлює його (...) витоки, особливості і специфіку вжитку в сучасному філософському дискурсі. Зокрема, показано конотації віртуального з усіма трьома часовими вимірами: минулим, теперішнім та майбутнім. Наголошено, що поняття віртуального спочатку було «перевідкрите» Жилем Дельозом, а потім пережило ще низку сутнісних змін у філософії ХХ–ХХІ століть. Тож віртуальне розглянуто як контрагент реального. Зокрема, у статті приділено увагу різноманітним конотаціям між поняттями віртуальності, реальності та фактичності. Крім того, розкрито моральні аспекти віртуальності – як у трансцендентному, так і в іманентному сенсі. Висвітлено підґрунтя для нерозрізнюваності «реального» та «віртуального». Зроблено висновок про те, що в ситуації так званої підміни реальності різноманіття конотацій поняття віртуальності може бути використане для перевідкриття вже самого поняття реальності. (shrink)

Summary This article explores the relations among three forms of representations (artistic, mental, and neural) and immersion, considered as an altered state of consciousness, in the context of literary reading. We first define immersive reading as an intensification of our embodied experience of literary representation, in accordance to neuropsychological studies about embodied cognition. We further consider the style of interpretation demanded by such immersive reading and its ethical and ecological underpinnings.

The notion of information puts the human, the animal and the vegetable all on the same plane, and tends to dissolve the previous specificities of these categories. DNA, in this way, is fetishized. Also, the notion of information, and of the gene, has moved from the domain of expert or technical culture to become a part of mass culture: a development that has important social consequences. The human body is seen as a prototype that needs to be tested or rectified (...) (a consequence of the notion of ‘bad’ genes). From prenatal testing to the courtroom, it is implicitly around the notion a ‘life worth living’ (that is to say, of good morphological or genetic quality) that intense debates have arisen concerning the status of the body, of illness and of disability. Genetics is becoming part of the social environment, and it is setting itself up as a form of secular religion, with fundamentalist overtones. This article will analyse the anthropological shifts that have grown up around these new definitions of the human. (shrink)

This chapter argues that the human, all too human vulnerability to mimesis (imitation) is a central and so far underdiagnosed element internal to the Covid-19 pandemic crisis. Supplementing medical accounts of viral contagion, the chapter develops a genealogy of the concept of mimesis – from antiquity to modernity to the present – that is attentive to both its pathological and therapeutic properties. If an awareness of the pathological side of mimetic contagion is constitutive of the origins of philosophy, in Plato’s (...) Republic, and crowd psychology called attention to the mirroring dynamic of affective contagion among crowds and publics in the modern period, the Covid-19 pandemic crisis highlights the pathological implications of hypermimetic conspiracies reloaded by new media, while also revealing the human ability to develop therapeutic patho-logies – that is, critical discourses (or logoi), on the contagious dynamic of mimetic pathos. Like a Janus-faced mirror, then, this genealogy of homo mimeticus calls attention to both the contemporary dangers of affective contagion and to the urgency of transformations or metamorphosis to counter future pandemic and environmental threats that loom large in the Anthropocene. (shrink)

_Purpose._ The basis of the presented research is a philosophical and methodological analysis of the human-centrism concept as a new intellectual strategy of comprehending and understanding the prospects of human existence in a situation of information-digital reality, which provides for the consistent solution of the following problems: 1) to make an explication of the conceptual content and semantic loading of human-centrism in the discourses of social philosophy and philosophical anthropology; 2) to analyse the theoretical significance and methodological role of human-centrism (...) in the information-digital reality; 3) to characterize the main parameters of the problematic field of human-centrism in overcoming the crisis of identity and preserving the system of universal human values. _Theoretical basis__._ The objective logic of unfolding of the modern information-digital world transforms philosophical anthropology into a new level of comprehending the human existence. Human-centrism interacts with philosophical anthropology and evaluates it from the point of its metaphilosophical, axiological-existential and methodological content. The assertion of human-centrism is caused by the identity crisis in the context of civilizational transformations, which as a result of the cumulative effect of information technology have a powerful influence on all aspects of human life and thinking. The philosophy of human-centrism as a life-affirming factor determines the development and adaptation of human self-consciousness to the modern socio-cultural environment, determined by information and technological processes. _Originality__._ It is substantiated that human-centrism as a new strategy of modern philosophical and anthropological discourses opens new cognition perspectives of the essence of human in the information-digital reality and contributes to the construction and implementation of new dimensions of identity in interaction with a qualitatively different level of world attitude. _Conclusions__._ The assertion of information-digital reality gives rise to a new type of philosophical and anthropological paradigm, a qualitative manifestation of which is the theory and methodology of human-centrism. It is characterized by a modern level of philosophical reflection, which allows preserving and at the same time renewing the system of universal human values. On this basis, human-centrism is a way of complementarity of all aspects of human life, who reconstructs themselves in a situation of new anthropological dimensions. (shrink)

With the advent of social media and increase in networked publics, context collapse has emerged as a critical topic in the discussion of imagined audiences and blurring of the private and the public. The meshing of social contexts portends problematic issues as messages inadvertently reach unimagined audiences causing shame and leading to loss of ‘face’. In this article, we specifically study the impact of context collapse on some celebrities ‘who had it all’ yet, lost ‘it some’ to the world of (...) networked public. The article examines celebrities sharing identity information across multiple contexts and explores situations of lost fame when ‘face’ is threatened, usage falters and breaks some of the well-established norms of interactivity. It concludes that lack of prudence in separating social contexts, loss of ‘face’ and social approval can dampen online celebrity presence. It proposes the use of ‘polysemy’ to simultaneously appeal to audiences from different contexts. (shrink)

Hastings reads the novel Comme dans un film des frères Coen by Bertrand Gervais as addressing both the midlife and the blank page crisis. Indeed, the main character of this novel is a writer in his fifties who still suffers from the failure of his last novel ignored by the critics. Disenchanted, he slowly enters a world of fantasy, and falls in love with the voice of his GPS he called Gwyneth “parle trop” therefore recalling the name of the actress (...) with the same name. He gradually loses contact with his wife and his son, a successful painter, and is transformed into “the man who was not there” another character from a movie by the Coen brothers entitled The Barber: the man who was not there. Hastings asks: How could one get lost with a GPS? After the main character had initially bought his GPS for a trip in Australia in order to find his way, it started to go beyond its role as a road guide and questioned where he was in his relationship with his wife, in his career as a writer, and in his skin as a mature man. Not only was the GPS not fulfilling its purpose but also it started to ruin a fragile relationship hoping to find its way back to love during a last minute trip in Australia. Even after destroying the annoying talkative GPS, it continued to disrupt the couple in the plane on the way back to Canada. As much as Gwyneth the GPS is synonymous with escape and freedom, it is also showing the main character the wrong way, the way out of his reality, out of his family and out of his life. His attempts to free himself from Gwyneth are worthless, her image is still there, haunting his thoughts like images from a movie. But the displacement happens at another level than just the diegetic one. The confrontation of the text with moving images has consequences on the shape of the text itself. The mapping of the text on the page is influenced by this amalgam. The white page becomes a space where words are rearranged in different ways, some of which suggest poetry, other cartoons or cinematic images. The displacement of literature in areas that were previously foreign to it is at the heart of creative activity, and determines its renewal. Hastings presents the consequences resulting from the confrontation with the GPS, both on the mapping of one’s identity as well as the mapping and the shaping of the text itself. (shrink)

The processes of changing the way of thinking, typical for modern people, and subsequently shaping a new “Homo clicking” individual are analyzed. The authors consider a specific mindset of “Homo clicking” illustrating it with some patterns and modes of action that characterize individuals in the human–machine interface. Under this frame, the influence of modern converging technologies upon human conduct is examined and functional redistribution between human beings and technical devices is outlined. In the literature, the latter phenomenon is referred to (...) as “life outsourcing.” This material is used to introduce several principles that form the basis for a new type of thought and actions of “Home clicking”: snapping, transforming trust into knowledge, and action reduction. Reducing the traditional classic understanding of a human act of thinking to a pattern of a thinking act as a need-satisfying act is described. In the last section, we introduce an extension of Searle’s Chinese room, which can be seen as a possible consequence of intensive exploitation of technologies. (shrink)

In this paper I make the arguments that I seesupporting a view of how we can come to knowthe world we live in.I start from a position in second ordercybernetics which turns out to be a RadicalConstructivist position. This position isessentially epistemological, and much of thispaper is concerned with the act of knowing,crucial when we try to develop an understandingof what we mean when we discuss a field ofknowing (knowledge), which is at the root ofscience. The argument follows a path (...) in which I discussthe essential role of the observer inobserving, the creation of constancies betweendifferent observings and their exteriorisationas objects which are then represented and usedin communication with and between otherobservers, each unique (and therefore eachobserving in its own way). This leads to theassertion that the qualities we associate withthe objects of our universes are attributes,rather than properties inherent in the objectsthemselves. At each step in the argument I exploreconsequences for how we understand the world,in particular through science. I showlimitations, new insights and understandings,and re-evaluate what we can expect to gain fromscience. One change is the shift from noun toverb in the consideration of processses – forinstance, the study of living rather than life.In this way, I intend to show not only thatRadical Constructivism is sensible, but that itdoes not preclude us having a science. Incontrast, it can enrich science by taking onboard the sensible.In the process, which science is seen to be themore basic is challenged. (shrink)

This paper is a fragmented exploration of Jean Baudrillard’s theory of consumption, one that belongs to his early writings. Even though they became commonplaces inside the analysis of contemporary society, themes such as the consumption, the daily life or the evolution of advertising have not lost their theoretical and interpretive potential. Thus, my reading of Baudrillard’s work has a double stake. First, I want to see to what extent Baudrillard’s ideas fit a more general model of interpretation that is to (...) be found in the writings of other French contemporary philosophers, as well. Second, I am interested in the way the development of the theory of consumption makes Baudrillard see a few cracks in the façade of some important hermeneutical filters. (shrink)

The 2016 São Paulo exhibition “Programando o Invisível” [Programing the Invisible], showcasing works by the artist and filmmaker Harun Farocki, questioned the role of images in the 21st century, and particularly those images constructed by computer algorithms for video games. One of the videos in the exhibition captured the dialogue that took place between Farocki and Vilém Flusser in 1986. In this theoretically rich and promising video, titled “Shocking sentences, shocking images: a conversation with Vilém Flusser,” they discussed the hegemony (...) of images and of their power in programing our visibility. The theme is one of the central questions in both their works, as if the filmmaker and the philosopher were speaking about the same thing, although in different and complimentary ways. Their works similarly urge a reflection about the possibilities of creation of a critical perspective in face of our image culture, and they both emphasize the question of freedom in a society increasingly programed and dominated by technical images. (shrink)