Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...) broad range of topics, such as the role of categories in the understanding of the arts (Walton, “Categories of Art”. Philosophical Review, 79(3): 334–367, 1970), the ambiguous nature of emotions in the experience of fictional stories (Walton, “Fearing Fictions”. The Journal of Philosophy, 75(1): 5–25, 1978), the transparency of photographic images compared to other depictions (Walton, “Transparent Pictures: On the Nature of Photographic Realism”. Noûs, 18(1): 67–72, 1984) and, above all, the development of a general theory of fiction as imaginative activity. His 1990 book Mimesis as Make-believe: On the Foundations of the Representational Arts collects and re-elaborates articles Walton published on the subject since the 1970s. Though he does not attempt to give a definitive answer for what imagination is, Walton thoroughly investigates its role in all cases of representational works, describing depictions as a specific case of “make-believe” activity: images, in short, are specific props of a visual and perceptual “make-believe” game. (shrink)

In the late 2010s, various international committees, expert groups, and national strategy boards have voiced the demand to ‘open’ the algorithmic black box, to audit, expound, and demystify artificial intelligence. The opening of the algorithmic black box, however, cannot be seen only as an engineering challenge. In this article, I argue that only the sort of transparency that arises from critique—a method of theoretical examination that, by revealing pre-existing power structures, aims to challenge them—can help us produce technological systems that (...) are less deceptive and more just. I relate the question of AI transparency to the broader challenge of responsible making, contending that future action must aim to systematically reconcile design—as a way of concealing—with critique—as a manner of revealing. (shrink)

This article is an inquiry on the role of play in shaping the cultures of the Information Age. By applying concepts from Postphenomenology and the Philosophy of Information, this paper argues that play and computation share a capacity to shape human experience. I will apply the concept of re-ontologization to describe the effect that computation has had in shaping the world. I will apply the concept of relational strategies to argue that play is a way of interfacing with the computational (...) world. This paper argues that play is a particularly relevant form of shaping the human experience of the re-ontologized infosphere because play, like computation, can create worlds. The goal of this article is to propose a research program that situates play as a relevant perspective to analyze the culture of the Information Age. (shrink)

In this article, I outline a logic of design of a system as a specific kind of conceptual logic of the design of the model of a system, that is, the blueprint that provides information about the system to be created. In section two, I introduce the method of levels of abstraction as a modelling tool borrowed from computer science. In section three, I use this method to clarify two main conceptual logics of information inherited from modernity: Kant’s transcendental logic (...) of conditions of possibility of a system, and Hegel’s dialectical logic of conditions of in/stability of a system. Both conceptual logics of information analyse structural properties of given systems. Strictly speaking, neither is a conceptual logic of information about the conditions of feasibility of a system, that is, neither is a logic of information as a logic of design. So, in section four, I outline this third conceptual logic of information and then interpret the conceptual logic of design as a logic of requirements, by introducing the relation of “sufficientisation”. In the conclusion, I argue that the logic of requirements is exactly what we need in order to make sense of, and buttress, a constructionist approach to knowledge. (shrink)

Vilém Flusser, philosopher of communication, and Luciano Floridi, philosopher of information have been engaged with common subjects, extracting surprisingly similar conclusions in distant ages, affecting distant audiences. Curiously, despite the common characteristics, their works have almost never been used together. This paper presents Flusser’s concepts of functionaries, informational environment, information recycle, and posthistory as mellontological hypotheses verified in Floridi’s recently proposed realistic neologisms of inforgs, infosphere, e-nvironmentalism, and hyperhistory. Following Plutarch’s literature model of “parallel lives,” the description of an earlier (...) and a more recent persona’s common virtues, I juxtapose the works of the two authors. Through that, their “virtues” are mutually verified and proven diachronic. I also hold that because of his philosophical approaches to information-oriented subjects, Flusser deserves a place in the history of Philosophy of Information, and subsequently, that building an interdisciplinary bridge between philosophies of Information and Communication would be fruitful for the further development of both fields. (shrink)

This text is a commentary on the nature of my principle artistic preoccupations over a period of research-creation spanning 2011 and 2013. The works discussed cover, each in their own way, various approaches to sound composition linked to physical objects. In effect, the object proves to be a fundamental element at the heart of discourse, which, though anchored in sound, is often multi-disciplinary. The object here is thus taken apart in its affective, conceptual, performative, visual, as well as sonic properties. (...) The first part of this text illustrates the nature of the relationship between the physical object and the works submitted for this doctoral thesis. It focuses on the journey of the works: from their genesis in the artist’s collections of objects to their life on stage where the objects are used as visual elements in a performative context. The second part is dedicated to the conceptual and aesthetic content of the works, from which flow the principal elements of their discourse. Here, the relationships between the work, the concept and the sonic material are established, which together make up their aesthetic. (shrink)

This paper offers a brief exploration of Vilém Flusser’s proposed yet undeveloped concept of “new humanism” and argues for the centrality of the concept for a distinct ethical-political track that winds its way through all of his writings on communication, media, and technology, in addition to his explicit references to exile and nationalism. Because changing technologies circumscribe the field of possibility for human activity, the analysis of technology then becomes a matter of anthropology. By placing these questions at the center (...) of his inquiries into communications and media, Flusser re-conceives the human subject itself, ensuring that his “new humanism” is not a return to any established version, but will reckon with the fact that technological development prompts changes in the definitions of the human itself. I also consider his demand for a new humanism an exemplary case for a relation to the master terms of the Enlightenment and humanistic investigation in the digital age, which persists after digitality even as they are recoded. (shrink)

Contemporary ICTs such as speaking machines and computer games tend to create illusions. Is this ethically problematic? Is it deception? And what kind of “reality” do we presuppose when we talk about illusion in this context? Inspired by work on similarities between ICT design and the art of magic and illusion, responding to literature on deception in robot ethics and related fields, and briefly considering the issue in the context of the history of machines, this paper discusses these questions through (...) the lens of stage magic and illusionism, with the aim of reframing the very question of deception. It investigates if we can take a more positive or at least morally neutral view of magic, illusion, and performance, while still being able to understand and criticize the relevant phenomena, and if we can describe and evaluate these phenomena without recourse to the term “deception” at all. This leads the paper into a discussion about metaphysics and into taking a relational and narrative turn. Replying to Tognazzini, the paper identifies and analyses two metaphysical positions: a narrative and performative non-dualist position is articulated in response to what is taken to be a dualist, in particular Platonic, approach to “deception” phenomena. The latter is critically discussed and replaced by a performative and relational approach which avoids a distant “view from nowhere” metaphysics and brings us back to the phenomena and experience in the performance relation. The paper also reflects on the ethical and political implications of the two positions: for the responsibility of ICT designers and users, which are seen as co-responsible magicians or co-performers, and for the responsibility of those who influence the social structures that shape who has power to deceive or to let others perform. (shrink)

INTRODUCTION The Product Impact Tool is the application-oriented result of the research project Product Impact on User Behavior, aiming to investigate the impact of technology on users and to make the insights applicable in the design process. The impact of technology on users and society is an important topic in research on technology in reflexive research fields. Especially in recent empirically oriented philosophy of technology and the related interdisciplinary field of Science and Technology Studies this has resulted in concepts that (...) promise to be of interest for application in design as well. For example, the notions of script and of delegation of action from humans to technologies may be compared to research at the interface of psychology and design on affordances, persuasive technology, and nudges. Design practice has made little use of this knowledge, although to date there is a growing awareness of the possible advantages of combining research fields ; the recombination of perspectives is promising for understanding human-technology interaction. This is useful for improving product usability as well as for addressing ethical issues in product design. It can also provide guidance for the shaping of new technology. The Product Impact Tool aims to translate theories about the influence of technology on design practice. The tool comprises a model and a format for a session that provides instructions on employment of the model. The workshop will provide an extensive introduction to the model, and workshop participants will then be guided through a session to apply the tool to a case. (shrink)

A recurrent theme in the characterization of synthetic biology is the role of engineering. This theme is widespread in the accounts of scholars studying this field and the biologists working in it, in those of the biologists themselves, as well as in policy documents. The aim of this article is to open this black-box of engineering that is supposed to influence and change contemporary life sciences. Too often, both synthetic biologists and their critics assume a very narrow understanding of what (...) engineering is about, resulting in an unfruitful debate about whether synthetic biology possesses genuine engineering methodologies or not. By looking in more detail to the diversity of engineering conceptions in debates concerning synthetic biology, a richer perspective can be developed. In this article, I will examine five influential ways in which engineering is understood in these debates, namely engineering as applied science, as rational methodology, context-sensitive practice, cunning activity or design. The claim is first of all thus to argue that engineering must not be seen as something stable or characterized by a fixed essence. It rather has multiple meanings and interpretations. Secondly, the claim is that most of the debates on synthetic biology cannot be indifferent towards the question which conception of engineering is at play, since the specific questions and concerns that pop up depend to a great extent on the precise conception of engineering one has in account. Many of the existing debates around synthetic biology can thus be reinterpreted and readdressed once one is aware of which conception of engineering is at play. (shrink)

Drawing on Gilles Deleuze this chapter investigates the virtual as what problematizes the possible by inserting contingency in the process of emergence of the new. The tension between the virtual as what is uniquely placed to engender true innovation, and its aleatory and unforeseeable nature mirrors the tension existing in design between form-making and the need to acknowledge contingency. In embracing the un-designability of the virtual, design is called to take contingency and material variability as forces impinging on the process (...) of emergence of the new. The chapter puts forward a new model for design research that shifts from problem-solving to problem-finding and is predicated on the undesigned at the core of design itself. This points to a further shift: the role of designer from creator to facilitator, teasing form out of the formless, engaged with the manifold forces expressed through material variation. (shrink)

In this article, from the characterization of technoscience of the English historian J. Pickstone and the recognition of the importance of models and modelling in research and teaching of chemistry, the term technochemistry is introduced as a way of chemical knowledge. With the above new possibilities, rethinking the chemistry curriculum is opened.

With the tertiary education mantra of creativity, critical thinking and innovation in mind, we consider the critical-creativity of error. Taking the university to model social orthography, or ‘correct writing’, according to the norms of disciplines, we consider the role of error in the classroom. Looked at another way, error questions the norms governing norms and the instability of disciplinary grounds. Beyond correction, error involves a mis-taking, or taking another way. Tracing the origin of error we are able to reconstruct the (...) social world in terms of which it is conceivable for a mistake of any kind to have been made. The university, we find, withholds worlds which are not new but are sources of creativity, and constitutes a pluriversity or poly-versity. (shrink)

In this thesis the appropriate aesthetic evaluation of designed landscapes is explored. The overarching research question for this thesis is: What is an appropriate appreciation of a designed landscape as a designed landscape? This overarching research question is split into sub-questions. The first sub-question is: What is the current theoretical basis for the aesthetic evaluation of designed landscapes and does it provide appropriate arguments for aesthetic evaluations? Two important points about the aesthetic evaluation of designed landscapes were found in the (...) existing literature on environmental aesthetics and in critical evaluations of designed landscapes. Modern environmental aesthetics is focussed on natural environments as it has been shaped in response to early 20th century aesthetics, which was dominated by questions on art. The designed landscape phenomenologically related more to environments, but is ontologically closely related to artworks. Designed landscapes thus fall between two fields. The designed landscape has gone largely unacknowledged by philosophers and geographers. The lack of a specific theory for the appropriate appreciation of designed landscapes has made it easier for landscape architects and critics to miss out on the current insights of environmental aesthetics, leading to the inconsistent belief among landscape architects and landscape architecture critics that landscapes are scenic entities. Actual design criticism as offered in the Landscape Architecture Europe books is shown to be based on the inconsistent belief that aesthetic experiences of works of landscape architecture are mostly visual. To explore what an appropriate appreciation should be based in, first the ontology and phenomenology of one example, the post-war design for the landscape of Walcheren, is described and discussed. To explore its ontology, a literature research has revealed the design process and decisions. To explore the phenomenology, the descriptions of two walks on the island made by the author were analysed. The descriptions of ontology and phenomenology of Walcheren offer insights into the relevance for the aesthetic evaluation of this landscape of being designed and of the sensorial richness of this designed landscape. In both fields of ontology and phenomenology insights into aesthetic value go beyond the visible. The second and third part of the research answers the sub-questions about appropriate appreciation regarding respectively ontology and phenomenology of designed landscapes in general. The literature on topics adjacent to the field of landscape architecture, such as design and architecture aesthetics, was surveyed for aspects that might also be relevant for the aesthetic evaluation of landscape architecture. These aspects were then weighed according to a philosophical method of reasoning from first principles. Starting from a principle of appropriate appreciation, different cues were tested to see whether or not they have to be considered in such an appropriate appreciation. Following descriptions of the True Appreciation Principle (TAP) as provided by Lopes, cues were tested against the Appropriate Appreciation Principle for Designed Landscapes (AAP-DL): An appreciation of landscape L as a designed landscape is appropriate only as far as it does not depend counterfactually on any belief that is inconsistent with the truth about the nature of designed landscapes. Examples are provided where cues can influence one’s evaluation, and evaluation thus depends counterfactually on those taking those cues into account. If something might influence one’s evaluation one should consider it. The exploration has provided important cues for the aesthetic evaluation of designed landscapes. The findings are the base of an evaluative framework that takes into account the ontology and phenomenology of designed landscapes in order to evaluate designed landscapes according the AAP-DL. A discussion is provided on the importance of such an appropriate appreciation for different audiences. (shrink)

This article analyzes the sources of Vilém Flusser’s philosophy of design, which are found, primarily, in three books and one architecture magazine: Vom Stand der Dinge — eine kleine Philosophie des Design[On the State of Things — a small philosophy of design], edited by Fabian Wurm ; The Shape of Things — a philosophy of design, edited by Martin Pawley ; O Mundo Codificado. Por uma filosofia do design e da comunicação, [The Codified World — towards a philosophy of design (...) and of communication], edited by Rafael Cardoso ; and the special edition on Vilém Flusser of Arch+, a Journal for Architecture and City Planning, titled Virtuelle Räume — Simultane Welten [Virtual Spaces — Simultaneous Worlds]. Flusser’s contributions draw on conceptual constructs from different periods between 1970 and 1991, as well as different disciplines and contexts, such as culture theory, anthropology, media revolutions, telematics, also known as, digital culture, and design itself. However, his design concepts are primarily based on philosophy and influenced by Heidegger and Plato, whose ideas he applies throughout his work. (shrink)

Flusser is a moral philosopher worthy of careful study and criticism. This paper is my attempt to critically investigate this crucial, moral, aspect of his writings. To focus attention on the significance of his moral theory, I shall compare Flusser with Hegel, a comparison that is not accidental as both philosophers tried to explain “evil” in dialectical terms by elaborating on myths derived from the Book of Genesis. Hegel discusses the issue in his version of the Story of the Fall (...) of Man and Flusser does so in his interpretation of the Story of Creation. The contribution of both is obviously important, but I think Flusser’s narrative can achieve what Hegel set out as his aim but failed to accomplish. Flusser’s understanding of evil reflects on and fosters the exercise of a particular moral virtue, namely, modesty. There is little doubt that, for Flusser, the moral individual lives a heroic life. Is Flusser providing “the cure” to evil? There is no way of knowing it in advance. In the last analysis, this is a matter for each reader to decide. (shrink)