Released mid-November 2022, Galactica is a set of six large language models (LLMs) of different sizes (from 125 M to 120B parameters) designed by Meta AI to achieve the ultimate ambition of “a single neural network for powering scientific tasks”, according to its accompanying whitepaper. It aims to carry out knowledge-intensive tasks, such as publication summarization, information ordering and protein annotation. However, just a few days after the release, Meta had to pull back the demo due to the strong hallucinatory (...) tendencies or underwhelming performances of the model. This article aims to study, through a critical threefold argument, the potential impacts of LLMs once deployed in the scientific value chain. Our first argument is a technical one. By examining the technicity of Galactica, it is possible to explain the descripancies between its promotional corporate discourse and abysmal outputs. Second, by going back to debates in both computer science and computational philosophy on the automation of abduction, we argue from the epistemological front that LLMs indeed cannot produce strong abductions and, therefore, claims about the automation of hypothesis generation remains chambering. Finally, our third argument is a sociological one. By conceptualizing the scientific field through Nancy Katherine Hayles’ cognitive assemblage theory, we aim to outline the potential steering of science by LLMs, mainly through information ordering. The core of our argument rests on the assertion that excessive control on information risks contravening a certain serendipitous aspect inherent to scientific discoveries. (shrink)

This paper presents an emerging aspect of intentionality through recent Artificial Intelligence (AI) developments in art and design. Our main thesis is that, if we focus just on the outcome of the artistic process, the intentionality of the artist does not have any relevance. Intention is measured as a result of actions regardless of whether they are human-based or not as long as there is an esthetical value intersubjectively acknowledged. In other words, what matters is the ‘intentio’ embedded in the (...) work of art (the output) rather than the ‘intendere’ (the process). By considering the former aspect, intentionality becomes free of human intervention, therefore 'unintentional'. This thesis is supported through a range of examples related to AI in general and AI art in particular. However, in the case of a self-driving vehicle, the macro-goal of the system is fixed by humans, even though the AI system itself will take care of decomposing the macro-goal into a set of micro-goals and take the corresponding decisions. In the case of art, the system does not need to have any exterior goal to the extent that art is pure freedom of expression, as many philosophers have acknowledged. In this sense, the decisions of any AI system generating art or design are independent of humans and must be judged only on the ground of the final outcome. A work of art will be judged ‘artistic’ to the extent that humans will recognize an artistic intent in the work itself. In particular, the introduction of random processes makes an AI-generated artwork fully independent of human creativity. (shrink)

To operate in an unpredictable environment, a vehicle with advanced driving assistance systems, such as a robot or a drone, not only needs to register its surroundings but also to combine data from different sensors into a world model, for which it employs filter algorithms. Such world models, as this article argues with reference to the SLAM problem in robotics, consist of nothing other than probabilities about states and events arising in the environment. The model, thus, contains a virtuality of (...) possible worlds that are the basis for adaptive behavior. The article shows that the current development of these technologies requires new concepts because their complex adaptive behaviors cannot be explained by referring them to mere algorithmic processes. Instead, it proposes the heuristic instrument of microdecisions to designate the temporality of decisions between alternatives that are created by probabilistic procedures of world modeling. Microdecisions are more than the implementation of deterministic processes—they decide between possibilities and, thus, always open up the potential of their otherness. By describing autonomous adaptive technologies with this heuristic, the question of sovereignty inevitably arises. It forces us to re-think what autonomy means when decisions can be automated. (shrink)

This article makes a contribution to interface criticism through the notion of chrono-design: the deliberate shaping of experiences of temporality and time through contemporary software techniques and digital technologies. This notion is articulated through discussions of network optimisation, user experience design, behavioural tracking, Hansen’s work on 21st-century media and Hayles’ framework of cognitive assemblages. In particular, the argument considers how contemporary user interfaces complicate conventional notions of the rational, self-reflexive subject by operating beyond consciousness at vast environmental dimensions and accelerated (...) micro-temporal speeds. These conditions, we argue, provide opportunities for new forms of behavioural suspense and captivation best exemplified through the figure of the trap. The politics and aesthetics of captivation, accordingly, should be considered as central to any expanded ecology of cognition. The article then concludes with a short demonstration of experimental uses of chrono-design methods applied critically to political economies of user tracking and data capture as a prompt for further interdisciplinary applied research in this domain. (shrink)

Advanced technologies such as drones, intelligent algorithms and androids have grave implications for human existence. With the purpose of exploring their basis for doing so, the paper proposes a framework for investigating the complex relationship between such devices and human practices and language-mediated cognition. Specifically, it centers on the importance of the typically neglected intermediate layer of culture which not only drives both technophobia and philia but also, more fundamentally, connects pre-reflective experience and socio-material practices by placing advanced technologies in (...) the loop. Theoretically, the paper draws on contributions from performativist Science and Technology Studies and Radically Embodied Cognitive Science and pushes new grounds by stressing their compatibility. Yet, it also emphasizes the importance of the enlanguaged side of cognition which is a requirement for human-style socio-material practices and, hence, the emergence of cultures that fetishizes certain technologies. (shrink)