Purpose – Contemporary technology has been implicated in the rise of perfectionism, a personality trait that is associated with depression, suicide and other ills. is paper explores how technology can be developed to promote an alternative to perfectionism, which is a self- constructionist ethic. Design/methodology/approach – is paper takes the form of a philosophical discussion. A conceptual framework is developed by connecting the literature on perfectionism and personal meaning with discussions in information ethics on the self, the ontic trust and (...) technologies of the self. To illustrate these themes, the example of selfies and self-portraits is discussed. Findings – e self today must be understood as both individualistic and relational, i.e., hybrid; the trouble is balance. To realize balance, the self should be recognized as part of the ontic trust to which all information organisms and objects belong. us technologically-mediated self-care takes on a deeper urgency. e selfie is one example of a technology for self-care that has gone astray (i.e., lost some of its care-conducive aspects), but this can be remedied if selfie-making technology incorporates relevant aspects of self-portraiture. is example provides a path for developing self- constructionist and meaningful technologies more generally. Practical implications – Technology development should proceed with self-care and meaning in mind. e comparison of selfies and self-portraits, situated historically and theoretically, provides some guidance in this regard. Some specific avenues for development are presented. Originality/value – e question of the self has not been much discussed in information ethics. is paper links the self to the ontic trust: the self can be fruitfully understood as an agent within the ontic trust to which we all belong. (shrink)

Caricature undeniably excels at mocking people and their foibles. But is this mode of depiction limited to human beings? Can animals, objects, or even abstract concepts be caricatured? The first goal of this paper is to trace the limits of the caricaturable and see how far they extend beyond the human figure. The second goal is to understand how the wondrous modification enacted by caricature works. To do so, I analyze the features that caricature selects, and argue that such features (...) have a relational nature—they are instantiated by the depicted subject but their sense hinges on implicit norms. I then outline the deep structure of reference exploited by caricature for depicting. Finally, I use this account to unravel the paradox of caricature: how can a picture both misrepresent its subject and prompt an accurate recognition? I defend the controversial claim that caricature per se does not amount to misrepresentation. (shrink)

Many works of fiction include portraits in their storyworlds. Some of these portraits are themselves fictional, such as the portrait of Dorian Gray in Oscar Wilde's novel. Others are real, such as the Darnley portrait of Elizabeth I in A. S. Byatt's The Virgin in the Garden. When authors invent portraits, they expect us to visualise them. When they refer to real portraits, they exploit our familiarity with how they actually look. Like representations of other real entities in fiction, references (...) to real portraits function to ground the story in the real world. But portraits are more than material entities; they are also representational in their own right. In contrasting the ways real portraits are used in Josephine Tey's The Daughter of Time and Orhan Pamuk's My Name is Red, I argue that authors can be criticised when they mischaracterise the representational features of real portraits. (shrink)

This article explores the compatibility of posing and authenticity in portraiture. Often understood as a source of inauthenticity, I propose that posing in fact functions as an artistic tool that can support a truthful portrayal. My argument first discusses authenticity in relation to portraiture through the lens of Bernard Williams’s idea of “truthfulness,” which relies on his notions of “accuracy” and “sincerity.” Second, I introduce a phenomenology of posing. I identify two aspects of posing that can be present in the (...) portrait; these are the “posing sitter,” who holds the actual physical pose, but also point out the use of a “posing effect” in the image, which I call the “posed sitter.” Third, I address the worry of posing as a source of inauthenticity and demonstrate how this can be reframed in order to lay bare its capacity for enhancing truthfulness. The pose then need not be regarded with suspicion of artifice that clouds the authenticity of the sitter; instead, it can offer an approach to truthfully portray the sitter. (shrink)

Is there a substantial difference between a portrait depicting the sitter’s face made by an artist and an image captured by a machine able to simulate the neuro-physiology of facial perception? Drawing on the later Wittgenstein, this paper answers this question by reference to the relation between seeing a visual pattern as (i) a series of shapes and colours, and (ii) a face with expressions. In the case of the artist, and not of the machine, the portrait’s creative process involves (...) the ability to see both aspects. From the perspective of the image’s viewer, the distinction is more difficult to draw. I address this difficulty by further distinguishing between two attributes of portraits: their representational accuracy, and their ability to convey the artist’s reflection on her experience of seeing the sitter face-to-face. While artificial intelligence can mimic this latter reflective ability, it cannot exactly reproduce it. (shrink)

Computing is no longer the sole domain of professionals, educated and trained through traditional routes to service public and private sector organisations under paid contracts. Computing has been democratised with the advent of economically accessible hardware, a multitude of software tools and the internet. Computing is by everyone for everyone.