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In philosophy of emerging media, several scholars have insisted on the fact that the “new” of new technologies does not have much to do with communication, but rather with the exponential growth of recording. In this paper, instead, the thesis advanced is that digital technologies do not concern memory, but imagination, and more precisely, what philosophers from Kant onwards have called productive imagination. In this paper, however, the main reference will not be Kant, but Paul Ricoeur, who explicitly refers to (...) |
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This article focuses on the power of technological mediation from the point of view of autonomist Marxism. The first part of the article discusses the theories developed on technological mediation in postphenomenology and critical theory of technology with regard to their respective power perspectives and ways of coping with relations of power embedded in technical artifacts and systems. Rather than focusing on the clashes between the hermeneutic postphenomenological approach and the dialectics of critical theory, it is argued that in both (...) |
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The rise of AI-based systems has been accompanied by the belief that these systems are impartial and do not suffer from the biases that humans and older technologies express. It becomes evident, however, that gender and racial biases exist in some AI algorithms. The question is where the bias is rooted—in the training dataset or in the algorithm? Is it a linguistic issue or a broader sociological current? Works in feminist philosophy of technology and behavioral economics reveal the gender bias (...) |
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As machines take over more tasks previously done by humans, artistic creation is also considered as a candidate to be automated. But, can machines create art? This paper offers a conceptual framework for a philosophical discussion of this question regarding the status of machine art and machine creativity. It breaks the main question down in three sub-questions, and then analyses each question in order to arrive at more precise problems with regard to machine art and machine creativity: What is art (...) |
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This article starts with an autobiographical reflection in which I first trace how close I came to doing my Ph.D. studies with Herbert Marcuse when he was at Brandeis University; then follows my early post-Ph.D. work which continued to use critical theorists in teaching, later following a growing disillusionment with the implicit elitism of many critical theory authors. Then I turn to deeper philosophical reasons for my divergence from critical theory by introducing the notion of “shelf-life,” and argue that much (...) |
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This article starts with an autobiographical reflection in which I first trace how close I came to doing my Ph.D. studies with Herbert Marcuse when he was at Brandeis University; then follows my early post-Ph.D. work which continued to use critical theorists in teaching, later following a growing disillusionment with the implicit elitism of many critical theory authors. Then I turn to deeper philosophical reasons for my divergence from critical theory by introducing the notion of “shelf-life,” and argue that much (...) |
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The work is significant not only for its illuminating assessment of Kant's thought but also for its elaboration of themes first broached in Being and Time, ... |
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The cyborg that Donna Haraway appropriated in ‘Manifesto for Cyborgs’ as a metaphor for political action and theoretical inquiry has ceased to have the potency it did 20 years ago. While Haraway has turned from a central focus on technoculture to companion species, much important cultural work remains to be done, especially in networked and programmable media. Problems with the cyborg as a metaphor include the implication that the liberal humanist subject, however problematized by its hybridization with cybernetic mechanism, continues (...) |
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We live in a world of technical systems, designed in accordance with technical disciplines and operated by a personnel trained in those disciplines. This is a unique form of social organization without historical precedent. It overshadows traditional democratic institutions and largely determines our way of life. Technosystem: The Social Life of Reason reconstructs the idea of democracy for this brave new world. The author draws on the tradition of radical social criticism represented by Herbert Marcuse and the Frankfurt School as (...) |
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Phenomenology is one of the most pervasive and influential schools of thought in twentieth-century European philosophy. This book provides a systematic and comprehensive analysis of the idea of the imagination in Husserl and Heidegger. The author also locates phenomenology within the broader context of a philosophical world dominated by Kantian thought, arguing that the location of Husserl within the Kantian landscape is essential to an adequate understanding of phenomenology both as an historical event and as a legacy for present and (...) |
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Digital technologies mediate engagement with the world by making activities visible. The automaticity and physicality of the ways in which they do this suggest that it could be productive to view them as responsive digital materials. This paper explores the structure and function of responsive materials in order to develop a conceptualization of responsive digital materials. It then begins to unpack the complexities of digital material mediation through both drawing on and extending existing postphenomenological theory. |
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Writing is frequently analyzed as a mode of communication. But writing can be done for personal reasons, to remind oneself of things to do, of thoughts, of events. The cellphone has revealed this shift, commencing as a communication device and ending up as a memory prosthesis that records what we see, hear, read and think. The recordings are not necessarily for communicating a message to others, but sometimes just for oneself. Today, when machine learning algorithms read, write and transmit, a (...) |
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