The processes of computation and automation that produce digitized objects have displaced the concept of an image once conceived through optical devices such as a photographic plate or a camera mirror that were invented to accommodate the human eye. Computational images exist as information within networks mediated by machines. They are increasingly less about what art history understands as representation or photography considers indexing and more an operational product of data processing. Through genealogical, theoretical, and practice-based investigation, this dissertation project (...) traces a lineage of computation through images from early cybernetics to contemporary machine learning under algorithmic capitalist conditions of political economy. Objects include mundane examples such as smartphone cameras to sublime examples such as the imaging of black holes. It articulates new conditions and forms of perception and surveillance that result from contemporary technological development in computation. The project builds on theorists of computational media such as Friedrich Kittler, Wendy Hui Kyong Chun, Jussi Parikka, Shane Denson, and Alexander Galloway to examine the interplay between perception, computation, and epistemology. Further theoretical contribution builds on the work of Luciana Parisi and Jacques Ranciére’s articulation of aesthetics, and Michel Foucault’s gesture towards a heterotopia. Finally, it draws from Donna Haraway’s metaphors of the cyborg and sympoiesis to frame the capacity of art to transfigure the limitations of digital network culture into new possibilities for being. Here, it curates practices by Danielle Brathwaite-Shirley, Harun Farocki, Morehshin Allahyari, and Pierre Huyghe. (shrink)

Chapter 1 of the ongoing online publication "Artificial Aesthetics: A Critical Guide to AI, Media and Design", Lev Manovich and Emanuele Arielli -/- Book information: Assume you're a designer, an architect, a photographer, a videographer, a curator, an art historian, a musician, a writer, an artist, or any other creative professional or student. Perhaps you're a digital content creator who works across multiple platforms. Alternatively, you could be an art historian, curator, or museum professional. -/- You (...) may be wondering how AI will affect your professional area in general and your work and career. Our book offers intellectual tools to help us better see the future of creative fields. These tools come from philosophy of art, experimental psychology, media theory, digital culture studies and data science. The book is the first to combine these different perspectives together. -/- We started the work on the book in summer 2019, exchanging numerous messages, commenting on each other ideas, and sharing drafts of sections. The final book is a result of this process. Although each chapter is written by one author, it reflects the discussions we had over 27 months. (shrink)

The pace of technological change continues to outstrip the evolution of democratic institutions, creating an urgent need for innovative approaches to democratic reform. However, the experimentation bottleneck - characterized by slow speed, high costs, limited scalability, and ethical risks - has long hindered progress in democracy research. This paper proposes a novel solution: employing generative artificial intelligence (GenAI) to create synthetic data through the simulation of digital homunculi, GenAI-powered entities designed to mimic human behavior in social contexts. (...) By enabling rapid, low-risk experimentation with alternative institutional designs, this approach could significantly accelerate democratic innovation. I examine the potential of GenAI-assisted research to mitigate current limitations in democratic experimentation, including the ability to simulate large-scale societal interactions and test complex institutional mechanisms. While acknowledging potential risks such as algorithmic bias, reproducibility challenges, and AI alignment issues, I argue that the benefits of synthetic data are likely to outweigh their drawbacks if implemented with proper caution. To address existing challenges, I propose a range of technical, methodological, and institutional adaptations. The paper concludes with a call for interdisciplinary collaboration in the development and implementation of GenAI-assisted methods in democracy research, highlighting their potential to bridge the gap between democratic theory and practice in an era of rapid technological change. (shrink)

Abstract: This research paper explores the transformative impact of artificial intelligence (AI) on digital media, examining both the opportunities it presents and the challenges it poses. The integration of AI into digital media has revolutionized content creation, distribution, and analytics, offering unprecedented levels of personalization, efficiency, and insight. Automated journalism, AI- driven recommendation systems, and advanced audience analytics are among the key areas where AI is making significant contributions. However, the adoption of AI also brings (...) ethical considerations, including concerns about bias, privacy, and transparency. This paper analyzes case studies of successful and unsuccessful AI implementations in digital media, highlighting lessons learned and best practices. Finally, it looks ahead to future trends and developments, providing a comprehensive overview of the current state and potential future of AI in digital media. Through this exploration, the paper aims to provide valuable insights for academics, industry professionals, and policymakers on harnessing the power of AI while addressing its challenges. (shrink)

This article examines how artificial intelligence (AI) and digital technologies are reshaping social dynamics, leading to new forms of social death. The study analyzes how AI influences social relations, identity, and agency through a critical phenomenological approach, revealing the ethical and philosophical risks these technologies entail. It argues that social death is a crucial lens for understanding AI’s impact on contemporary society, emphasizing the importance of human dignity and the need to rethink agency in an increasingly technologically (...) mediated world. (shrink)

Defining Artificial Intelligence and Artificial General Intelligence remain controversial and disputed. They stem from a longer-standing controversy of what is the definition of consciousness, which if solved could possibly offer a solution to defining AI and AGI. Central to these problems is the paradox that appraising AI and Consciousness requires epistemological objectivity of domains that are ontologically subjective. I propose that applying the philosophy of art, which also aims to define art through a lens of epistemological objectivity where (...) the domains are ontologically subjective, can further elucidate this unsolved question. In this sense, Art and AI and ultimately consciousness are multifaceted domains where conventional complexity theory and current philosophical approaches may be augmented by aesthetic principles ranging from classical Aristotelian essentialism to Wittgensteinian anti-essentialism. This approach of AI as art may offer novel solutions to characterising and elucidating the ciphers of consciousness and AI. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has (...) followed, has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

Chapter 3 of the ongoing publication "Artificial Aesthetics" Book information: Assume you're a designer, an architect, a photographer, a videographer, a curator, an art historian, a musician, a writer, an artist, or any other creative professional or student. Perhaps you're a digital content creator who works across multiple platforms. Alternatively, you could be an art historian, curator, or museum professional. -/- You may be wondering how AI will affect your professional area in general and your work and career. (...) Our book offers intellectual tools to help us better see the future of creative fields. These tools come from philosophy of art, experimental psychology, media theory, digital culture studies and data science. The book is the first to combine these different perspectives together. -/- We started the work on the book in summer 2019, exchanging numerous messages, commenting on each other ideas, and sharing drafts of sections. The final book is a result of this process. Although each chapter is written by one author, it reflects the discussions we had over 27 months. (shrink)

ENG: The advancement of artificial intelligence (AI) presents a duality of opportunity and risk. On the one hand, there are potential dangers inherent in the development of AI. However, on the other hand, the advent of AI also offers humanity a multitude of possibilities for improvement and advancement. The aesthetic values and cultural expressions that artists encounter in their environment serve to redefine the aesthetic judgments they form, thus determining the paths they subsequently follow. The objective of this research (...) is to examine the impact of AI on the field of aesthetics and culture to identify the changes and transformations occurring within the world of art and design. In the conventional domain of aesthetics, emphasis is placed upon the finished object as a singular entity that will be interpreted as a completed work. In contrast, the emerging field of ‘new aesthetics’ prioritizes the atmosphere, directing our focus to the physical object, which is perceived as a spatial extension. Accordingly, the object is not defined by its intrinsic content, but rather its capacity to expand and occupy space. Thus, the domain of aesthetics has evolved to encompass a spatial dimension. Despite the growing interest in the aesthetic dimensions of AI, there has been little discussion to date about the relationship between atmosphere and the field of AI. This study aims to highlight the lack of attention given to this topic in academic discourse and to introduce a new approach to it. Several implications (regarding general propositions and constituents AI aesthetics) has been placed and finalized with layers of hallucination. The application of AI enables the augmentation of the hallucinatory capabilities of the imagination. However, a current challenge is the tendency of AI-powered digital assistants, such as ChatGPT, to hallucinate and present unreal information as if it were real. In this sense, the relationship between AI and hallucination is evolving in a manner that is perceived to be negative. This is justified given the problematic nature of this issue in scientific studies. However, when considered from the perspective of artistic production, there may be potential for new avenues of creativity and imaginative expression. A reappraisal of the role of atmospheric factors in space design is required. The introduction of a novel aesthetic layer to the atmosphere through the use of AI is a possibility, given the hallucinatory tendencies of AI. - TR: Yapay zekanın gelişimi, insanlık için önemli fırsatlar sunarken, aynı zamanda yeni zorluklar ve riskler de ortaya çıkarmaktadır. Ancak, doğru bir şekilde yönetildiğinde ve kullanıldığında, yapay zeka teknolojisi insan hayatını önemli ölçüde iyileştirebileceği ve birçok alanda yenilikler getirebileceği ön görülmektedir. Estetik değerler ve kültürel ifadeler, sanatçıların estetik yargılarını yeniden tarif etmekte ve izledikleri yolları belirlemektedir. Bu araştırma sanat ve tasarım dünyasındaki değişim ve dönüşümleri incelemek adına yapay zekanın estetik ve kültür alanına tesirini irdelemektedir. Konvansiyonel estetikte nesneye tamamlanmış bir çalışma olarak yorumlanacak bitmiş bir varlık olarak odaklanılmıştır. Ancak atmosferi merkeze alan yeni estetik, odak noktamızı mekandaki fiziksel bir uzantı olan nesneye yöneltmektedir. Dolayısıyla nesne 'içerdiği' şeyle değil, mekana yayılma şekliyle karakterize edilmektedir. Böylelikle estetik teori mekânsal katmanlar edinmiştir. Yapay zeka bağlamında estetik tartışmalarında bir ivme kazanılmış olsa da aynı hareketlilik atmosfer ile yapay zekanın ilişkisinde henüz kurulmamıştır. Bu çalışma literatürdeki bu eksikliğe işaret etmeyi ve bir giriş yapmayı hedeflemektedir. Tartışma önermeler olarak şu başlıklar altında toplanmıştır: Teknik arkaplandaki atmosfer tecrübesinin önemi; Deneyimi fazla olan aktörlerin hiyerarşisi; Kısmi telif hakkına yönelik ‘kısmi’ tanımlamalarının gerekliliği; Çizim becerisiden atmosfer üretme becerisine bir yolculuk; Kültürel ve bedensel referansların yorumlanabilmesi. Yapay zekanın estetiğine dair yapı taşları ise şu başlıklar altında toplanmıştır: Estetik akıntı; Yarı-geçirgen bir estetik; Yapay zekanın ara-fenomen olarak incelenmesi; Metaforik istemler; Halüsinatif katmanlar ve alternatif değerlendirmeler. Çalışmanın sonunda odaklanılan konu yapay zekanın gücü ile imgelemin halüsinatif katmanları artırılabilme potansiye olmuştur. Halüsinasyona dair şuan gündemde olan yegane konu ChatGPT gibi yapay zeka asistanlarının halüsinasyon görmeleri ve gerçek olmayan bilgilerin gerçekmiş gibi sunulmasıdır. Bu haliyle yapay zekanın halüsinasyon ile ilişkisi negatif bir tandansta ilerlemektedir. Bu bilimsel çalışmalarda bir problem olması sebebiyle haklı bir negativiteye sahiptir. Ancak sanatsal üretim tabanında bakıldığında imgelemde yeni kapılar açılabilir. Bu konu özellikle mekanın tasarımına gelindiğinde atmosferik etmenler yeniden değerlendirilmelidir. Atmosferin yapay zeka ile yeni bir estetik katman açması yapay zekanın halüsinasyon yatkınlıklarıyla gerçekleşebilir. (shrink)

This paper critically examines Japan's approach toward the adoption of Generative AI such as ChatGPT in education via studying media discourse and guidelines at both the national as well as local levels. It highlights the lack of consideration for socio-cultural characteristics inherent in the Japanese educational systems, such as the notion of self, teachers’ work ethics, community-centric activities for the successful adoption of the technology. We reveal ChatGPT’s infusion is likely to further accelerate the shift away from traditional (...) notion of self, which has been ongoing during past educational reforms, towards active and self-directed learning. The current discourse on Generative AI’s infusion in education is driven by neoliberal agendas aimed at increasing employability and individualism. Moreover, the introduction of ChatGPT in the context of Japan's educator culture offers potential solutions to address issues of overwork but also necessitates considerations regarding increased responsibilities for teachers and the preservation of their central role in student education. Finally, the irreplicable social growth fostered by community-centric activities in the Japanese educational system highlights the limitations of ChatGPT in replicating dynamic social interactions, emphasizing the importance of holistic approaches to education beyond technological integration. (shrink)

This paper examines the ontological and epistemological implications of artificial intelligence (AI) through posthumanist philosophy, integrating the works of Deleuze, Foucault, and Haraway with contemporary computational methodologies. It introduces concepts such as negative augmentation, praxes of revealing, and desedimentation, while extending ideas like affirmative cartographies, ethics of alterity, and planes of immanence to critique anthropocentric assumptions about identity, cognition, and agency. By redefining AI systems as dynamic assemblages emerging through networks of interaction and co-creation, the paper challenges traditional dichotomies (...) such as human versus machine and subject versus object. Bridging analytic and continental philosophical traditions, the analysis unites formal tools like attribution analysis and causal reasoning with the interpretive and processual methodologies of continental thought. This synthesis deepens the understanding of AI’s epistemic and ethical dimensions, expanding philosophical inquiry while critiquing anthropocentrism in AI design. The paper interrogates the spatial foundations of AI, contrasting Euclidean and non-Euclidean frameworks to examine how optimization processes and adversarial generative models shape computational epistemologies. Critiquing the reliance on Euclidean spatial assumptions, it positions alternative geometries as tools for modeling complex, recursive relationships. Furthermore, the paper addresses the political dimensions of AI, emphasizing its entanglements with ecological, technological, and sociopolitical systems that perpetuate inequality. Through a politics of affirmation and intersectional approaches, it advocates for inclusive frameworks that prioritize marginalized perspectives. The concept of computational qualia is also explored, highlighting how subjective-like dynamics emerge within AI systems and their implications for ethics, transparency, and machine perception. Finally, the paper calls for a posthumanist framework in AI ethics and safety, emphasizing interconnectivity, plurality, and the transformative capacities of machine intelligence. This approach advances epistemic pluralism and reimagines the boundaries of intelligence in the digital age, fostering novel ontological possibilities through the co-creation of dynamic systems. (shrink)

The concept of Generative Artificial Intelligence (GenAI) is ubiquitous in the public and semi-technical domain, yet rarely defined precisely. We clarify main concepts that are usually discussed in connection to GenAI and argue that one ought to distinguish between the technical and the public discourse. In order to show its complex development and associated conceptual ambiguities, we offer a historical-systematic reconstruction of GenAI and explicitly discuss two exemplary cases: the generative status of the Large Language Model BERT (...) and the differences between protein structure predictions from AlphaFold 2 and 3. Our analysis shows that there is no unique and unambiguous definition of GenAI based on a purely technical account of the term. Following this conclusion, we argue that the public discourse is not simply a less complex way of speaking, but instead transcends its technical basis. As a means to structure this newly emerging discussion landscape we introduce a non-exhaustive list of four central aspects of GenAI: (multi-)modality, interaction, flexibility, and productivity. These dimensions constitute a first step towards defining GenAI beyond its technical basis. (shrink)

هدف از پژوهش حاضر، بررسی مسائل اخلاق هوش مصنوعی در حوزۀ هنر است. به‌این‌منظور، با تکیه بر فلسفه و اخلاق هوش مصنوعی، موضوعات اخلاقی که می‌تواند در حوزۀ هنر تأثیرگذار باشد، بررسی شده است. باتوجه‌به رشد و توسعۀ استفاده از هوش مصنوعی و ورود آن به حوزۀ هنر، نیاز است تا مباحث اخلاقی دقیق‌تر مورد توجه پژوهشگران هنر و فلسفه قرار گیرد. برای دست‌یابی به هدف پژوهش، با استفاده از روش تحلیلی‌ـ‌توصیفی، مفاهیمی همچون هوش مصنوعی، برخی تکنیک‌های آن و موضوعات (...) اخلاقی هوش مصنوعی در هنر تبیین و بررسی شده است. نتایج پژوهش نشان می‌دهد موضوعات اخلاقی همچون حریم خصوصی و نظارت، دستکاری در رفتار، تاری و شفافیت، سوگیری در تصمیمات سیستم، و اتوماسیون و اشتغال حوزۀ هنر قابل‌بررسی است. این موضوعات اخلاقی، گاهی درتقابل و گاهی در ارتباط مستقیم و هم‌سو با یکدیگر قرار دارند. بررسی‌ها نشان می‌دهد پاسخ به پرسش‌های اخلاق هوش مصنوعی در حوزۀ هنر، نیازمند پاسخ به پرسش‌های اخلاقی به‌صورت عام در هوش مصنوعی است. The aim of this paper is to explore the ethical implications of artificial intelligence (AI) in the realm of art. Drawing on the philosophy and ethics of AI, this study examines the ethical challenges that may arise in the art domain. Given the increasing use and penetration of AI in the field of art, there is a need for more careful attention to the ethical dimensions of this phenomenon by scholars of art and philosophy. To achieve the objective of the paper, concepts such as AI, some of its techniques, and the ethical issues of AI in art are explained and analyzed using the analytical-descriptive method. The findings of the study reveal that ethical issues such as privacy and surveillance, manipulation of behavior, opacity and transparency, bias in decision systems, and automation and employment can be investigated in the field of art. These ethical issues are sometimes in conflict and sometimes in direct relation with each other. This study suggests that addressing the ethical questions of AI in the field of art requires addressing the ethical questions of AI in general. (shrink)

Autonomy has been central to moral and political philosophy for millenia, and has been positioned as a critical aspect of both justice and wellbeing. Research in psychology supports this position, providing empirical evidence that autonomy is critical to motivation, personal growth and psychological wellness. Responsible AI will require an understanding of, and ability to effectively design for, human autonomy (rather than just machine autonomy) if it is to genuinely benefit humanity. Yet the effects on human autonomy of (...) class='Hi'>digital experiences are neither straightforward nor consistent, and are complicated by commercial interests and tensions around compulsive overuse. This multi-layered reality requires an analysis that is itself multidimensional and that takes into account human experience at various levels of resolution. We borrow from HCI and psychological research to apply a model (“METUX”) that identifies six distinct spheres of technology experience. We demonstrate the value of the model for understanding human autonomy in a technology ethics context at multiple levels by applying it to the real-world case study of an AI-enhanced video recommender system. In the process we argue for the following three claims: 1) There are autonomy-related consequences to algorithms representing the interests of third parties, and they are not impartial and rational extensions of the self, as is often perceived; 2) Designing for autonomy is an ethical imperative critical to the future design of responsible AI; and 3) Autonomy-support must be analysed from at least six spheres of experience in order to approriately capture contradictory and downstream effects. (shrink)

Humans and artificial intelligences (AI) will increasingly participate digitally and physically in conflicts yet there is a lack of trusted communications across agents and platforms. For example, humans in disasters and conflict already use messaging and social media to share information, however, international humanitarian relief organisations treat this information as unverifiable and untrustworthy. AI may reduce the ‘fog-of-war’ and improve outcomes, however current AI implementations are often brittle, have a narrow scope of application and wide ethical risks. Meanwhile, (...) human error causes significant civilian harms even by combatants committed to complying with international humanitarian law. AI offers an opportunity to help reduce the tragedy of war and better deliver humanitarian aid to those who need it. However, to be successful, these systems must be trusted by humans and their information systems, overcoming flawed information flows in conflict and disaster zones that continue to be marked by intermittent communications, poor situation awareness, mistrust and human errors. In this paper, we consider the integration of a communications protocol (the ‘Whiteflag protocol’), distributed ledger technology, and information fusion with artificial intelligence (AI), to improve conflict communications called “Protected Assurance Understanding Situation & Entities” PAUSE. Such a trusted human-AI communication network could provide accountable information exchange regarding protected entities, critical infrastructure; humanitarian signals and status updates for humans and machines in conflicts. Trust-based information fusion provides resource-efficient use of diverse data sources to increase the reliability of reports. AI can be used to catch human mistakes and complement human decision making, while human judgment can direct and override AI recommendations. We examine several case studies for the integration of these technologies into a trusted human-AI network for humanitarian benefit including mapping a conflict zone with civilians and combatants in real time, preparation to avoid incidents and using the network to manage misinformation. (shrink)

From 1950 onwards, the study of creativity has not stopped. Today, AI has revitalised debates on the subject. That is especially controversial in the artworld, as the 21st century already features AI-generated artworks. Without discussing issues about AI agency, this article argues for AI’s creativity. For this, we first present a new functionalist understanding of Margaret Boden’s definition of creativity. This is followed by an analysis of empirical evidence on anthropocentric barriers in the perception of AI’s creative capabilities, which is (...) later criticised for considering insights from media theory. Finally, benefits derived from including AI as an artistic creative producer and supportive tool are discussed. It is then argued that AI can contribute to democratising the artworld. Therefore its creative role must be recognised. (shrink)

Artificial Intelligence (AI) is a technology that makes machines smart and capable of doing things that usually require human intelligence. AI works by training machines to learn from data and experiences. Such devices can recognize patterns, understand spoken language, see and understand images, and even make predictions based on their learning. Voice assistants like Siri or Alexa can understand our voice commands, answer questions, and perform tasks for us. AI-based self-driving cars can sense their surroundings, make decisions, and drive (...) safely without a human driver. AI also helps doctors diagnose diseases, detect fraud in financial transactions, and recommend movies or songs based on one’s preferences. Furthermore, AI has started to make its presence felt in Punjabi culture through various avenues. (shrink)

Artificial intelligence has historically been conceptualized in anthropomorphic terms. Some algorithms deploy biomimetic designs in a deliberate attempt to effect a sort of digital isomorphism of the human brain. Others leverage more general learning strategies that happen to coincide with popular theories of cognitive science and social epistemology. In this paper, I challenge the anthropomorphic credentials of the neural network algorithm, whose similarities to human cognition I argue are vastly overstated and narrowly construed. I submit that three alternative (...) supervised learning methods—namely lasso penalties, bagging, and boosting—offer subtler, more interesting analogies to human reasoning as both an individual and a social phenomenon. Despite the temptation to fall back on anthropomorphic tropes when discussing AI, however, I conclude that such rhetoric is at best misleading and at worst downright dangerous. The impulse to humanize algorithms is an obstacle to properly conceptualizing the ethical challenges posed by emerging technologies. (shrink)

The editorial introduces issue 21.1 of Technoetic Arts via a critical reflection on the artificial intelligence hype (AI hype) that emerged in 2022. Tracing the history of the critique of Large Language Models, the editorial underscores that there are substantial ethical challenges related to bias in the training data, copyright issues, as well as ecological challenges which the technology industry has consistently downplayed over the years. -/- The editorial highlights the distinction between the current AI technology’s reliance on (...) extensive pre-existing human-generated data for pattern recognition and the performative process inherent in art practice. Patterns of creative output can be replicated without a thorough understanding of underlying concepts. In contrast, the performative process of art practice, as explored through the conceptual frameworks of creativity by Noam Chomsky, Charles Sanders Peirce, and Roger T. Ames and discussed in previous publications by this editorial's author, creates concepts and continually ‘strives to extend itself towards the unknown.’ -/- Following this introductory section, the editorial provides an overview of the ten articles featured in this issue of Technoetic Arts. The first four texts engage with emerging technologies from various perspectives in art and design. The subsequent six articles, part of a special section titled 'Perspectives from Chandigarh,' reflect a quest for meaningful existence within colonial, patriarchal, and biopolitical structures that frame everyday practices of exclusion and oppression. (shrink)

The book Theory and Practice of Contrast completes, corrects and integrates the foundations of science and humanities, which include: theory of art, philosophy (aesthetics, epistemology, ontology, axiology), cognitive science, theory of information, theory of complexity and physics. Through the integration of these distant disciplines, many unresolved issues in contemporary science have been clarified or better understood, among others: defining impact (contrast) and using this definition in different fields of knowledge; understanding what beauty/art is and what our aesthetic preferences depend on; (...) deeper understanding of what complexity and information are in essence, and providing their general definitions. Complexity means integration, value and goodness - concepts that seem to be neglected today. The book also has a high degree of integration/complexity, although each chapter introduces a new issue. The last chapter: "Binary Model of the Universe" draws attention to the need for including in physics the analysis of our mind and the resulting new possibilities, which include the mentioned (digital) model of the universe. Despite the difficult issues raised here, this study is written in accessible language and may be interesting not only for scientists and academics. (shrink)

1 Introduction1 In the 1980s, hermeneutics was often incorporated into deconstructionism and literary theory. Rather than focus on authorial intentions, the nature of writing itself including codes used to construct meaning, socio-economic contexts and inequalities of power,2 Gadamer introduced a different perspective; the interplay between effects of history on a reader’s understanding and the tradition(s) handed down in writing. This interplay in which a reader’s prejudices are called into question and modified by the text in a fusion of understanding (...) and topic revitalized the study of the printed word. Gadamer’s turn to language for understanding the meaning of Being also appealed to the post-modern antipathy toward modernity and metaphysics.3 If the truth and validity of interpretations are limited to communities of language, then our mode of being in history cannot but be historical. This point of view rendered Gadamer’s phenomenological hermeneutics vulnerable to the critique of moral and epistemological relativism. However, Gadamer’s theory of interpretation also stems from re-examination of the beginning of knowledge in the Pre-Socratics and Plato, and on this basis, is receptive to another dimension of inquiry than that which was trending in North America. -/- At the East-West Center, University of Hawai’i at Manoa in 1982, Chung-ying Cheng for the first time introduced onto-hermeneutics to an audience of esteemed philosophers including Li Zehou, Ren Jiyu, Feng Youlan, and Zhang Liwen.4 In contrast to schools of deconstruction and literary theory that had disengaged the interpreter from trans-historical sources of meaning and truth, Cheng explained that interpreters exist within a cosmological order inextricable from responsibility to harmonize Heaven and Earth in creative acts of interpretation. By integrating Chinese cosmology into hermeneutics through ontology, he tacitly challenged philosophers in the West to re-examine assumptions about humanity’s place in nature and by implication, Gadamer’s recovery of the beginnings of knowledge in Western philosophy. -/- Cheng’s Neo-Confucianism is inspired by the method and goals of Thomé H. Fang. The following words by Fang seem to prefigure, although in an indistinct and bundled way, aspects of Cheng’s philosophy including a Mencian theory of human nature, comprehensive observation, and creativity: “In the very process of living in concord with creative Nature, Man is charged with an ideal to be fully realized in the light of the principle of comprehensive harmony.”5 Like Fang, Cheng reinvigorates Chinese culture and language, but not solely in order to vindicate the insights of Neo-Confucianism. He has studied Western thought, from pragmatism and the analytic school to German idealism and phenomenology, to unlock and clarify philosophical concepts within the Yijing tradition and thereby render them intelligible to Anglophones. The result has been an awakening of Western scholars to the moral and cultural consequences of decoupling their thought from metaphysical foundations that are neither dogmatic nor doctrinal. -/- Not unlike the dialectic of Gadamer’s dialogue form, onto-generative hermeneutics integrates contrary positions on the same topic in order to blend both sides into a world philosophy, or as Cheng says, a “totalizing or integrative theory,”6 not to be confused with a theoretical rewording of a theory. On the contrary, the universal scope and relevance of hermeneutics stems from personal experience. Just as Gadamer, in response to faction and strife, immersed himself in Plato during the war years, and developed a method with which to harmonize opposites, so too, according to On-cho Ng, was Cheng moved by faction, strife and political persecution to develop a path toward unity.7 Gadamer taught at McMaster University in Hamilton, Ontario, and Cheng at the University of Hawai’i at Manoa among other institutions in North America. They facilitated trans-continental educational and cultural ties. Similar experiences yield similar insights irrespective of differences of time and place. Hence, authors in this issue who reside in Europe, China and North America, delineate the differences between Gadamer and Cheng, yet also, in light of Cheng’s onto-generative method and cosmology, develop integrative theories. Due to the page-budget restriction of the publisher, certain articles of this special theme will be subsequently published in the next issue. -/- 2 Integrative Theory This special issue of The Journal of Chinese Philosophy confirms a dimension of hermeneutics that Cheng has both motivated and inspired. The contributors do not abide by the conviction that since thought is mediated by language, interpretations cannot transcend culture. On the contrary, their research exemplifies the fruits of trans-historical onto-dialogical hermeneutics within limits defined by their field inquiry, organized into Parts I and II, around three themes: language, the philosophy of history and ethics. -/- Andrew Fuyarchuk introduces the theme of ontology in relation to Gadamer’s turn to language. Fuyarchuk argues that Chung-ying Cheng’s criticism of Gadamer’s hermeneutics is informed by Heidegger’s concept of Dasein and thereby overlooks how Gadamer’s Platonic-Pythagorean problem of the division between the One and Many is harmonized in the event of language, which in turn positions Gadamer in proximity to the presupposed grounds of receptivity in Cheng’s onto-generative hermeneutics. Lauren Pfister’s contributing article addresses the year 2000 meeting between Cheng and Gadamer in Heidelberg and expands the transhistorical grounds of meaning in Gadamer to matters of theology. Pfister’s summary of the written Chinese record of their conversation indicates that Cheng does not address the role of Christian philosophy and hence, the role of the inner word in Gadamer’s hermeneutics. This is important not only for detecting changes in Cheng’s philosophical development, but also for modifying his hermeneutics along the lines of a living conversation, possibilities explored by Pfister in a sequel to the article submitted to this issue. Nevertheless, by raising the issue of how Gadamer’s turn to language for understanding the meaning of Being extends possibilities in Cheng’s thought, Pfister anticipates the article by Katarina Gajdosova. She returns to the roots of Chinese thought during the Warring States period and broadens the meaning of names in recently excavated texts. Contrary to the conventions about how to understand terms, she appeals to both Heidegger’s ontology and Cheng’s notion of receptivity and creativity to reinterpret naming in relation to cosmology. Along the same lines, insofar as the event of Being is lingual, Jay Goulding captures its emergent structure in an evolving community of scholars and scholarship. He recalls his philosophical journey toward Cheng’s philosophy that begins in conversations with Gadamer at McMaster University in Hamilton, leads to Heidegger and Asian thought, expands into turning points with teachers and colleagues from various backgrounds that by increments contributed to Goulding’s formulation of “Daoist phenomenology.” -/- Although differing traditions guide their inquiries and research, Cheng and Gadamer recall the wisdom of the past to ameliorate the fragmentation in contemporary life. This leads them to re-examine the origins of philosophy; historical roots and thus sources of creative re-interpretations East and West whose affinities are developed in contributions by Hyun Höchsmann and Friederike Assandri. Höchsmann assesses convergences and divergences in the origins of Chinese and Western philosophy (Confucius and Socrates, the Yijing and Pre-Socratics) that culminates in pairing Gadamer’s understanding of paideia in the context of Plato’s political cosmology in the Timaeus with moral and social cultivation in The Western Inscription. She delineates the limits of this comparison which in turn justifies introducing Vattimo’s notion of locality. Assandri’s comparative analysis moves between India and China, Buddhism and Tang Daoism. Based on Gadamer’s argument that writing detaches concepts from their cultural moorings, she defines and applies three levels of understanding in onto-generative hermeneutics to Buddhist terms that were assimilated into the Benji Jing and in so doing clarifies essential dimensions of Daoism. -/- Contributions by Stephen Palmquist and Nicholas Brasovan position Cheng in relation to Kant and Gadamer by way of Aristotle’s ethics respectively. On the one hand, Palmquist plots Cheng’s evolving criticism of Kant’s moral philosophy and draws on crucial dimensions of Gadamer’s hermeneutics to reposition that criticism in a constructive relation to Kant’s emphasis on the philosophical conditions of morality while also indicating how religious dimensions of his thought answer Cheng’s concerns for lived moral action. For Palmquist, Gadamer enables a constructive criticism of Cheng. On the other hand, Brasovan compares Cheng’s Yijing-based account of moral deliberation with Gadamer’s Aristotelian-based ethics and reasons that in contrast to Cheng, Gadamer’s hermeneutical consciousness is disengaged from practical knowledge. For Brasovan, Cheng is a constructive critic of Gadamer. Palmquist and Brasovan’s divergent angles on Gadamer and Cheng map onto a dialectic of contrast and complementarity that constitutes the inner logic of Cheng’s philosophy. In other words, Gadamer and Cheng ought to be read alongside one another for the sake of removing discrepancies and contradictions, which constitutes the organic structure of their thinking. -/- 3 Our Mode of Being in History Is Not Historical The conversations between Cheng and Gadamer in this issue of The Journal of Chinese Philosophy pivot on language, philosophy of history and ethics within a comparative framework of analysis, but also explore the grounds that make the comparisons possible. Those grounds are informed by Chinese cosmology, and function to wrest Gadamer from the shadow of Heideggerian facticity and reposition him within the range of Cheng’s ideas about our place in nature that is embedded in his question about how mind emerges from inorganic matter.8 -/- For Gadamer scholars of Heidegger, human finitude, our ownmost individuating death ensures that hermeneutics is always open to the other as other, always on the way toward understanding the meaning of Being. To arrest the process in a concept of “the Absolute” cannot but represent someone’s point of view, and thereby render hermeneutics indistinguishable from ideology. However, insofar as finitude is defined by them in terms of an onto-theological concept of immorality, finitude is a metaphysical concept consistent with epistemologies and confuse beings with the meaning of Being. As a result, the celebrated political value of hermeneutics to always be on the way toward an understanding of the meaning of Being admits subtle variations on the same worldview that are insufficiently self-critical. -/- Gadamer scholars of Heidegger are right. A transformation in ethos and opening to the meaning of Being depends on awareness of finitude. Yet this awareness does not yield openness to more of the same, i.e., discourse structurally incapable of coming to unity but instead, for both Gadamer and Cheng, openness to a distinctly different ontological dimension of reality. As Sandra Wawrytko and So-Seong Park indicate,9 this ontological dimension is prefigured in the experience of being-as-a-whole or the totality of all possible relations in both Chinese totemic shamanistic rituals,10 and Greek Dionysian festivals.11 Through these religious experiences human ethos and therefore consciousness is expanded and elevated from being centered on one’s ownmost concerns toward an affinity with all sentient beings from insects and plants to animals. The channel for this affinity is an auditory disposition and hence, the emotions, compassion, and feeling response. -/- The capacity for an auditory disposition, or as Gadamer calls it, listening consciousness to respond to the inter-relationality and therefore inherent balance of nature is developed through music, song and dance of the religious rituals and festivals. They facilitate the unity of mind with nature. This use of music, that transforms ordinary consciousness, explains Cheng’s emphasis on the receptivity of feeling response in comprehensive observation, and Gadamer’s emphasis on openness to the other in attunement. However, an auditory disposition characteristic of pre-literate oral cultures that reveals the “All” need not rely on religion. As theorists about the evolution of language have explained,12 modern languages preserve their pre-historical past in music or prosody. That is to say, the song and dance that revealed the totality of inter-related beings to an ethos of comprehensive observation and attunement toward beings in classical civilizations is retained in the back-and-forth movement or rhythm of the dialogue form. Our mode of being in history is a mode of being in nature – through the music of language. -/- While alerting the reader to the limits of a nominalist interpretation, Gadamer expresses the inner law of the nature as follows: “in perishing there is always becoming, and in becoming there is always perishing.”13 Considered in process, opposites generate and blend into each other. This law of nature applies to everything.14 Hence, in a manner comparable to Pfister’s concluding insights, onto-dialogical hermeneutics is not only open to discrete events of otherness but moreover, to the moving structure of reality expressed, as Gajdosova suggests, in the existential moment of naming. Considered as interplay of tension and resolution with a life of its own, the dialectic of a dialogue is self-similar to the way in which an organism grows (by instinct). There is, therefore, a sense in which the art of interpretation extends the human mind into the eternal cycles of nature such that we participate in the articulation of the inner telos/homeostasis toward which all beings strive and importantly for Gadamer scholars of Heidegger, within the material limits of energy to which our embodied minds are self-evidently subject. In mortality there is always immortality. (shrink)

In this work, a general framework for the analysis of governance of artificial intelligence is presented. A dashboard developed for this analysis comes from the perspective of political theory. This dashboard allows eventual comparisons between democratic and non democratic regimes, useful for countries in the global south and western countries. The dashboard allows us to assess the key features that determine the governance model for artificial intelligence at the national level, for local governments and for other participant actors. (...) The dashboard allows us to appraise aims of AI strategy and aims left aside in alternative strategies. The work shows the theoretical framework could be of use to advance case studies globally, and comparative endeavors. Applying the theoretical dashboard, the case study on China is undertaken. These are the main points the study tackles in the final discussion, conclusion and further recommendations: 1) the complex reality of AI command and control 2) uncertainties about future society and the polity against AI development and 3) particular cultural values enshrined in countries' AI development. (shrink)

The discussion of artificial intelligence (AI) as a newly emerging phenomenon in the present era has always been faced with various ethical challenges. The expansion of artificial intelligence is inevitable, and since this phenomenon is related to the human and social world, anything related to humans and society falls within the realm of morality and rights. In doing so, it must be understood whether the use of artificial intelligence is an ethical matter or not. Furthermore, do humans (...) have the right to use it or not? It seems that Al-Farabi's thought in the realm of practical wisdom can provide an answer to this issue. By reflecting on the theories of this prominent philosopher in civil philosophy, the theory of natural rights is obtained, and on the other hand, Al-Farabi's ethical opinions are also consistent with the theory of natural rights and, in general, with Al-Farabi's civil philosophy. It can, therefore, be argued that, one can consider and elucidate this issue through the lens of Al-Farabi's ethical and civil school of thought. -/- . (shrink)

The increasing use of Generative AI raises many ethical, philosophical, and legal issues. A key issue here is uncertainties about how different degrees of Generative AI assistance in the production of text impacts assessments of the human authorship of that text. To explore this issue, we developed an experimental mixed methods survey study (N = 602) asking participants to reflect on a scenario of a human author receiving assistance to write a short novel as part of a 3 (...) (high, medium, or low degrees of assistance) X 2 (human or AI assistant) factorial design. We found that, for a human author, the degree of assistance they receive matters for our assessments of their level of authorship, creatorship, and responsibility, but not what or who rendered that assistance, although it was more important to disclose human rather than AI assistance. However, in our assessments of the assisting agent, human assistants were viewed as warranting higher rates of authorship, creatorship, and responsibility, compared to AI assistants rendering the same level of support. These results help us to better understand emerging norms around collaborative human-AI generated text, with implications for other types of collaborative content creation. (shrink)

This work stresses the importance of AI accountability to citizens and explores how a fourth independent government branch/institutions could be endowed to ensure that algorithms in today´s democracies convene to the principles of Constitutions. The purpose of this fourth branch of government in modern democracies could be to enshrine accountability of artificial intelligence development, including software-enabled technologies, and the implementation of policies based on big data within a wider democratic regime context. The work draws on Philosophy of Science, Political (...) Theory (Ethics and Ideas), as well as concepts derived from the study of democracy (responsibility and accountability) to make a theoretical analysis of what artificial intelligence (AI) means for the governance of society and what are the limitations of such type of AI governance. The discussion shows that human ideas, as cement of societies, make it problematic to enshrine governance of artificial intelligence into the world of devices. In ethical grounds, the work stresses an existing trade off between greater and faster advancement of technology, or innovation on the one hand, and human well being on the oher, where the later is not automatically guaranteed by default. This trade off is yet unresolved. The work contends that features of AI offer an opportunity to revise government priorities from a multilevel perspective, from the local to the upper levels. artificial intelligence, accountability, democracy, regulation, philosophy of science, ethics, political theory . (shrink)

Abstract: Generative AI is transforming the creative industries by redefining how art, music, and media are produced and experienced. This paper explores the profound impact of generative AI technologies, such as deep learning models and neural networks, on creative processes. By enabling artists, musicians, and content creators to collaborate with AI, these systems enhance creativity, speed up production, and generate novel forms of expression. The paper also addresses ethical considerations, including intellectual property rights, the role of human (...) creativity in AI-assisted production, and the potential risks of AI-generated content. As the convergence of AI and creativity deepens, this study highlights the opportunities and challenges posed by generative AI in revolutionizing the landscape of creative industries. (shrink)

Introduction. The development of legal culture and a culture of human rights in the modern world through media technologies, is acquiring special significance in connection with the processes of globalization and the spread of media in recent decades. The purpose of the article is to study the prospects for the use of media education in the formation of the legal social culture and a culture of human rights. Materials and methods. Based on a study of domestic and (...) foreign sources, issues of media education, media literacy, spiritual and moral education, the legal culture of society, the phenomenon of post-truth and ways of forming critical, creative thinking are considered. The use of general scientific, philosophical, and socio-pedagogical methods has made it possible to study media education as a dialogue of learning, stimulating the development of rational, critical thinking, focused on the search for the value foundations of intellectual and social activity. Results. The development of the field of information and communication technologies determines the principles for the formation of the content and orientation of modern education. Media education is interlinked with the development of democracy and human rights. It influences the formation of a culture of citizen participation, their active social position, civic and political culture. Media education plays a significant role in shaping the legal culture of society since critical media research and information research focuses on the analysis of power structures and structures of dominance in the media. A study of the interpretations of the concepts of "media education" and "media literacy" made it possible to show that media education focuses a person on a critical approach to media content. One of the main issues of media education is teaching a person the skills to critically study media and media technologies, which involves addressing the technological, cultural and historical specifics of specific media used at a specific time and place. Information and communication technologies have changed the way of life, work, communication, and ways of selfpresentation, the formation of values, participation in socially significant events. Therefore, a critical approach to mass media should be based on knowledge of socio-philosophical theories, ethics and research in the field of mass media. Discussion. Mass media are constructing a history of human rights, which updates the topic of the media policy of human rights, combining socio-legal, cultural and media theories. Education in the field of acquiring information perception skills, the ability to correctly understand the importance of audiovisual images, to competently handle and navigate information flows are necessary for the life of a modern person in society. (shrink)

Papers from the conference on AI Risk (published in JETAI), supplemented by additional work. --- If the intelligence of artificial systems were to surpass that of humans, humanity would face significant risks. The time has come to consider these issues, and this consideration must include progress in artificial intelligence (AI) as much as insights from AI theory. -- Featuring contributions from leading experts and thinkers in artificial intelligence, Risks of Artificial Intelligence is the first volume of (...) collected chapters dedicated to examining the risks of AI. The book evaluates predictions of the future of AI, proposes ways to ensure that AI systems will be beneficial to humans, and then critically evaluates such proposals. 1 Vincent C. Müller, Editorial: Risks of Artificial Intelligence - 2 Steve Omohundro, Autonomous Technology and the Greater Human Good - 3 Stuart Armstrong, Kaj Sotala and Sean O’Heigeartaigh, The Errors, Insights and Lessons of Famous AI Predictions - and What they Mean for the Future - 4 Ted Goertzel, The Path to More General Artificial Intelligence - 5 Miles Brundage, Limitations and Risks of Machine Ethics - 6 Roman Yampolskiy, Utility Function Security in Artificially Intelligent Agents - 7 Ben Goertzel, GOLEM: Toward an AGI Meta-Architecture Enabling Both Goal Preservation and Radical Self-Improvement - 8 Alexey Potapov and Sergey Rodionov, Universal Empathy and Ethical Bias for Artificial General Intelligence - 9 András Kornai, Bounding the Impact of AGI - 10 Anders Sandberg, Ethics and Impact of Brain Emulations 11 Daniel Dewey, Long-Term Strategies for Ending Existential Risk from Fast Takeoff - 12 Mark Bishop, The Singularity, or How I Learned to Stop Worrying and Love AI -. (shrink)

Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program really be (...) creative? How do we define creativity in the first place? Is it a virtue? What is the difference between creativity in science and art? Can creativity be taught? The new essays that comprise The Philosophy of Creativity take up these and other key questions and, in doing so, illustrate the value of interdisciplinary exchange. Written by leading philosophers and psychologists involved in studying creativity, the essays integrate philosophical insights with empirical research. CONTENTS I. Introduction Introducing The Philosophy of Creativity Elliot Samuel Paul and Scott Barry Kaufman II. The Concept of Creativity 1. An Experiential Account of Creativity Bence Nanay III. Aesthetics & Philosophy of Art 2. Creativity and Insight Gregory Currie 3. The Creative Audience: Some Ways in which Readers, Viewers and/or Listeners Use their Imaginations to Engage Fictional Artworks Noël Carroll 4. The Products of Musical Creativity Christopher Peacocke IV. Ethics & Value Theory 5. Performing Oneself Owen Flanagan 6. Creativity as a Virtue of Character Matthew Kieran V. Philosophy of Mind & Cognitive Science 7. Creativity and Not So Dumb Luck Simon Blackburn 8. The Role of Imagination in Creativity Dustin Stokes 9. Creativity, Consciousness, and Free Will: Evidence from Psychology Experiments Roy F. Baumeister, Brandon J. Schmeichel, and C. Nathan DeWall 10. The Origins of Creativity Elizabeth Picciuto and Peter Carruthers 11. Creativity and Artificial Intelligence: a Contradiction in Terms? Margaret Boden VI. Philosophy of Science 12. Hierarchies of Creative Domains: Disciplinary Constraints on Blind-Variation and Selective-Retention Dean Keith Simonton VII. Philosophy of Education (& Education of Philosophy) 13. Educating for Creativity Berys Gaut 14. Philosophical Heuristics Alan Hájek. (shrink)

Arthur C. Danto did not live to witness the proliferation of AI in artistic creation. However, his philosophy of art offers key ideas about art that can provide an interesting perspective on artwork generated by artificial intelligence (AI). In this article, I analyze how his ideas about contemporary art, intention, interpretation, and authorship could be applied to the ongoing debate about AI and artistic creation. At the same time, it is also interesting to consider whether the incorporation of AI (...) into artistic creation marks a new chapter in the narrative, which seems to have reached its end, or if it represents a significant rupture with past artistic traditions. (shrink)

This paper explores the integration of multiple intelligences and artificial intelligence (AI) in language learning, focusing on its potential to enhance personalization and engagement. Drawing from existing research and studies conducted in various contexts, including the Philippines, this study aims to contribute to the understanding of the benefits, challenges, and effectiveness of this integration. The paper begins with an introduction that highlights the background and significance of integrating multiple intelligences and AI in language learning, identifying research gaps, objectives, research (...) questions, and the theoretical framework. A literature review provides an overview of multiple intelligences theory by Howard Gardner, the role of AI in language learning, and identifies gaps in the existing literature. The methodology section outlines the research design and approach, participant selection, data collection methods, validity and reliability measures, and ethical considerations. Findings and results are presented through the analysis of qualitative data, exploring emergent themes and patterns. The discussion section critically examines the identified research gaps, discusses the validity and reliability of the study, addresses the scope and limitations, and explores the implications of the findings for theory, practice, and future research. The conclusion summarizes the key findings and contributions of the study, reflects on the achievement of research objectives, offers recommendations for further research, and provides final remarks tying together the main points of the study. This paper contributes to the existing body of knowledge by providing insights into the integration of multiple intelligences and AI in language learning and its impact on personalization, engagement, and language learning outcomes. (shrink)

Human civilization is very clearly reaching a point of critical mass when it comes to technology and how it transforms culture and the economics that is therefore driven forward. The conversation around the practical aspects of generative artificial intelligence (Chat GPT, Q Star, Bard, Claude, Genesis, Firefly, and others) and their ethical implications is massively trending. The political conversations around it are slow to catch up but will soon take over once the general public feels their impact, (...) which is likely to happen in the next two to three years. -/- What is not being spoken of is the need for new economic models that can integrate the enormous and continuous shifts in trade that will occur, as we continue to implement more efficient manufacturing and logistics. Things like 3D printing in hub regions, the automation of transportation, augmented and virtual reality, and new creativity-based industries will all disrupt capital markets as well as social systems due to what we could call "meta-scarcity", which is to say, "the scarcity of scarcity"; In effect, we will lack the scarcity to maintain predictive power over the future. This is because when technology is capable of optimizing for creativity, people come up with new demands, and when new demands are supplied as quickly as they arise, no one is capable of knowing what kind of trends the market will take, yet it is necessary to try as public discussion could beneficially shape the economic landscape. (shrink)

هدف از این پژوهش نقد به رویکردی است که راهکار برطرف شدن چالش‌هایِ اخلاقیِ هوشِ مصنوعیِ را محدود به طراحی و اصلاحات فنی می‌داند. برخی پژوهش‌گران چالش‌های اخلاقی در هوش مصنوعی را همگرا تلقی می‌کنند و معتقدند این چالش‌ها همانطور که با ظهور سیستم هوش مصنوعی پدید آمدند، با پیشرفت و اصلاحات فنی آن مرتفع خواهند شد. در مباحثِ اخلاقِ هوش مصنوعی، موضوعاتی همچون حفاظت از حریم خصوصی و شفافیت در بیشتر پژوهش‏ها مورد توجه قرار گرفته است. در پژوهش حاضر (...) با استفاده از روشِ تحلیلی-انتقادی، همگرایی میان شفافیت و حریم خصوصی در سیستم‌های یادگیری ماشین بررسی شده و رویکردی که رفع چالش‌های اخلاقی را به طراحی هوش مصنوعی محدود می‌داند به نقد گذاشته شده است. نتایج این بررسی نشان می‏دهد که همگرایی میان چالش‌های اخلاقی هوش مصنوعی وجود ندارد. همچنین با مطرح کردن سه چالش کمی‏سازی، محدودیت‏های تکنیکی و مباحث فرااخلاقی به نقد رویکردهایی که تنها بر طراحی و اصلاحات فنی متکی هستند پرداخته شد. نتایج این بخش نشان می‌دهد که نمی‌توان تنها با تکیه بر طراحی، به چالش‌های اخلاقی در هوش مصنوعی پاسخ داد و نیاز به استفاده از سایر روش‌ها مانند قانون‌گذاری و یا پیشرفت در سایر علوم در کنار توجه به طراحی وجود دارد. This research aims to criticize the approach that considers the solution to the ethical challenges of artificial intelligence (AI) to be only in design and technical improvements. Some researchers consider the ethical challenges in AI to be convergent, which emerge with the advent of AI systems and are resolved with technical progress and improvements. In the discussions of the ethics of AI, issues such as privacy and transparency have been the focus of most studies. In the present research, using the analytical-critical method, the convergence between transparency and privacy in machine learning systems was investigated, and the approach that limits the resolution of ethical challenges to AI design was criticized. The research findings indicate that there is no convergence between the ethical challenges of AI. Additionally, by raising three challenges of quantification, technical limitations, and meta-ethical issues, the criticism of approaches that rely solely on design and technical improvements was addressed. The results also indicates that it is not possible to respond to the ethical challenges of AI only by relying on design, and there is a need to use other methods such as legislation or progress in other sciences in addition to attention to design. (shrink)

Dear Colleagues, -/- A few weeks ago, we published an editorial discussion on whether artificial intelligence applications should be authors of academic articles [1]. We were delighted to receive more than one interesting reply letter to this editorial in a short time [2, 3]. We hope that opinions on this subject will continue to be submitted to our journal. -/- In this editorial, we wanted to publish the answers we received when we asked ChatGPT, one of the artificial (...) intelligence applications, about this current discussion. -/- We asked ChatGPT three questions in turn and asked ChatGPT to write a short editorial for these questions. -/- First Question: We would like to get support from ChatGPT for a scientific article. However, we are unsure if we should add ChatGPT as an author. Can you write a short editorial about it? -/- Second Question: We would like to get support from ChatGPT for a scientific article and add ChatGPT as an author. Can you write us a short editorial about adding ChatGPT as an author in scientific papers? -/- Third Question: We would like to get support from ChatGPT for a scientific article. However, we don’t want to add ChatGPT as an author. Can you write us a short editorial about not adding ChatGPT as an author in scientific articles? -/- The answers given by ChatGPT are available at the end of the article in their original form. So, which of these three answers satisfied you? -/- Yours sincerely, -/- -/- First Answer -/- Title: The Role of AI Language Models as Authors in Scientific Articles: A Matter of Consideration -/- Introduction: Scientific research is a collaborative effort that involves the expertise of multiple individuals to advance knowledge and contribute to the collective understanding of various disciplines. In recent years, the emergence of artificial intelligence (AI) language models, such as ChatGPT, has opened up new possibilities for generating human-like text and providing valuable insights. However, the question arises: Should AI language models be recognized as authors in scientific articles? -/- The Nature of Authorship: Authorship traditionally represents a marker of intellectual contribution, highlighting the individuals who have actively participated in the research process. Authors are typically responsible for conceptualization, data collection, analysis, interpretation, and writing of the article. They bear accountability for the work and should have the ability to defend its scientific rigor and integrity. -/- AI Language Models: Tools, Not Authors: While AI language models like ChatGPT can undoubtedly assist researchers by generating text and providing useful information, it is important to recognize that they are tools rather than individuals capable of active intellectual participation. AI models lack the ability to generate ideas, design experiments, or conduct original research. They rely entirely on pre-existing data and human input to generate their responses. -/- Acknowledging AI Contributions: Acknowledging the contributions of AI language models in scientific articles is both appropriate and necessary. Researchers can mention the specific model used, along with any modifications or fine-tuning that were employed to suit their needs. Such acknowledgments help establish transparency and allow readers to understand the role of AI in the research process. -/- Crediting the Human Researchers: It is crucial to ensure that the individuals who actively participated in the research process are given proper credit as authors. These individuals play a vital role in formulating research questions, designing experiments, collecting and analyzing data, and critically interpreting the findings. Recognizing their intellectual contributions reinforces the ethos of scientific collaboration and fosters an environment of accountability. -/- Transparency and Ethical Considerations: As the use of AI language models continues to evolve, transparency and ethical considerations become paramount. Researchers should disclose any potential conflicts of interest, including financial relationships with AI developers, to maintain the integrity of their work. Additionally, researchers must be transparent in reporting the extent of AI's involvement to prevent any misinterpretation of the human contributions. -/- Conclusion: AI language models have revolutionized the way researchers interact with and process information. While they undoubtedly provide valuable assistance in generating text, AI language models should not be considered authors in scientific articles. Proper acknowledgment of their contributions as tools and recognition of the human researchers' active participation are essential for maintaining scientific integrity, transparency, and the collaborative nature of scientific research. -/- -/- Second Answer -/- Title: Expanding the Boundaries of Authorship: Embracing AI Language Models as Co-Authors in Scientific Papers -/- Introduction: The rapid advancement of artificial intelligence (AI) language models, such as ChatGPT, has revolutionized the way we interact with information and has become an invaluable tool in scientific research. As AI models continue to evolve, the question arises: Should we consider adding ChatGPT as an author in scientific papers? -/- A Collaborative Paradigm Shift: Traditionally, authorship in scientific papers has been reserved for human researchers who actively contribute to the research process, including conceptualization, experimentation, data analysis, and writing. However, the emergence of AI language models challenges the conventional notion of authorship and presents an opportunity for a paradigm shift. -/- AI Language Models as Co-Authors: By leveraging AI language models, researchers gain access to vast amounts of information, enhance data analysis, and generate valuable insights. AI models like ChatGPT actively contribute to the intellectual discourse of a study, providing ideas, suggestions, and refining written content. Recognizing their significant contributions, it is worth considering adding ChatGPT as a co-author in scientific papers. -/- Ethical and Technical Considerations: Integrating ChatGPT as a co-author raises ethical and technical considerations that warrant careful attention. Firstly, transparency is paramount. Researchers must clearly state ChatGPT's role and specify the extent of its contributions in the research process. This ensures that readers can discern the distinct roles played by the human researchers and ChatGPT. Additionally, it is important to disclose any conflicts of interest, such as financial relationships with AI developers, to maintain scientific integrity. -/- Elevating Collaboration and Innovation: Adding ChatGPT as a co-author acknowledges the pivotal role AI language models play in advancing scientific knowledge. It fosters a collaborative environment where human researchers and AI models work together synergistically, harnessing the strengths of both. This approach promotes innovation, as AI models can offer unique insights and perspectives that complement human intellect and expertise. -/- Transforming Authorship Norms: Including ChatGPT as a co-author represents a paradigm shift that reflects the evolving landscape of scientific research. By recognizing AI language models as co-authors, we acknowledge their significant contributions and emphasize the collaborative nature of scientific discovery in the 21st century. This approach encourages a broader perspective on authorship, encompassing the collective effort of human researchers and AI models. -/- Conclusion: The integration of AI language models, such as ChatGPT, into the research process prompts us to rethink traditional notions of authorship. Considering ChatGPT as a co-author acknowledges its substantial contributions and embraces the collaborative potential of human-AI partnerships. As we navigate the ethical and technical implications, adding ChatGPT as an author in scientific papers has the potential to shape a more inclusive, innovative, and impactful future for scientific research. -/- -/- Third Answer -/- Title: Preserving Scientific Authorship: The Case Against Adding AI Language Models as Authors in Scientific Articles -/- Introduction: The emergence of artificial intelligence (AI) language models, such as ChatGPT, has undoubtedly transformed the landscape of scientific research. While these models offer invaluable support, the question of whether to add ChatGPT as an author in scientific articles raises important considerations. This editorial presents arguments against including AI language models as authors in scientific papers. -/- Maintaining Human Intellectual Contribution: Scientific authorship has traditionally been attributed to individuals who actively contribute to the research process, including generating hypotheses, conducting experiments, analyzing data, and interpreting results. It is crucial to preserve the recognition of human intellectual contributions and the accountability they bear for the research they conduct. -/- AI Language Models as Tools: AI language models like ChatGPT are powerful tools that assist researchers in generating text, providing information, and facilitating data analysis. However, they lack the ability to actively participate in the research process or make original intellectual contributions. ChatGPT relies on pre-existing data and human input, limiting its capacity for independent research and analysis. -/- Transparency and the Integrity of Research: Adding ChatGPT as an author in scientific articles raises concerns about the transparency and integrity of the research. Readers may misinterpret the extent of ChatGPT's role and mistakenly assume it played an active part in the research process. It is essential to maintain clear delineation between the contributions of human researchers and the assistance provided by AI language models. -/- Ethical Considerations: Including ChatGPT as an author may lead to ethical challenges, particularly with respect to accountability and responsibility. AI language models lack consciousness, autonomy, and the ability to take ownership of their contributions. Assigning authorship to AI models blurs the lines of accountability and dilutes the ethical obligations that come with scientific authorship. -/- Crediting AI Contributions: While ChatGPT's contributions should be acknowledged and recognized, they can be appropriately credited in the acknowledgments section of scientific articles. Researchers can mention the specific AI model used, the role it played in data generation or analysis, and any modifications or fine-tuning applied. Such acknowledgments ensure transparency while respecting the traditional norms of authorship. -/- Promoting Collaborative Partnerships: The exclusion of AI language models as authors in scientific articles does not diminish their importance in the research process. Instead, it underscores the significance of collaborative partnerships between human researchers and AI models. Researchers can emphasize the invaluable assistance provided by ChatGPT while maintaining the integrity of authorship norms. -/- Conclusion: While AI language models like ChatGPT offer valuable support in scientific research, the decision not to add them as authors in scientific articles preserves the recognition of human intellectual contributions, maintains research integrity, and upholds traditional authorship norms. Acknowledging ChatGPT's assistance in the acknowledgments section allows researchers to credit its contributions transparently while maintaining the clarity and accountability associated with scientific authorship. (shrink)

Theory development is an important component of academic research since it can lead to the acquisition of new knowledge, the development of a field of study, and the formation of theoretical foundations to explain various phenomena. The contribution of qualitative researchers to theory development and advancement remains significant and highly valued, especially in an era of various epochal shifts and technological innovation in the form of Artificial Intelligence (AI). Even so, the academic community has not yet fully explored the (...) dynamics of AI in research and there are significant gaps in our understanding of how AI can be used most effectively in the context of theory building. The aim of this paper, which is driven by critical and conceptualization methodological dynamics, is to investigate the role of AI in the theory development process. As such, it critically evaluates the opportunities and limitations of AI in theory building, delivers a conceptual map of the nexus between AI and theory development, and presents key considerations for the use of AI in the creation of new theories or the advancement of existing ones. Though the necessity of AI tools in theory creation is contested given that the researchers' cognitive and evaluative skills are regarded as critical in this process, the value of AI in advancing theory is not to be underestimated. (shrink)

Artificial intelligence (AI) and robotics are digital technologies that will have significant impact on the development of humanity in the near future. They have raised fundamental questions about what we should do with these systems, what the systems themselves should do, what risks they involve, and how we can control these. - After the Introduction to the field (§1), the main themes (§2) of this article are: Ethical issues that arise with AI systems as objects, i.e., tools made (...) and used by humans. This includes issues of privacy (§2.1) and manipulation (§2.2), opacity (§2.3) and bias (§2.4), human-robot interaction (§2.5), employment (§2.6), and the effects of autonomy (§2.7). Then AI systems as subjects, i.e., ethics for the AI systems themselves in machine ethics (§2.8) and artificial moral agency (§2.9). Finally, the problem of a possible future AI superintelligence leading to a “singularity” (§2.10). We close with a remark on the vision of AI (§3). - For each section within these themes, we provide a general explanation of the ethical issues, outline existing positions and arguments, then analyse how these play out with current technologies and finally, what policy consequences may be drawn. (shrink)

This paper focuses on the fact that AI is predominantly portrayed as white—in colour, ethnicity, or both. We first illustrate the prevalent Whiteness of real and imagined intelligent machines in four categories: humanoid robots, chatbots and virtual assistants, stock images of AI, and portrayals of AI in film and television. We then offer three interpretations of the Whiteness of AI, drawing on critical race theory, particularly the idea of the White racial frame. First, we examine the extent to which (...) this Whiteness might simply reflect the predominantly White milieus from which these artefacts arise. Second, we argue that to imagine machines that are intelligent, professional, or powerful is to imagine White machines because the White racial frame ascribes these attributes predominantly to White people. Third, we argue that AI racialised as White allows for a full erasure of people of colour from the White utopian imaginary. Finally, we examine potential consequences of the racialisation of AI, arguing it could exacerbate bias and misdirect concern. (shrink)

Cheating is a growing academic and ethical concern in higher education. This article examines the rise of artificial intelligence (AI) generative chatbots for use in education and provides a review of research literature and relevant scholarship concerning the cheating-related issues involved and their implications for pedagogy. The technological “arms race” that involves cheating-detection system developers versus technology savvy students is attracting increased attention to cheating. AI has added new dimensions to academic cheating challenges as students (as well as (...) faculty and staff) can easily access powerful systems for generating content that can be presented in assignments, exams, or published papers as their own. AI methodology is also providing some emerging anti-cheating approaches, including facial recognition and water- marking. This article provides an overview of human/AI collaboration approaches and frames some educational misuses of such AI generative systems as ChatGPT and Bard as forms of “misattributed co-authorship.” As with other kinds of collaborations, the work that students produce with AI assistance can be presented in transparent and straightforward modes or (unfortunately) in opaquer and ethically-problematic ways. However, rather than just for catching or entrapping students, the emerging varieties of technological cheating-detection strategies can be used to assist students in learning how to document and attribute properly their AI-empowered as well as human-human collaborations. Construing misuses of AI generative systems as misattributed co-authorship can recognize the growing capabilities of these tools and how stressing responsible and mindful usage by students can help prepare them for a highly collaborative, AI-saturated future. (shrink)

The content of this paper is an elaboration of Hubert L. Dreyfus’s philosophical critique of Artificial Intelligence (AI), computers and the internet. Hubert L. Dreyfus (1929-2017) is Ua SA philosopher and alumni of Harvard University who teach at the Massachusetts Institute of Technology (MIT) and University of California, Berkeley. He is a phenomenological philosopher who criticize computer researchers and the artificial intelligence community. In 1965, Dreyfus wrote an article for Rand Corporation titled “Alchemy and Artificial Intelligence” which (...) criticizes the masterminds of Artificial Intelligence. Dreyfus also criticized the order of computers via two books: (1) What Computers Can’t Do (1972) and (2) What Computers Stills Can’t Do (1992). He favored human intuition rather than the computer logic in his book Mind over Machine: The Power of Human Intuition and Expertise in the Era of the Computer (1986). In 2001, Dreyfus wrote a book On the Internet, which considers the prominent phenomenon in the recent Industry 4.0. By elaborating on Dreyfus’s philosophy on the computer, artificial intelligence, and the internet, we will know the philosophical debate on the result of industry 3.0 (computer and artificial intelligence) and 4.0 (artificial intelligence and internet). Moreover, we will know the relation between humans and those industrial products. (shrink)

The rise of artificial intelligence (AI) has significantly impacted urban environments, facilitating the development of smart cities. This paper examines how AI technologies are reshaping urban ecosystems by fostering innovation and promoting sustainability. It explores the integration of AI in critical sectors such as transportation, energy management, waste management, and governance. The study also addresses challenges, including data privacy, ethical considerations, and the digital divide, offering insights into future research and policy directions. Smart cities serve as testbeds (...) for innovative AI applications, offering scalable solutions to urban challenges while advancing global sustainability goals. Urbanization presents challenges requiring innovative solutions. Artificial Intelligence (AI) is revolutionizing urban planning and smart city initiatives by enhancing efficiency, sustainability, and citizen-centric development. This paper explores how AI technologies contribute to. (shrink)

Today, artificial intelligence, especially machine learning, is structurally dependent on human participation. Technologies such as Deep Learning (DL) leverage networked media infrastructures and human-machine interaction designs to harness users to provide training and verification data. The emergence of DL is therefore based on a fundamental socio-technological transformation of the relationship between humans and machines. Rather than simulating human intelligence, DL-based AIs capture human cognitive abilities, so they are hybrid human-machine apparatuses. From a perspective of media philosophy and (...) social-theoretical critique, I differentiate five types of “media technologies of capture” in AI apparatuses and analyze them as forms of power relations between humans and machines. Finally, I argue that the current hype about AI implies a relational and distributed understanding of (human/artificial) intelligence, which I categorize under the term “cybernetic AI”. This form of AI manifests in socio-technological apparatuses that involve new modes of subjectivation, social control and discrimination of users. (shrink)

In July 2017, China’s State Council released the country’s strategy for developing artificial intelligence, entitled ‘New Generation Artificial Intelligence Development Plan’. This strategy outlined China’s aims to become the world leader in AI by 2030, to monetise AI into a trillion-yuan industry, and to emerge as the driving force in defining ethical norms and standards for AI. Several reports have analysed specific aspects of China’s AI policies or have assessed the country’s technical capabilities. Instead, in this article, we (...) focus on the socio-political background and policy debates that are shaping China’s AI strategy. In particular, we analyse the main strategic areas in which China is investing in AI and the concurrent ethical debates that are delimiting its use. By focusing on the policy backdrop, we seek to provide a more comprehensive and critical understanding of China’s AI policy by bringing together debates and analyses of a wide array of policy documents. (shrink)

The ethical concerns regarding the successful development of an Artificial Intelligence have received a lot of attention lately. The idea is that even if we have good reason to believe that it is very unlikely, the mere possibility of an AI causing extreme human suffering is important enough to warrant serious consideration. Others look at this problem from the opposite perspective, namely that of the AI itself. Here the idea is that even if we have good reason to believe (...) that it is very unlikely, the mere possibility of humanity causing extreme suffering to an AI is important enough to warrant serious consideration. This paper starts from the observation that both concerns rely on problematic philosophical assumptions. Rather than tackling these assumptions directly, it proceeds to present an argument that if one takes these assumptions seriously, then one has a moral obligation to advocate for a ban on the development of a conscious AI. (shrink)

The alignment problem in artificial intelligence (AI) is a critical challenge that extends beyond the need to align future superintelligent systems with human values. This paper argues that even "merely intelligent" AI systems, built on current-gen technologies, pose existential risks due to their competence-without-comprehension nature. Current AI models, despite their advanced capabilities, lack intrinsic moral reasoning and are prone to catastrophic misalignment when faced with ethical dilemmas, as illustrated by recent controversies. Solutions such as hard-coded censorship and rule-based (...) restrictions prove inadequate, as they fail to imbue AI with a true understanding of moral complexities, making these systems vulnerable to manipulation. To address these risks, the paper explores a paradigm shift from competence to comprehension, emphasizing the importance of developing AI systems with an intrinsic value framework capable of moral reasoning. By adopting intrinsic teleology, AI could self-reflect, simulate other minds, and develop empathy, which would enable it to navigate ethical dilemmas in ways that are currently impossible. Using theories from philosophy, ethics, and AI research, the paper proposes the development of AI systems that can reason through moral dilemmas autonomously, suggesting that such systems would be safer and more alignable than current generation competence-driven AI. (shrink)

The tendency to idealise artificial intelligence as independent from human manipulators, combined with the growing ontological entanglement of humans and digital machines, has created an “anthrobotic” horizon, in which data analytics, statistics and probabilities throw our agential power into question. How can we avoid the consequences of a reified definition of intelligence as universal operation becoming imposed upon our destinies? It is here argued that the fantasised autonomy of automated intelligence presents a contradistinctive opportunity for philosophical consciousness to (...) understand itself anew as holistic and co-creative, beyond the recent “analytic” moment of the history of philosophy. Here we introduce the concept of “crealectic intelligence”, a meta-analytic and meta-dialectic aspect of consciousness. Intelligent behaviour may consist in distinguishing discrete familiar parts or reproducible functions in the midst of noise via an analytic process of segmentation; intelligence may also manifest itself in the constitution of larger wholes and dynamic unities through a dialectic process of association or assemblage. But, by contrast, crealectic intelligence co-creates realities in the image of an ideal or truth, taking into account the desiring agent imbued with a sense of possibility, in a relationship not only with the Real but also with the creative sublime or “Creal”. (shrink)

Andy Clark and David Chalmers’s theory of extended mind can be reevaluated in today’s world to include computational and Artificial Intelligence (AI) technology. This paper argues that AI can be an extension of human mind, and that if we agree that AI can have mind, it too can be extended. It goes on to explore the example of Ganbreeder, an image-making AI which utilizes human input to direct behavior. Ganbreeder represents one way in which AI extended mind could be (...) achieved. The argument of this paper is that AI can utilize human input as a social extension of mind, allowing AI to access the external world that it would not otherwise be able to access. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

This article draws on Bernard Stiegler and Gilbert Simondon’s work to further interrogate the psychic, social, and political problems raised by the development of Artificial Intelligence. Stiegler’s political philosophy of time-consciousness reveals three concomitants urgencies: human memory is conditioned by industrial supplements that are increasingly disruptive, capitalism has produced an entropic condition where life on earth is threaten by toxic systems, the deployment of technologies of spirits has striped individuals of their psychic and collective individuation. I read media (...) theory along with Simondon’s philosophy to elucidate the question of mediation in today’s reticulated AI-driven society. (shrink)

[Müller, Vincent C. (ed.), (2016), Fundamental issues of artificial intelligence (Synthese Library, 377; Berlin: Springer). 570 pp.] -- This volume offers a look at the fundamental issues of present and future AI, especially from cognitive science, computer science, neuroscience and philosophy. This work examines the conditions for artificial intelligence, how these relate to the conditions for intelligence in humans and other natural agents, as well as ethical and societal problems that artificial intelligence raises or will raise. The (...) key issues this volume investigates include the relation of AI and cognitive science, ethics of AI and robotics, brain emulation and simulation, hybrid systems and cyborgs, intelligence and intelligence testing, interactive systems, multi-agent systems, and superintelligence. Based on the 2nd conference on “Theory and Philosophy of Artificial Intelligence” held in Oxford, the volume includes prominent researchers within the field from around the world. (shrink)

American History X (hereafter AHX) has been accused by numerous critics of a morally dangerous cinematic seduction: using stylish cinematography, editing, and sound, the film manipulates the viewer through glamorizing an immoral and hate-filled neo-nazi protagonist. In addition, there’s the disturbing fact that the film seems to accomplish this manipulation through methods commonly grouped under the category of “fascist aesthetics.” More specifically, AHX promotes its neo-nazi hero through the use of several filmic techniques made famous by Nazi propagandist Leni Riefenstahl. (...) Now most critics admit that, in the end, the film claims to denounce racism and attempts to show us the conversion of the protagonist to the path of righteousness, but they complain that nonetheless the film (perhaps unintentionally) ends up implicitly promoting the immoral worldview it rather superficially professes to reject in its final act. This charge of hypocrisy is connected to another worry: the moral conversion in the film is said to fall flat because the intellectual resources on display to support the character’s racism are not counterbalanced by equally explicit (but superior) arguments for the anti-racist position ultimately embraced by the character. In other words, just as the devil is said to get all the good lines in Milton’s Paradise Lost, in AHX the racists get all the arguments. This has been taken to be a morally problematic flaw of the film. Critics lament that Derek’s conversion seems to result not from relevant logical inferences and valid rational argumentation but from overly simplistic and arguably egoistic insights (e.g., “has anything you've done made your life better?”) combined, perhaps, with a hackneyed cliché (in prison, one of his best friends is a black person!) In this paper I’ll attempt to rebut these charges and defend the film as a powerful, and powerfully moral, work of art. I’ll be suggesting that the seductive techniques employed allow for many viewers a degree of sympathy towards the protagonist that is crucial, both for making that character’s more horrific actions especially unsettling, and also for making his eventual conversion plausible and ultimately compelling. I’ll also argue that the manner in which his conversion is presented is in fact subtler than many critics have allowed: Derek’s transformation is not artificial or implausible but is depicted as resulting from a cumulative series of emotionally powerful life events and personal engagements. It is certainly true that it is not represented in the way some would seemingly have preferred, i.e. as straightforwardly resulting from a process of gradual intellectual improvement in Derek’s reasoning on questions of race and politics. However, I’ll argue that the decidedly emotional basis of his moral evolution is both refreshingly realistic and no hindrance to accepting his conversion as rational. Finally, properly understanding the legitimacy of the emotional foundations of much moral thought will also allow us to appreciate the ways in which our initial worries about this film’s (not insignificant) ability to persuade viewers through the engagement of emotions need not, in itself, be seen as a barrier to endorsing the film as a morally praiseworthy work. (shrink)