A large text presents the history of Computer Art. The history of the artistic uses of computers and computing processes is reconstructed from its beginnings in the fifties to its present state. It points out hypertextual, modular and generative modes to use computing processes in Computer Art and features examples of early developments in media like cybernetic sculptures, video tools, computer graphics and animation (including music videos and demos), video and computer games, pervasive games, reactive installations, (...) virtual reality, evolutionary art and net art. The functions of relevant art works are explained more detailed than is usual in such histories. From October 2011 to December 2012 the chapters have been published successively in German (The English translation started in August 2013 and was completed in June 2014). (shrink)

The development of the use of computers and software in art from the Fifties to the present is explained. As general aspects of the history of computer art an interface model and three dominant modes to use computational processes (generative, modular, hypertextual) are presented. The "History of Computer Art" features examples of early developments in media like cybernetic sculptures, computer graphics and animation (including music videos and demos), video and computer games, reactive installations, virtual reality, evolutionary (...) art and net art. The functions of relevant art works are explained more detailed than usual in such histories. The second edition for the Book on Demand (Lulu Press, 2020) includes an update of chapter II.1.1 (first edition 2014). (shrink)

The following aesthetic discussion examines in a philosophical-scientific way the relationship between computation and artistic creativity. Currently, there is a criticism about the possible artistic creativity that an algorithm could have. Supporting the above, the term computer-generated art (CG-Art) defined by Margaret Boden would seem to have no exponents yet. Moreover, it has been pointed out that, rather than a matter of primitive technological development, CG-Art would have in its very foundations the inability to exist. This, because art is (...) considered as one of the most unique and exclusive human manifestations of our species. On the contrary, I propose that the denial of CG-Art has an anthropocentric bias. For this, I use the recent studies that, from the cognitive sciences, have been carried out on artistic creativity. In this way, I intend to convince the reader that behind the denial of the creative artistic capacity to the machines, a negationist mysticism of the current scientific advances necessarily lies. (shrink)

This insight to art came from chess composition concentrating art in a very dense form. To identify and mathematically assess the uniqueness is the key applicable to other areas eg. computer programming. Maximization of uniqueness is minimization of entropy that coincides as well as goes beyond Information Theory (Shannon, 1948). The reusage of logic as a universal principle to minimize entropy, requires simplified architecture and abstraction. Any structures (e.g. plugins) duplicating or dividing functionality increase entropy and so unreliability (eg. (...) British Airways IT system). The ideas here were verified by my chess compositions, art works and complex information system as an author of each co uk, and were presented at conferences in Santorini, Adelaide, Geneva, Daejon and virtually. (shrink)

Neural machine translation (NMT) is one of the success stories of deep learning and artificial intelligence. Revolutionary innovations in the computational architectures made in 2015–2017 have led to dramatic improvements in the quality of machine translation (MT) and changed the field forever. Some professional translators welcome these changes with enthusiasm, others less so. But everyone has to deal with them. Historically, the relationship between human translation and MT has been uneasy and complicated, but an increasing number of players in both (...) fields are now coming to view it as synergistic. -/- OPUS-CAT is a collection of machine translation software based on a Windows implementation of Marian NMT—a stable production-ready neural machine translation framework used in many industrial and research applications. It can be installed on your PC, fine-tuned to specialized translation domains, and integrated into CAT tools. (shrink)

Computer simulations constitute a significant scientific tool for promoting scientific understanding of natural phenomena and dynamic processes. Substantial leaps in computational force and software engineering methodologies now allow the design and development of large-scale biological models, which – when combined with advanced graphics tools – may produce realistic biological scenarios, that reveal new scientific explanations and knowledge about real life phenomena. A state-of-the-art simulation system termed Reactive Animation (RA) will serve as a study case to examine the contemporary philosophical (...) debate on the scientific value of simulations, as we demonstrate its ability to form a scientific explanation of natural phenomena and to generate new emergent behaviors, making possible a prediction or hypothesis about the equivalent real-life phenomena. (shrink)

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)

Morphological Computation is based on the observation that biological systems seem to carry out relevant computations with their morphology (physical body) in order to successfully interact with their environments. This can be observed in a whole range of systems and at many different scales. It has been studied in animals – e.g., while running, the functionality of coping with impact and slight unevenness in the ground is "delivered" by the shape of the legs and the damped elasticity of the muscle-tendon (...) system – and plants, but it has also been observed at the cellular and even at the molecular level – as seen, for example, in spontaneous self-assembly. The concept of morphological computation has served as an inspirational resource to build bio-inspired robots, design novel approaches for support systems in health care, implement computation with natural systems, but also in art and architecture. As a consequence, the field is highly interdisciplinary, which is also nicely reflected in the wide range of authors that are featured in this e-book. We have contributions from robotics, mechanical engineering, health, architecture, biology, philosophy, and others. (shrink)

In recent decades, the internet has become our predominant public space and yet the role of art in this space remains largely unthought. This paper argues that graphic art, and in particular digital graphic art, has great power to shape and transform our thinking and experience. But with that power comes an enormous political and ethical responsibility, a responsibility too often ignored by programmers and computer scientists. This paper uses the work of Denis Schmidt and Jacques Taminiaux as important (...) resources for developing a Heideggerian response to this lack. (shrink)

Vous éprouvez souvent l'embarras du choix? Que sera la liberté au XXIe siècle? Depuis l'invention des machines et des computeurs, notre quotidien semble avoir gagné du temps. Mais en contrepartie, il paraît de plus en plus codé, soumis aux automatismes. Depuis Leibniz jusqu'à la puce biométrique, l'auteur raconte une histoire alternative de l'ère informatique. Il démontre que le " numérisme ", le principe ordinateur, est une vertu humaine ancestrale et nécessaire. Mais insuffisante. Après le sauve-qui-peut du postmodernisme, un nouveau paradigme (...) est en train de naître, le " créalisme " : le monde est notre création commune incessante. L'horizon de notre liberté politique et existentielle, c'est la Terre comme oeuvre d'art. Construit comme une odyssée philosophique curieuse et empreinte d'humour, voici un traité de cocréativité pour une époque aux forces actives éclatées. Où l'on découvre que l'ordre et l'aventure ne sont pas incompatibles. (shrink)

This study examines problems related to the representation of music. It constructs the sender/message/perceiver/result model, a prototype broad enough to incorporate a large variety of music and other notation systems, including those having to do with computers. The work defines music notation itself, describes various models for studying the subject--including the binary types prescriptive/descriptive, and symbolic/iconic--and assesses music notation as a contemporary practice. It encompasses a review of the actions and intentions of composers, performers, and audiences, and a consideration of (...) the message and how it is affected by media , reference systems , and meanings. Finally, through an examination of the possibilities of the self acting as a notation system within models posited by feminist and queer theory, I attempt to demonstrate the power of notation to affect other systems and worlds, including the worlds of music, art, and politics. ;The consideration of these topics draws on theories from linguistics, semiotics, structuralism, post-structuralism, cybernetics, and music, as well as the philosophies of John Cage, Jean-Jacques Nattiez, Nelson Goodman, and others. The work examines various languages and applications used to program computers for musical purposes, though this examination does not incorporate programs dedicated exclusively to printing music. Nor does the study focus on non-Western notations, suggestions for reforms of notation, or encyclopedic lists of notation devices. ;The expository writing is augmented by excerpts from material I gathered in numerous interviews. There are separate sections containing interviews of Leonard Meyer, Allan Kaprow, John Cage, Earle Brown, Roger Reynolds, and Heidi von Gunden. There is also a large, partially-annotated bibliography. ;My hope is that an inclusive, interdisciplinary exploration of music notation will be useful in broadening the theoretical and creative boundaries of the field, as well as bridging gaps among musicians using various music technologies, and artists and theorists from diverse fields and perspectives. (shrink)

The article presents the chess composition as a logical art, with concrete examples. It began with Arabic mansuba, and later evolved to new-strategy designed by Italian Alberto Mari. The redefinition of mate (e.g. mate with a free field) or a theme to quasi-pseudo theme, opens the new space for combinations, and enables to connect it with other fields like computer science. The article was exhibited in Holland Park, W8 6LU, The Ice House between 18. Oct - 3. Nov. 2013.

Augmented Reality combines the virtual and the real. It brings the virtual to the real and the real to the virtual. It is a technology that overlays computer-generated visuals, sensory input such as sound, and interactive atmosphere over the existing environment in real time. In Augmented Reality, real and virtual are simultaneously intertwined. That's why Augmented Reality has a greater impact on art than other virtual fields. Art in Augmented Reality has a counterpart in both the virtual and real (...) world. While the contents in the virtual world can be augmented with real contents, the contents in the real world can also be augmented with virtual contents. Therefore, art created with Augmented Reality can be called augmented art. (shrink)

It is a matter of fact that Europe is facing more and more crucial challenges regarding health and social care due to the demographic change and the current economic context. The recent COVID-19 pandemic has stressed this situation even further, thus highlighting the need for taking action. Active and Assisted Living technologies come as a viable approach to help facing these challenges, thanks to the high potential they have in enabling remote care and support. Broadly speaking, AAL can be referred (...) to as the use of innovative and advanced Information and Communication Technologies to create supportive, inclusive and empowering applications and environments that enable older, impaired or frail people to live independently and stay active longer in society. AAL capitalizes on the growing pervasiveness and effectiveness of sensing and computing facilities to supply the persons in need with smart assistance, by responding to their necessities of autonomy, independence, comfort, security and safety. The application scenarios addressed by AAL are complex, due to the inherent heterogeneity of the end-user population, their living arrangements, and their physical conditions or impairment. Despite aiming at diverse goals, AAL systems should share some common characteristics. They are designed to provide support in daily life in an invisible, unobtrusive and user-friendly manner. Moreover, they are conceived to be intelligent, to be able to learn and adapt to the requirements and requests of the assisted people, and to synchronise with their specific needs. Nevertheless, to ensure the uptake of AAL in society, potential users must be willing to use AAL applications and to integrate them in their daily environments and lives. In this respect, video- and audio-based AAL applications have several advantages, in terms of unobtrusiveness and information richness. Indeed, cameras and microphones are far less obtrusive with respect to the hindrance other wearable sensors may cause to one’s activities. In addition, a single camera placed in a room can record most of the activities performed in the room, thus replacing many other non-visual sensors. Currently, video-based applications are effective in recognising and monitoring the activities, the movements, and the overall conditions of the assisted individuals as well as to assess their vital parameters. Similarly, audio sensors have the potential to become one of the most important modalities for interaction with AAL systems, as they can have a large range of sensing, do not require physical presence at a particular location and are physically intangible. Moreover, relevant information about individuals’ activities and health status can derive from processing audio signals. Nevertheless, as the other side of the coin, cameras and microphones are often perceived as the most intrusive technologies from the viewpoint of the privacy of the monitored individuals. This is due to the richness of the information these technologies convey and the intimate setting where they may be deployed. Solutions able to ensure privacy preservation by context and by design, as well as to ensure high legal and ethical standards are in high demand. After the review of the current state of play and the discussion in GoodBrother, we may claim that the first solutions in this direction are starting to appear in the literature. A multidisciplinary debate among experts and stakeholders is paving the way towards AAL ensuring ergonomics, usability, acceptance and privacy preservation. The DIANA, PAAL, and VisuAAL projects are examples of this fresh approach. This report provides the reader with a review of the most recent advances in audio- and video-based monitoring technologies for AAL. It has been drafted as a collective effort of WG3 to supply an introduction to AAL, its evolution over time and its main functional and technological underpinnings. In this respect, the report contributes to the field with the outline of a new generation of ethical-aware AAL technologies and a proposal for a novel comprehensive taxonomy of AAL systems and applications. Moreover, the report allows non-technical readers to gather an overview of the main components of an AAL system and how these function and interact with the end-users. The report illustrates the state of the art of the most successful AAL applications and functions based on audio and video data, namely lifelogging and self-monitoring, remote monitoring of vital signs, emotional state recognition, food intake monitoring, activity and behaviour recognition, activity and personal assistance, gesture recognition, fall detection and prevention, mobility assessment and frailty recognition, and cognitive and motor rehabilitation. For these application scenarios, the report illustrates the state of play in terms of scientific advances, available products and research project. The open challenges are also highlighted. The report ends with an overview of the challenges, the hindrances and the opportunities posed by the uptake in real world settings of AAL technologies. In this respect, the report illustrates the current procedural and technological approaches to cope with acceptability, usability and trust in the AAL technology, by surveying strategies and approaches to co-design, to privacy preservation in video and audio data, to transparency and explainability in data processing, and to data transmission and communication. User acceptance and ethical considerations are also debated. Finally, the potentials coming from the silver economy are overviewed. (shrink)

I wholeheartedly sympathize conceptually with Coeckelbergh’s paper. The dialectical relationship between vulnerability and technology constitutes the core of Hegel’s Master and Slave. Yet, the empirical dimension is underdeveloped and Coeckelbergh’s ideas could profit from exposure to case studies. Building on a movie/novel devoted to vulnerability coping and living with ICT, I challenge the claim that modern heroism entails overcoming vulnerability with the help of enhancement and computers.

This book tries to present math to the millions and does a pretty good job. It is simple and sometimes witty but often the literary allusions intrude and the text bogs down in pages of relentless math--lovely if you like it and horrid if you don´t. If you already know alot of math you will still probably find the discussions of general math, geometry, projective geometry, and infinite series to be a nice refresher. If you don´t know any and don´t (...) have a natural talent for it, you will find it very dense or impossible. Being somewhere in the middle I skimmed thru most of it and slowed down when it got interesting. If you have only a little time I would suggest the last chapter ´The Abyss` about Georg Cantor and transfinite arithmetic. -/- At points they wax philosophical and ask the perennial question: is math is out there in the world or in here in our heads. Why not ask this about art or music or literature or computer programs or philosophy itself? In a very general way math must come from the same place that words and ideas and images come from---our brain evolved to make them and they must in many ways (every way?) reflect the structure of our brains, which reside in our DNA, which was shaped by natural selection, which was shaped by the geology of the earth and the structure of our universe, which comes from particle physics which comes from the laws of nature which are just there. -/- I have written extensively on the nature of math and language and mind and how they are all one in my many other reviews so please see them if these topics interest you. Those interested in all my writings in their most recent versions may consult my e-book Philosophy, Human Nature and the Collapse of Civilization - Articles and Reviews 2006-2016 662p (2016). -/- All of my papers and books have now been published in revised versions both in ebooks and in printed books. -/- Talking Monkeys: Philosophy, Psychology, Science, Religion and Politics on a Doomed Planet - Articles and Reviews 2006-2017 (2017) https://www.amazon.com/dp/B071HVC7YP. -/- The Logical Structure of Philosophy, Psychology, Mind and Language in Ludwig Wittgenstein and John Searle--Articles and Reviews 2006-2016 (2017) https://www.amazon.com/dp/B071P1RP1B. -/- Suicidal Utopian Delusions in the 21st century: Philosophy, Human Nature and the Collapse of Civilization - Articles and Reviews 2006-2017 (2017) https://www.amazon.com/dp/B0711R5LGX -/- . (shrink)

ABSTRACT -/- One increasingly reads about different aspects of the death of philosophy. One reason or cause being its institutionalization, as just another academic discipline, while research universities demand their tenured professionals to produve endless streams of really irrelevant publications, resulting in dealing with more detailed, microscopic issues and fabricated ‘problems’. The professionalization of philosophers created other problems of this socio-cultural practice. The dying out of philosophy is not only cased by external social and cultural factors, but also by internal (...) factors such as its methods and those concerning its subject-matter. I have explored the above in the context of meta-philosophy. In the process I also investigated the nature, the subject-matter and theories of philosophy of art, aesthetics and theory of art. It is mostly about these explorations of art that the contents of this piece is concerned with. All this is an exercise with words as the verbal means are the traditional instruments of doing philosophy. These tools not only enable the doing of philosophy but also creates limitations and limits to philosophizing. This will remain the case until the discourse develops other (for example visual, auditory, computational, etc) means to develop its many levelled and multi-dimensional practice - and in the process questions and overcomes its anthropo-centered bias. (shrink)

In this paper I suggest that, over and above the need to explore and understand the technological newness of computer art works, there is a need to address the aesthetic significance of the changes and effects that such technological newness brings about, considering the whole environmental transaction pertaining to new media, including what they can or do offer and what users do or can do with such offerings, and how this whole package is integrated into our living spaces and (...) activities. I argue that, given the primacy of computer-based interaction in the new-media, the notion of ‘ornamentality’ indicates the ground-floor aesthetics of new-media environments. I locate ornamentality not only in the logically constitutive principles of the new-media (hypertextuality and interactivity) but also in their multiform cultural embodiments (decoration as cultural interface). I utilize Kendall Walton’s theory of ornamentality in order to construe a puzzle pertaining to the ornamental erosion of information in new-media environments. I argue that insofar as we consider new-media to be conduits of ‘real-life’, the excessive density of ornamental devices prevalent in certain new-media environments forces us to conduct our inquiries under conditions of neustic uncertainty, that is, uncertainty concerning the kind of relationship that we, the users, have to the propositional content mediated. I conclude that this puzzle calls our attention to a peculiar interrogatory complexity inherent in any game of knowledge-seeking conducted across the infosphere, which is not restricted to the simplest form of data retrieval, especially in mixed-reality environments and when the knowledge sought is embodied mimetically. (shrink)

Here the concept of the human being as a “relatively isolated system” developed in Ingarden’s later phenomenology is adapted into an “aesthetics of isolation” that complements conventional environmental aesthetics. Such an aesthetics of isolation is especially relevant, given the growing “aesthetic overload” brought about by ubiquitous computing and new forms of art and aesthetic experience such as those involving virtual reality, interactive online performance art, and artificial creativity.

To secure computers and information systems from attackers taking advantage of vulnerabilities in the system to commit cybercrime, several methods have been proposed for real-time detection of vulnerabilities to improve security around information systems. Of all the proposed methods, machine learning had been the most effective method in securing a system with capabilities ranging from early detection of software vulnerabilities to real-time detection of ongoing compromise in a system. As there are different types of cyberattacks, each of the existing state-of-the-art (...) machine learning models depends on different algorithms for training which also impact their suitability for detection of a particular type of cyberattack. In this research, we analyzed each of the current state-of-the art machine learning models for different types of cyberattack detection from the past 10 years with a major emphasis on the most recent works for comparative study to identify the knowledge gap where work is still needed to be done with regard to detection of each category of cyberattack. (shrink)

Position: (1) Partial solutions to machine intelligence can lead to systems which may be useful creating interesting and expressive musical works. (2) An appropriate general goal for this field is augmenting human expression. (3) The study of the aesthetics of human augmentation in musical performance is in its infancy. -/- CHI 2015 Workshop on Collaborating with Intelligent Machines: Interfaces for Creative Sound, April 18, 2015, Seoul, Republic of Korea.

Semantic interoperability can be defined as the ability of two or more computer systems to exchange information in such a way that the meaning of that information can be automatically interpreted by the receiving system accurately enough to produce useful results to the end users of both systems. Several activities are currently being performed by a variety of stakeholders to achieve semantic interoperability in healthcare. Many of these activities are not beneficial, because they place too great a focus on (...) business aspects and not enough on involvement of the right sorts of researchers, in particular those that are able to see how the data and information relate to the entities of concern on the side of the patient. The lack of a central focus on the patient, and the associated focus on ‘concepts’, have spawned a variety of mutually incompatible terminologies exhibiting non-resolvable overlap. The predominance of the healthcare IT industry in the writing and selection of semantic interoperability standards mitigates against the benefits that standards, when well designed, can bring about. (shrink)

This is a review of Survey of the State of the Art in Human Language Technology, [editorial board: Ronald Cole (editor-in-chief), Joseph Mariani, Hans Uszkoreit, Annie Zaenen, Victor Zue], Cambridge University Press (Studies in Natural Language Processing) and Giardini Editori e Stampatori in Pisa (Linguistica Computazionale, volumes XII-XII1), managing editors: Giovanni Battista Varile and Antonio Zampolli, Cambridge University Press, 1997.

What is a game? What are we doing when we play a game? What is the value of playing games? Several different philosophical subdisciplines have attempted to answer these questions using very distinctive frameworks. Some have approached games as something like a text, deploying theoretical frameworks from the study of narrative, fiction, and rhetoric to interrogate games for their representational content. Others have approached games as artworks and asked questions about the authorship of games, about the ontology of the work (...) and its performance. Yet others, from the philosophy of sport, have focused on normative issues of fairness, rule application, and competition. The primary purpose of this article is to provide an overview of several different philosophical approaches to games and, hopefully, demonstrate the relevance and value of the different approaches to each other. Early academic attempts to cope with games tried to treat games as a subtype of narrative and to interpret games exactly as one might interpret a static, linear narrative. A faction of game studies, self-described as “ludologists,” argued that games were a substantially novel form and could not be treated with traditional tools for narrative analysis. In traditional narrative, an audience is told and interprets the story, where in a game, the player enacts and creates the story. Since that early debate, theorists have attempted to offer more nuanced accounts of how games might achieve similar ends to more traditional texts. For example, games might be seen as a novel type of fiction, which uses interactive techniques to achieve immersion in a fictional world. Alternately, games might be seen as a new way to represent causal systems, and so a new way to criticize social and political entities. Work from contemporary analytic philosophy of art has, on the other hand, asked questions whether games could be artworks and, if so, what kind. Much of this debate has concerned the precise nature of the artwork, and the relationship between the artist and the audience. Some have claimed that the audience is a cocreator of the artwork, and so games are a uniquely unfinished and cooperative art form. Others have claimed that, instead, the audience does not help create the artwork; rather, interacting with the artwork is how an audience member appreciates the artist's finished production. Other streams of work have focused less on the game as a text or work, and more on game play as a kind of activity. One common view is that game play occurs in a “magic circle.” Inside the magic circle, players take on new roles, follow different rules, and actions have different meanings. Actions inside the magic circle do not have their usual consequences for the rest of life. Enemies of the magic circle view have claimed that the view ignores the deep integration of game life from ordinary life and point to gambling, gold farming, and the status effects of sports. Philosophers of sport, on the other hand, have approached games with an entirely different framework. This has lead into investigations about the normative nature of games—what guides the applications of rules and how those rules might be applied, interpreted, or even changed. Furthermore, they have investigated games as social practices and as forms of life. (shrink)

Computational complexity is a discipline of computer science and mathematics which classifies computational problems depending on their inherent difficulty, i.e. categorizes algorithms according to their performance, and relates these classes to each other. P problems are a class of computational problems that can be solved in polynomial time using a deterministic Turing machine while solutions to NP problems can be verified in polynomial time, but we still do not know whether they can be solved in polynomial time as well. (...) A solution for the so-called NP-complete problems will also be a solution for any other such problems. Its artificial-intelligence analogue is the class of AI-complete problems, for which a complete mathematical formalization still does not exist. In this chapter we will focus on analysing computational classes to better understand possible formalizations of AI-complete problems, and to see whether a universal algorithm, such as a Turing test, could exist for all AI-complete problems. In order to better observe how modern computer science tries to deal with computational complexity issues, we present several different deep-learning strategies involving optimization methods to see that the inability to exactly solve a problem from a higher order computational class does not mean there is not a satisfactory solution using state-of-the-art machine-learning techniques. Such methods are compared to philosophical issues and psychological research regarding human abilities of solving analogous NP-complete problems, to fortify the claim that we do not need to have an exact and correct way of solving AI-complete problems to nevertheless possibly achieve the notion of strong AI. (shrink)

The notion of computation has changed the world more than any previous expressions of knowledge. However, as know-how in its particular algorithmic embodiment, computation is closed to meaning. Therefore, computer-based data processing can only mimic life’s creative aspects, without being creative itself. AI’s current record of accomplishments shows that it automates tasks associated with intelligence, without being intelligent itself. Mistaking the abstract for the concrete has led to the religion of “everything is an output of computation”—even the humankind that (...) conceived the computer. The hypostatized role of computers explains the increased dependence on them. The convergence machine called deep learning is only the most recent form through which the deterministic theology of the machine claims more than what it actually is: extremely effective data processing. A proper understanding of complexity, as well as the need to distinguish between the reactive nature of the artificial and the anticipatory nature of the living are suggested as practical responses to the challenges posed by machine theology. (shrink)

Growth in popularity of computer games is a noticeable change in recent years. Electronic entertainment increasingly engages the wider society and reaches to new audiences by offering them satisfy of wide variety of needs and aspirations. As a mass media games not only provide entertainment, but they are also an important source of income, knowledge and social problems. Article aims to bring closer look on the common areas of games and comics. On the one hand designers and artists working (...) on games are often inspired by comic books, as well as they create their licensed adaptations and separate „interactive issues”. On the other hand more and more often we can see comics based on popular games. Study present the areas of agreement, cooperation or dependence like: technologies used to create games and comic books, use of comic books to comment events in the gaming industry and organization of exhibitions or events popularizing the works from both fields. ** W ostatnich latach dostrzegalny jest wzrost popularności gier komputerowych. Elektroniczna rozrywka angażuje uwagȩ coraz to szerszych krȩgów społecznych i dociera do nowych grup odbiorców oferuj¸a}c im zaspokojenie najrozmaitszych potrzeb i aspiracji. Jako środek masowego przekazu gry dostarczaj¸a} nie tylko rozrywki, ale stanowi¸a} też istotne źródło dochodów, wiedzy i problemów społecznych. Celem artykułu jest przybliżenie wspólnych obszarów gier i komiksu. Z jednej strony projektanci i artyści pracuj¸a}cy nad grami czȩsto czerpi¸a} inspiracjȩ z komiksów, jak również tworz¸a} ich licencjonowane adaptacje i odrȩbne, „interaktywne numery”. Z drugiej zaś coraz czȩściej publikowane s¸a} komiksy bazuj¸a}ce na popularnych grach. Opracowanie przedstawia również takie obszary porozumienia, współpracy, b¸adź zależności jak: technologie wykorzystywane przy tworzeniu gier i komiksów, zastosowanie komiksów w komentowaniu wydarzeń branży gier oraz organizowanie wystaw i imprez popularyzuj¸acych twórczość z obu dziedzin. (shrink)

This paper proposes that existing computational modeling research programs may be combined into platforms for the information of public policy. The main idea is that computational models at select levels of organization may be integrated in natural terms describing biological cognition, thereby normalizing a platform for predictive simulations able to account for both human and environmental costs associated with different action plans and institutional arrangements over short and long time spans while minimizing computational requirements. Building from established research programs, the (...) proposal aims to take advantage of current momentum in the direction of the integration of the cognitive with social and natural sciences, reduce start-up costs and increase speed of development. These are all important upshots given rising unease over the potential for AI and related technologies to shape the world going forward. (shrink)

Software application ontologies have the potential to become the keystone in state-of-the-art information management techniques. It is expected that these ontologies will support the sort of reasoning power required to navigate large and complex terminologies correctly and efficiently. Yet, there is one problem in particular that continues to stand in our way. As these terminological structures increase in size and complexity, and the drive to integrate them inevitably swells, it is clear that the level of consistency required for such navigation (...) will become correspondingly difficult to maintain. While descriptive semantic representations are certainly a necessary component to any adequate ontology-based system, so long as ontology engineers rely solely on semantic information, without a sound ontological theory informing their modeling decisions, this goal will surely remain out of reach. In this paper we describe how Language and Computing nv (L&C), along with The Institute for Formal Ontology and Medical Information Sciences (IFOMIS), are working towards developing and implementing just such a theory, combining the open software architecture of L&C’s LinkSuiteTM with the philosophical rigor of IFOMIS’s Basic Formal Ontology. In this way we aim to move beyond the more or less simple controlled vocabularies that have dominated the industry to date. (shrink)

The principle of self-organization has acquired a fundamental significance in the newly emerging field of computational philosophy. Self-organizing systems have been described in various domains in science and philosophy including physics, neuroscience, biology and medicine, ecology, and sociology. While system architecture and their general purpose may depend on domain-specific concepts and definitions, there are (at least) seven key properties of self-organization clearly identified in brain systems: 1) modular connectivity, 2) unsupervised learning, 3) adaptive ability, 4) functional resiliency, 5) functional plasticity, (...) 6) from-local-to-global functional organization, and 7) dynamic system growth. These are defined here in the light of insight from neurobiology, cognitive neuroscience and Adaptive Resonance Theory (ART), and physics to show that self-organization achieves stability and functional plasticity while minimizing structural system complexity. A specific example informed by empirical research is discussed to illustrate how modularity, adaptive learning, and dynamic network growth enable stable yet plastic somatosensory representation for human grip force control. Implications for the design of “strong” artificial intelligence in robotics are brought forward. (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)

If complexity is a necessary but not sufficient premise for the existence and expression of the living, anticipation is the distinguishing characteristic of what is alive. Anticipation is at work even at levels of existence where we cannot refer to intelligence. The prospect of artificially generating aesthetic artifacts and ethical constructs of relevance to a world in which the natural and the artificial are coexistent cannot be subsumed as yet another product of scientific and technological advancement. Beyond the artificial, the (...) synthetic conjures the understanding of aesthetics and ethics no longer from the perspective of the How? type of question, but rather the Why? Given the current infatuation with synthetic biology (i.e., making life from non-life), there is a practical consequence to such considerations. Synthetic life, as any other form of life, implies the possibility of evolution. Anticipation, which is the underlying factor of evolution, is thus expected. At the level of human existence, anticipation is expressed, for instance (but not exclusively), in aesthetic forms and ethical values. This translates, in turn, into an argument for the role aesthetics and ethics play in the process. Consequently, to qualify as life, the synthesis of the physical and the living will have to efficiently handle ambiguity. Current computational facilities, regardless of their nature or performance, operate exclusively in the semiotic domain of the well defined non-ambiguous. (shrink)

Twenty-five years ago, my colleagues Miyuki Kamachi and Jiro Gyoba and I designed and photographed JAFFE, a set of facial expression images intended for use in a study of face perception. In 2019, without seeking permission or informing us, Kate Crawford and Trevor Paglen exhibited JAFFE in two widely publicized art shows. In addition, they published a nonfactual account of the images in the essay “Excavating AI: The Politics of Images in Machine Learning Training Sets.” The present article recounts the (...) creation of the JAFFE dataset and unravels each of Crawford and Paglen’s fallacious statements. I also discuss JAFFE more broadly in connection with research on facial expression, affective computing, and human-computer interaction. (shrink)

In what way might the new classicism gain support from evolutionary theory? My rough answer is that evolutionary theory can help defend a return to more classical artistic standards and also explain why classical standards are not simply imposed by social conditioning or by powerful elites, but arise naturally from something more fundamental in the human constitution. Classical standards and themes are an expression of our evolutionary history. The mind can be seen as a biological organ or function, produced by (...) evolutionary selection pressure. The most arguable and interesting expression of this point of view is that which says that the human mind is more like a Swiss army knife than a general-purpose computer or sponge for information. Our minds are modular. First propounded by Jerry Fodor, the idea was taken up by evolutionary psychologists and fleshed out with a history. Evolution has given us cognitive modules, partly self-contained mental “machines” that are attuned to solving problems with a narrowly defined domain. Darwinian evolution has shaped our minds in particular ways that fundamentally affect our evaluation of everything we perceive and therefore our appreciation of art. I draw out a surprising implication of combining the modular view with evolution: that our aesthetic standards may, to some extent, be fragmented and not quite as universal as held by the orthodox defence of classical art. (shrink)

Tracing the leading role of emotions in the evolution of the mind, a philosopher and a psychologist pair up to reveal how thought and culture owe less to our faculty for reason than to our capacity to feel. Many accounts of the human mind concentrate on the brain’s computational power. Yet, in evolutionary terms, rational cognition emerged only the day before yesterday. For nearly 200 million years before humans developed a capacity to reason, the emotional centers of the brain were (...) hard at work. If we want to properly understand the evolution of the mind, we must explore this more primal capability that we share with other animals: the power to feel. Emotions saturate every thought and perception with the weight of feelings. The Emotional Mind reveals that many of the distinctive behaviors and social structures of our species are best discerned through the lens of emotions. Even the roots of so much that makes us uniquely human—art, mythology, religion—can be traced to feelings of caring, longing, fear, loneliness, awe, rage, lust, playfulness, and more. From prehistoric cave art to the songs of Hank Williams, Stephen T. Asma and Rami Gabriel explore how the evolution of the emotional mind stimulated our species’ cultural expression in all its rich variety. Bringing together insights and data from philosophy, biology, anthropology, neuroscience, and psychology, The Emotional Mind offers a new paradigm for understanding what it is that makes us so unique. (shrink)

Our private perception of listening to an individualized playlist during a jog is very different from the interaction we might experience at a live concert. We do realize that music is not necessarily a performing art, such as dancing or theater, while our demands regarding musical performances are conflicting: We expect perfect sound quality and the thrill of the immediate. We want the artist to overwhelm us with her virtuosity and we want her to struggle, just like a human. We (...) want to engage with the musical expression and rely on visual and physical cues. Considering that the ears of today's listeners are used to technologically mediated music, in this paper I explore the unique qualities of musical live performances and examine if our conception allows for new mechatronic inventions, in particular robotic musicians, to participate in this art form. Some of Godlovitch's main thoughts expounded in his work on "musical performance" [11] serve as a reference and starting point for this investigation. His concept of `personalism', which deprives computer-/program-based musical performances from expressive potential and creative accomplishment is an issue that I want to challenge by pointing out new approaches arising from a reective discourse on technology, embodiment and expression. The enquiry conducted illustrates, how in reasoning about machine performers and algorithmic realization of music, we also examine the perceptual, physical and social aspects of human musicianship, reconceptualizing our understanding of a musical live performance. (shrink)

This autodidactic paper wraps up an earlier epistemic art project and compactly collates the main unfolded scientific and philosophical strategies for epistemic resiliency against epistemic doom in the deepfake era. Retrospectively speaking, the existence of a dense condensate within which explanatory blockchain (EB) based science, EB-based philosophy and EB-based art overlap acts as a pointer to untapped non-algorithmic epistemic resources that could (if ever activated) exhibit the natural tendency to compel the reach of algorithmic computations – noticeably at the "cost" (...) of increasing non-algorithmic self-determination. (shrink)

In artificial intelligence, recent research has demonstrated the remarkable potential of Deep Convolutional Neural Networks (DCNNs), which seem to exceed state-of-the-art performance in new domains weekly, especially on the sorts of very difficult perceptual discrimination tasks that skeptics thought would remain beyond the reach of artificial intelligence. However, it has proven difficult to explain why DCNNs perform so well. In philosophy of mind, empiricists have long suggested that complex cognition is based on information derived from sensory experience, often appealing to (...) a faculty of abstraction. Rationalists have frequently complained, however, that empiricists never adequately explained how this faculty of abstraction actually works. In this paper, I tie these two questions together, to the mutual benefit of both disciplines. I argue that the architectural features that distinguish DCNNs from earlier neural networks allow them to implement a form of hierarchical processing that I call “transformational abstraction”. Transformational abstraction iteratively converts sensory-based representations of category exemplars into new formats that are increasingly tolerant to “nuisance variation” in input. Reflecting upon the way that DCNNs leverage a combination of linear and non-linear processing to efficiently accomplish this feat allows us to understand how the brain is capable of bi-directional travel between exemplars and abstractions, addressing longstanding problems in empiricist philosophy of mind. I end by considering the prospects for future research on DCNNs, arguing that rather than simply implementing 80s connectionism with more brute-force computation, transformational abstraction counts as a qualitatively distinct form of processing ripe with philosophical and psychological significance, because it is significantly better suited to depict the generic mechanism responsible for this important kind of psychological processing in the brain. (shrink)

Automatic detection of diseases and anatomical landmarks in medical images by the use of computers is important and considered a challenging process that could help medical diagnosis and reduce the cost and time of investigational procedures and refine health care systems all over the world. Recently, gastrointestinal (GI) tract disease diagnosis through endoscopic image classification is an active research area in the biomedical field. Several GI tract disease classification methods based on image processing and machine learning techniques have been proposed (...) by diverse research groups in the recent past. However, yet effective and comprehensive deep ensemble neural network-based classification model with high accuracy classification results is not available in the literature. In this thesis, we review ways and mechanisms to use deep learning techniques to research on multi-disease computer-aided detection about gastrointestinal and identify these images. We re-trained five state-of-the-art neural network architectures, VGG16, ResNet, MobileNet, Inception-v3, and Xception on the Kvasir dataset to classify eight categories that include an anatomical landmark (pylorus, z-line, cecum), a diseased state (esophagitis, ulcerative colitis, polyps), or a medical procedure (dyed lifted polyps, dyed resection margins) in the Gastrointestinal Tract. Our models have showed results with a promising accuracy which is a remarkable performance with respect to the state-of-the-art approaches. The resulting accuracies achieved using VGG, ResNet, MobileNet, Inception-v3, and Xception were 98.3%, 92.3%, 97.6%, 90% and 98.2%, respectively. As it appears, the most accurate result has been achieved when retraining VGG16 and Xception neural networks with accuracy reache to 98% due to its high performance on training on ImageNet dataset and internal structure that support classification problems. (shrink)

Introduction: representationalismMost theorists of cognition endorse some version of representationalism, which I will understand as the view that the human mind is an information-using system, and that human cognitive capacities are representational capacities. Of course, notions such as ‘representation’ and ‘information-using’ are terms of art that require explication. As a first pass, representations are “mediating states of an intelligent system that carry information” (Markman and Dietrich 2001, p. 471). They have two important features: (1) they are physically realized, and so (...) have causal powers; (2) they are intentional, in other words, they have meaning or representational content. This presumes a distinction between a representational vehicle—a physical state or structure that has causal powers and is responsible for producing behavior—and its content. Consider the following characterization of a device that computes the addition functionReaders will recognize the similarity t. (shrink)

Creativity is a notoriously evasive concept, and it is used to cover a lot of different phenomena. Different methods and a wide variety of angles have been used in the striving for a clear-cut conception. The focus has been on alternatively the personality of creative people, their childhood, the conditions that a society must fulfil to support a creative atmosphere, works of art contra the discoveries of science, changes in pedagogy to give rise to or improve creativity, computer models, (...) intuition, and so on. Consequently, the resulting picture of creativity varies substantially depending on the goal of the inquiry as well as on the constraints that are set from the start, not only by the scope of the investigation, but also by the discipline that the investigator belongs to and the method that is used. (shrink)

Current state-of-the-art out-of-distribution algorithm does not address the variation in dynamic and static behavior between malware variants from the same family as evidence in their poor performance against an out-of-distribution malware attack. We aims to address this limitation by: 1) exploitation of the in-dimensional embedding space between variants from the same malware family to account for all variations 2) exploitation of the inter-dimensional space between different malware family 3) building a deep learning-based model with a shallow neural network with maximum (...) of two connected layers to overcome overfitting from the scratch 4) building a Bayesian inference based computation algorithm that intertwine with connected network and is able to create new and adjust existing data points in response to an exposure to new out-of-distribution variants of existing or new malware family which determines the extent at which model weight is adjusted which in turn triggers update on the gradient. Preliminary result of our proposed framework gave an accuracy of 81\% in the successful classification of a novel out-of-distribution malware attack, something that could not be achieve by any of the state-of-the-art algorithms on novel malware classification. (shrink)

This volume presents state-of-the-art papers on new topics related to neutrosophic theories, such as neutrosophic algebraic structures, neutrosophic triplet algebraic structures, neutrosophic extended triplet algebraic structures, neutrosophic algebraic hyperstructures, neutrosophic triplet algebraic hyperstructures, neutrosophic n-ary algebraic structures, neutrosophic n-ary algebraic hyperstructures, refined neutrosophic algebraic structures, refined neutrosophic algebraic hyperstructures, quadruple neutrosophic algebraic structures, refined quadruple neutrosophic algebraic structures, neutrosophic image processing, neutrosophic image classification, neutrosophic computer vision, neutrosophic machine learning, neutrosophic artificial intelligence, neutrosophic data analytics, neutrosophic deep learning, and (...) neutrosophic symmetry, as well as their applications in the real world. (shrink)

Current state-of-the-art out-of-distribution algorithm does not address the variation in dynamic and static behavior between malware variants from the same family as evidence in their poor performance against an out-of-distribution malware attack. We aims to address this limitation by: 1) exploitation of the in-dimensional embedding space between variants from the same malware family to account for all variations 2) exploitation of the inter-dimensional space between different malware family 3) building a deep learning-based model with a shallow neural network with maximum (...) of two connected layers to overcome overfitting from the scratch 4) building a Bayesian inference based computation algorithm that intertwine with connected network and is able to create new and adjust existing data points in response to an exposure to new out-of-distribution variants of existing or new malware family which determines the extent at which model weight is adjusted which in turn triggers update on the gradient. Preliminary result of our proposed framework gave an accuracy of 81\% in the successful classification of a novel out-of-distribution malware attack, something that could not be achieve by any of the state-of-the-art algorithms on novel malware classification. (shrink)

The article reflects on where AI is headed and the world along with it, considering trust, ethics and safety. Implicit in artificial thinking and doomsday appraisals is the engineered divorce from reality of sublime human embodiment. Jeffrey White, Dietrich Brandt, Jan Soeffner, and Larry Stapleton, four scholars associated with AI & Society, address these issues, and more, in the following exchange.

The common use of Shannon’s information, specified for the needs of telecommunications, gives rise to many misunderstandings outside of this context. (e.g. in conceptions of such well-known theorists as C.F. Weizsäcker and J. A. Wheeler). This article shows that the terms of the general definition of information meet the structural information, and Shannon’s information is a special case of it. Similarly, complexity is misunderstood today as exemplified by the concepts of reputable computer scientists, such as S. Lloyd, S. Wolfram (...) and J. Schmidhuber. These theorists use an algorithmic definition of complexity and the so-called logical depth, neither of which meets the intuitive criterion of complexity. Hence, their misconceptions of beauty, art and the universe. It will be shown that the intuitive criterion is met by Abstract Complexity Definition. This definition also fulfils the criterion for a general complexity definition, as it defines complexity of the most general/abstract structure of our reality, that is, binary structure. It also explains such fundamental issues of information theory as the information–energy relationship and the value of information, which are still discussed and need to be clarified. (shrink)

In philosophy of mind, zombies are imaginary creatures that are exact physical duplicates of conscious subjects but for whom there is no first-personal experience. Zombies are meant to show that physicalism—the theory that the universe is made up entirely out of physical components—is false. In this paper, I apply the zombie thought experiment to the realm of morality to assess whether moral agency is something independent from sentience. Algorithms, I argue, are a kind of functional moral zombie, such that thinking (...) about the latter can help us better understand and regulate the former. I contend that the main reason why algorithms can be neither autonomous nor accountable is that they lack sentience. Moral zombies and algorithms are incoherent as moral agents because they lack the necessary moral understanding to be morally responsible. To understand what it means to inflict pain on someone, it is necessary to have experiential knowledge of pain. At most, for an algorithm that feels nothing, ‘values’ will be items on a list, possibly prioritised in a certain way according to a number that represents weightiness. But entities that do not feel cannot value, and beings that do not value cannot act for moral reasons. (shrink)

Necessity and sufficiency are the building blocks of all successful explanations. Yet despite their importance, these notions have been conceptually underdeveloped and inconsistently applied in explainable artificial intelligence (XAI), a fast-growing research area that is so far lacking in firm theoretical foundations. Building on work in logic, probability, and causality, we establish the central role of necessity and sufficiency in XAI, unifying seemingly disparate methods in a single formal framework. We provide a sound and complete algorithm for computing explanatory factors (...) with respect to a given context, and demonstrate its flexibility and competitive performance against state of the art alternatives on various tasks. (shrink)