The increasing use of artificial intelligence (AI) systems in our daily life through various applications, services, and products explains the significance of trust/distrust in AI from a user perspective. AI-driven systems have significantly diffused into various fields of our lives, serving as beneficial tools used by human agents. These systems are also evolving to act as co-assistants or semi-agents in specific domains, potentially influencing human thought, decision-making, and agency. Trust/distrust in AI plays the role of a regulator and could significantly (...) control the level of this diffusion, as trust can increase, and distrust may reduce the rate of adoption of AI. Recently, varieties of studies have paid attention to the variant dimension of trust/distrust in AI, and its relevant considerations. In this systematic literature review, after conceptualization of trust in the current AI literature review, we will investigate trust in different types of human-Machine interaction, and its impact on technology acceptance in different domains. In addition to that, we propose a taxonomy of technical (i.e., safety, accuracy, robustness) and non-technical axiological (i.e., ethical, legal, and mixed) trustworthiness metrics, and some trustworthy measurements. Moreover, we examine some major trust-breakers in AI (e.g., autonomy and dignity threat), and trust makers; and propose some future directions and probable solutions for the transition to a trustworthy AI. (shrink)

Inventing Knowledge: A Global & Historical Introduction to Philosophy is an open educational resource (OER) textbook designed for a cross-cultural historical-survey style Introduction to Philosophy course. While it was written with an undergraduate academic audience in mind, it should also be suitable for self-guided readers interested in philosophy. It covers ‘western' philosophy from the Presocratics of Ancient Greece through to the present day (and including the Islamic world). It also contains additional chapters on philosophy in India, China, Mesoamerica, and Africa. (...) The text touches on issues concerning, but not limited to, metaphysics, epistemology, ethics, political philosophy, philosophy of religion, and aesthetics. Upon working through the material covered here, students should be able to identify and discuss many of the central figures, concepts, problems, theories, and schools of philosophy across history and across the world. (shrink)

This article analyzes how populism is conceptualized and studied in International Relations (IR) and argues that it should be seen as a political logic instead of a political ideology. It does so by demonstrating that ‘populist foreign policy’ looks radically different when analyzing the populist left, refuting the possibility of any distinctly ‘populist’ foreign policy positions. We argue that large parts of IR scholarship practice a form of concept-stretching that undermines the quality of analysis as well as the ability to (...) make meaningful policy recommendations. Using the empirical case studies of Bernie Sanders in the United States and Podemos in Spain, the article demonstrates that populism does not translate into any shared ideological positions but is a way of formulating and performing – in these cases – leftist politics through which political actors can interpellate and mobilize different societal groups and demands behind their political projects. In particular, the analysis debunks common assumptions about populism’s alleged effects on foreign policy and dangers to pluralist democracy and shows that “populism” neither necessarily opposes multilateralism, migration and global public good provision nor formulates an authoritarian claim to power. (shrink)

In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre’s notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of this, we have grounds for dismissing these attributions. Here, I argue (...) for an alternative model of authenticity in which we take claims about the relative authenticity of country music to be evidence of ‘country’ being a dual character concept in the same way that it has been suggested of punk rock and hip-hop. Authentic country music is country music that embodies the core value commitments of the genre. These values form the basis of country artists’ and audiences’ practical identities. Part of country music’s aesthetic practice is that audiences reconnect with, reify, and revise this common practical identity through identification with artists and works that manifest these values. We should then think of authenticity discourse within country music as a kind of game within the genre’s practice of shaping and maintaining this practical identity. (shrink)

Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is different than what it takes for a work to be a good work of horror, and a failure to recognize this will lead to a failure to appreciate comedies or works of horror particularly well. Likewise, it is not uncommon to hear people say that a film or novel is a good work, but not a good work of x (where x (...) is the genre of that work). A work can be good all things considered, but genre membership provides us with an additional set of evaluative criteria over and above those of the medium, which colors how we interpret and appreciate the work. Given this importance, it is not surprising that philosophers of art have been interested in providing an account of what, exactly, a genre is. Despite this interest, there is not widespread agreement about what it takes for something to be a genre, nor what kinds of considerations are relevant in determining whether a work is a member of that genre. Beyond this, we might also want to know to what degree we ought to consider genre in evaluating a work of art and why it should matter at all. Here, I explore the variety of recent theories that philosophers have taken up on the topic of genre and why we should ultimately think of genres as artistic practices rather than the alternatives. (shrink)

Groove, as a musical quality, is an important part of jazz and pop music appreciative practices. Groove talk is widespread among musicians and audiences, and considerable importance is placed on generating and appreciating grooves in music. However, musicians, musicologists, and audiences use groove attributions in a variety of ways that do not track one consistent underlying concept. I argue that that there are at least two distinct concepts of groove. On one account, groove is ‘the feel of the music’ and, (...) on the other, groove is the psychological feeling (induced by music) of wanting to move one’s body. Further, I argue that recent work in music psychology shows that these two concepts do not converge on a unified set of musical features. Finally, I also argue that these two concepts play different functional roles in the appreciative practices of jazz and popular music. This should cause us to further consider the mediating role genre plays for aesthetic concepts and provides us with reason for adopting a more communitarian approach to aesthetics which is attentive to the ways in which aesthetic discourse serves the practices of different audiences. (shrink)

It has been argued that an adequate feminist response to sexist pornography demands not just efforts to eradicate sexist beliefs, but also aesthetic counter-intervention at the level of taste. This view motivates support for feminist pornography. This paper takes the feminist pornography suggestion seriously by unpacking difficulties for the project. I begin by spelling out two views about what makes feminist pornography feminist: the ‘content view,’ and the ‘context view,’ and discuss what I take to be existing arguments for the (...) latter. I then present two objections to the context view: the first focuses on how we characteristically interact with pornography (as a masturbatory aid), the second challenges the value of authenticity upon which much feminist pornography rests. If these arguments are correct, then there are serious flaws with feminist pornography as it is commonly conceived. I close with a brief suggestion of an alternative approach rooted in feminist solidarity. (shrink)

In this paper, I propose a novel theory for why we find certain mundane everyday experiences, objects, and phenomena satisfying aesthetic experiences. I refer to these as 'oddly satisfying' experiences, and argue that they assert themselves as aesthetic by being suggestive of the cinematic. This cinematic quality is the product of everyday experiences gesturing towards a kind of careful artistic intent.

Country music critics and scholars have noticed an apparent contradiction between the practical identity of country music and the image of the male country singer as the 'rhinestone cowboy'. In this case, the problem is one of how we can make sense of the rural, working-class, ruggedly masculinity persona common to the genre with its elaborately embroidered, brightly colored, and highly embellished male fashion. The intractability of this problem has led some to argue that the simplest solution is to just (...) deny the legitimacy of country music authenticity discourse altogether. That is, all the genre’s talk of the rural working class is inauthentic and should be discarded. Here, I argue that by accounting for country music authenticity in terms of the genre being a dual character concept, we can fully address the skeptic's worries. Beyond merely being compatible with the Nudie suit however, this notion of authenticity is also our best way of understanding the aesthetic value of the rhinestone cowboy image at all. The resulting picture, in which the suit primarily serves as an epistemic signifier of one’s standing in the country music community, allows for the Nudie suit to function as a class, and sometimes queer, commentary on mainstream culture. (shrink)

Genre discourse is widespread in appreciative practice, whether that is about hip-hop music, romance novels, or film noir. It should be no surprise then, that philosophers of art have also been interested in genres. Whether they are giving accounts of genres as such or of particular genres, genre talk abounds in philosophy as much as it does the popular discourse. As a result, theories of genre proliferate as well. However, in their accounts, philosophers have so far focused on capturing all (...) of the categories of art that we think of as genres and have focused less on ensuring that only the categories we think are genres are captured by those theories. Each of these theories populates the world with far too many genres because they call a wide class of mere categories of art genres. I call this the problem of genre explosion. In this paper, I survey the existing accounts of genre and describe the kinds of considerations they employ in determining whether a work is a work of a given genre. After this, I demonstrate the ways in which the problem of genre explosion arises for all of these theories and discuss some solutions those theories could adopt that will ultimately not work. Finally, I argue that the problem of genre explosion is best solved by adopting a social view of genres, which can capture the difference between genres and mere categories of art. (shrink)

Many widely divergent accounts of luck have been offered or employed in discussing an equally wide range of philosophical topics. We should, then, expect to find some unified philosophical conception of luck of which moral luck, epistemic luck, and luck egalitarianism are species. One of the attempts to provide such an account is that offered by Duncan Pritchard, which he refers to as the modal account. This view commits us to calling an event lucky when it obtains in this world, (...) but fails to obtain in a wide class of nearby possible worlds. In support of this account, Pritchard argues that a theory of luck ought to capture the fact that luck comes in degrees and that luck is closely associated with risk. I argue against this claim by suggesting that an understanding of luck grounded in considerations of probability is better able to satisfy these demands, and that the probability theory better explains exemplary cases of luck like those brought up by Pritchard. (shrink)

The Ontology for Biomedical Investigations (OBI) is an ontology that provides terms with precisely defined meanings to describe all aspects of how investigations in the biological and medical domains are conducted. OBI re-uses ontologies that provide a representation of biomedical knowledge from the Open Biological and Biomedical Ontologies (OBO) project and adds the ability to describe how this knowledge was derived. We here describe the state of OBI and several applications that are using it, such as adding semantic expressivity to (...) existing databases, building data entry forms, and enabling interoperability between knowledge resources. OBI covers all phases of the investigation process, such as planning, execution and reporting. It represents information and material entities that participate in these processes, as well as roles and functions. Prior to OBI, it was not possible to use a single internally consistent resource that could be applied to multiple types of experiments for these applications. OBI has made this possible by creating terms for entities involved in biological and medical investigations and by importing parts of other biomedical ontologies such as GO, Chemical Entities of Biological Interest (ChEBI) and Phenotype Attribute and Trait Ontology (PATO) without altering their meaning. OBI is being used in a wide range of projects covering genomics, multi-omics, immunology, and catalogs of services. OBI has also spawned other ontologies (Information Artifact Ontology) and methods for importing parts of ontologies (Minimum information to reference an external ontology term (MIREOT)). The OBI project is an open cross-disciplinary collaborative effort, encompassing multiple research communities from around the globe. To date, OBI has created 2366 classes and 40 relations along with textual and formal definitions. The OBI Consortium maintains a web resource providing details on the people, policies, and issues being addressed in association with OBI. (shrink)

Loneliness in medicine is a serious problem not just for patients, for whom illness is intrinsically isolating, but also for physicians in the contemporary condition of medicine. We explore this problem by investigating the ideal physician-patient relationship, whose analogy with friendship has held enduring normative appeal. Drawing from Talbot Brewer and Nir Ben-Moshe, we argue that this appeal lies in a dynamic form of companionship incompatible with static models of friendship-like physician-patient relationships: a mutual refinement of embodied virtue that draws (...) both persons together. The ideal physician-patient relationship has a dialectical character that fosters each member's improvement of phenomenologically recognizing and embodying moral virtues. A key component of this dynamic is a commitment to the common goal of the patient's health, realized through joint interactivities and conversations over time. The physician's presence to the patient's suffering—understood best as an alienating phenomenological condition for the patient—orients and discloses possibilities for virtuous caregiving by structuring the meanings of the goals, conversations, and joint narrative constitutive of their relationship. Presence to suffering, paradoxically, is perhaps an important prerequisite for this dynamic partnership. These activities dialectically build an interpretive horizon of understanding through which moral goods and character refinement—in and for the other—may become revealed for both persons in their shared being-in-the-world. This analysis of suffering, mood, and revealing of (possible) moral goods has implications for addressing the modern problem of loneliness for patients and physicians, who are increasingly inhibited from building flourishing relationships with each other. (shrink)

It has been over two decades since Miranda Fricker labeled epistemic injustice, in which an agent is wronged in their capacity as a knower. The philosophical literature has proliferated with variants and related concepts. By considering cases in popular music, we argue that it is worth distinguishing a parallel phenomenon of art-interpretive injustice, in which an agent is wronged in their creative capacity as a possible artist. In section 1, we consider the prosecutorial use of rap lyrics in court as (...) a central case of this injustice. In section 2, we distinguish art-interpretive injustice from other categories already discussed in recent literature. In section 3, we discuss the relationship between genre discourse and identity prejudice. The case for recognizing the category of art-interpretive injustice is that it allows one to recognize a class of harms as being importantly related in ways that one would otherwise overlook. (shrink)

Malone Dies marks the point where Samuel Beckett foremost turns to “metaphysical destruction” of “untrue self,” and Derrida’s critique of the notion of “self-presence” of the subject. In this article, I examine Beckett’s literary absurdities to his readers’ concerns of “abuse” through them. For this investigation Malone Dies posits a stream of conflicting “linguistic nihilism” to the concerns of deconstructing “untrue self,” arguably, which will reflect how abuse of Beckettian readers is stimulated. In this context, abuse is specific (...) forms of emotional tensions aroused by the readers encounter with the Beckettian intersubjectivity. In particular, the existential model of abuse will be analysed as a part of beyond “self-deconstruction” autonomy. (shrink)

Malón (Arch Sexual Behav 44(4):1071–1083, 2015) kam zu dem Schluss, dass die üblichen Argumente gegen sexuelle Beziehungen zwischen Erwachsenen und Kindern vor der Pubertät nicht ausreichen, um deren moralische Zulässigkeit unter allen Umständen auszuschließen. Diese postulierte Lücke versuchte Malón (Sex Cult 21(1):247–269, 2017) mit Tugendethik zu füllen. Diesen Tugendethikansatz im zweiten von Malóns Fachartikeln fechtet der vorliegende Aufsatz an, indem er (1) die Ansicht in Frage stellt, dass Sex ein außergewöhnlicher Teilaspekt der Moral ist, der eines Tugendansatzes bedarf, (2) die (...) Ansicht in Frage stellt, dass die Tugendethik greift, wo andere Argumente gegen die Zulässigkeit von sexuellen Kind-Erwachsenen-Beziehungen scheitern, und (3) geltend macht, dass solche Beziehungen im Lichte eines anderen Tugendverständnisses tugendhaft erscheinen können. [This is a German translation of „Childhood ‘Innocence’ is Not Ideal: Virtue Ethics and Child–Adult Sex“, Sexuality & Culture (2018). DOI 10.1007/s12119-018-9519-1]. (shrink)

Quantum mechanics was reformulated as an information theory involving a generalized kind of information, namely quantum information, in the end of the last century. Quantum mechanics is the most fundamental physical theory referring to all claiming to be physical. Any physical entity turns out to be quantum information in the final analysis. A quantum bit is the unit of quantum information, and it is a generalization of the unit of classical information, a bit, as well as the quantum information itself (...) is a generalization of classical information. Classical information refers to finite series or sets while quantum information, to infinite ones. Quantum information as well as classical information is a dimensionless quantity. Quantum information can be considered as a “bridge” between the mathematical and physical. The standard and common scientific epistemology grants the gap between the mathematical models and physical reality. The conception of truth as adequacy is what is able to transfer “over” that gap. One should explain how quantum information being a continuous transition between the physical and mathematical may refer to truth as adequacy and thus to the usual scientific epistemology and methodology. If it is the overall substance of anything claiming to be physical, one can question how different and dimensional physical quantities appear. Quantum information can be discussed as the counterpart of action. Quantum information is what is conserved, action is what is changed in virtue of the fundamental theorems of Emmy Noether (1918). The gap between mathematical models and physical reality, needing truth as adequacy to be overcome, is substituted by the openness of choice. That openness in turn can be interpreted as the openness of the present as a different concept of truth recollecting Heidegger’s one as “unconcealment” (ἀλήθεια). Quantum information as what is conserved can be thought as the conservation of that openness. (shrink)

The success of a few theories in statistical thermodynamics can be correlated with their selectivity to reality. These are the theories of Boltzmann, Gibbs, end Einstein. The starting point is Carnot’s theory, which defines implicitly the general selection of reality relevant to thermodynamics. The three other theories share this selection, but specify it further in detail. Each of them separates a few main aspects within the scope of the implicit thermodynamic reality. Their success grounds on that selection. Those aspects can (...) be represented by corresponding oppositions. These are: macroscopic – microscopic; elements – states; relational – non-relational; and observable – theoretical. They can be interpreted as axes of independent qualities constituting a common qualitative reference frame shared by those theories. Each of them can be situated in this reference frame occupying a different place. This reference frame can be interpreted as an additional selection of reality within Carnot’s initial selection describable as macroscopic and both observable and theoretical. The deduced reference frame refers implicitly to many scientific theories independent of their subject therefore defining a general and common space or subspace for scientific theories (not for all). The immediate conclusion is: The examples of a few statistical thermodynamic theories demonstrate that the concept of “reality” is changed or generalized, or even exemplified (i.e. “de-generalized”) from a theory to another. Still a few more general suggestions referring the scientific realism debate can be added: One can admit that reality in scientific theories is some partially shared common qualitative space or subspace describable by relevant oppositions and rather independent of their subject quite different in general. Many or maybe all theories can be situated in that space of reality, which should develop adding new dimensions in it for still newer and newer theories. Its division of independent subspaces can represent the many-realities conception. The subject of a theory determines some relevant subspace of reality. This represents a selection within reality, relevant to the theory in question. The success of that theory correlates essentially with the selection within reality, relevant to its subject. (shrink)

Genius Is Not About Popularity -/- Throughout history, the concept of genius has often been misunderstood. Many equate genius with fame, believing that the most recognized figures in science, art, and philosophy are necessarily the greatest minds. However, true genius is not about popularity; it is about depth of insight, originality of thought, and contributions to human progress, regardless of public recognition. Some of the most brilliant minds were overlooked in their time, yet their ideas shaped the future. This essay (...) explores why genius is independent of popularity and how history has proven that true intellectual greatness often transcends societal recognition. -/- The Nature of Genius -/- Genius is characterized by extraordinary intellectual ability, creativity, and the capacity to think beyond conventional wisdom. A true genius is not necessarily someone who seeks attention or public validation but someone who pursues knowledge and innovation for its own sake. Many geniuses are ahead of their time, which can result in their ideas being ignored or misunderstood. Unlike celebrities or influential public figures, a genius does not necessarily attract mass appeal because their work often requires a level of understanding that only a few can appreciate during their lifetime. -/- Unrecognized Geniuses in History -/- History is filled with examples of individuals whose genius was not recognized until long after their death. One of the most famous cases is Nikola Tesla, a brilliant inventor and engineer whose contributions to electrical engineering were largely overshadowed by more business-savvy figures like Thomas Edison. Tesla’s work on alternating current (AC) power revolutionized the world, yet he died in relative obscurity. -/- Another example is Gregor Mendel, the father of modern genetics. Mendel’s groundbreaking experiments with pea plants laid the foundation for genetic inheritance, yet his work was largely ignored during his lifetime. It was only decades later that scientists realized the significance of his discoveries, which are now fundamental to biology. -/- Similarly, Vincent van Gogh is celebrated today as one of the greatest painters in history, yet he sold only a few paintings during his lifetime. His artistic vision was not widely appreciated, and he struggled with poverty and mental illness. His posthumous fame is a testament to how genius is often ahead of its time and only recognized when society catches up with its vision. -/- The philosopher Søren Kierkegaard, who laid the foundation for existentialist thought, was largely dismissed during his lifetime. Today, his writings influence fields as diverse as philosophy, psychology, and theology. Similarly, Ada Lovelace, who worked on Charles Babbage’s early mechanical computer, was virtually unknown during her time but is now recognized as one of the first computer programmers. -/- Alan Turing, whose work in cryptography helped end World War II, was largely unrecognized in his lifetime due to prevailing social prejudices. His contributions to computer science and artificial intelligence were only widely acknowledged decades after his tragic death. Likewise, the works of Emily Dickinson, now considered some of the greatest poetry in American literature, remained unpublished until after her passing. -/- Another overlooked genius was Hypatia of Alexandria, a pioneering mathematician, astronomer, and philosopher in ancient Greece. Despite her immense contrib”tions to science and philosophy, she was largely erased from history due to political and religious turmoil. Similarly, Joseph Priestley, the scientist who discovered oxygen, did not receive immediate recognition because his findings conflicted with mainstream scientific beliefs at the time. -/- Another modern example is Rosalind Franklin, whose work in X-ray crystallography was crucial to the discovery of DNA’s double helix structure. However, her contributions were overshadowed by Watson and Crick, who received most of the credit for the discovery. Additionally, Ignaz Semmelweis, a 19th-century physician who introduced handwashing in medical practice to prevent infections, was dismissed and ridiculed during his time, only for his ideas to become foundational in modern medicine. -/- Other overlooked geniuses include Ludwig Boltzmann, who developed statistical mechanics, a cornerstone of modern physics. His work was dismissed by many during his lifetime, leading to his tragic death. Similarly, Emmy Noether, one of the greatest mathematicians in history, made groundbreaking contributions to abstract algebra and theoretical physics but was largely unrecognized due to gender biases. -/- Johan Sebastian Bach, now considered one of the greatest composers, was not widely appreciated during his lifetime and was overshadowed by more fashionable composers of his era. Likewise, Henri Poincaré, whose work in mathematics and theoretical physics laid the groundwork for chaos theory and relativity, was often overlooked in favor of his contemporaries. -/- Popularity vs. Impact -/- Popularity is often dictated by trends, media influence, and societal values, whereas genius is about intellectual contribution and long-term impact. Many popular figures may gain widespread recognition due to charisma, marketing, or entertainment value, but that does not necessarily mean they have made groundbreaking contributions to human knowledge. In contrast, some of the most transformative ideas in science, philosophy, and art have come from individuals who were not widely known in their era. -/- Moreover, some geniuses actively avoid the spotlight, preferring to focus on their work rather than public recognition. Albert Einstein, despite becoming famous later in life, initially worked in obscurity as a patent clerk before his theories revolutionized physics. Similarly, mathematician Srinivasa Ramanujan made astonishing contributions to number theory without formal education or widespread recognition during his lifetime. -/- The Importance of Recognizing True Genius -/- While popularity can bring attention to ideas, it is important to differentiate between recognition and true intellectual brilliance. Society should strive to support and acknowledge innovative thinkers even if their ideas are not immediately understood or appreciated. Educational institutions, scientific communities, and cultural organizations have a responsibility to foster environments where unconventional ideas can thrive, ensuring that genius is recognized based on merit rather than mass appeal. -/- Conclusion -/- Genius is not about popularity; it is about profound intellectual contributions that shape the world. Many great minds were overlooked in their time, only to be celebrated long after their deaths. History shows that true genius often works in obscurity, pushing the boundaries of knowledge regardless of societal recognition. Instead of equating fame with intelligence, we should value deep thinking, innovation, and originality, ensuring that future generations recognize and support those who truly advance human understanding. -/- . (shrink)

This book contains a selection of papers from the workshop *Women in the History of Analytic Philosophy* held in October 2019 in Tilburg, the Netherlands. It is the first volume devoted to the role of women in early analytic philosophy. It discusses the ideas of ten female philosophers and covers a period of over a hundred years, beginning with the contribution to the Significs Movement by Victoria, Lady Welby in the second half of the nineteenth century, and ending with Ruth (...) Barcan Marcus’s celebrated version of quantified modal logic after the Second World War. The book makes clear that women contributed substantially to the development of analytic philosophy in all areas of philosophy, from logic, epistemology, and philosophy of science, to ethics, metaphysics, and philosophy of language. It illustrates that although women's voices were no different from men's as regards their scope and versatility, they had a much harder time being heard. The book is aimed at historians of philosophy and scholars in gender studies. (shrink)