This paper contrasts the experience of works of installation art with sculptural and architectural experience and argues that installation art is an interactive art form.

This chapter illustrates through the analysis of some examples how philosophical research can illuminate the improvisational aspects of installation art. There is little philosophical research on improvisation in the visual arts. Similarly, there is little philosophical research on installation art – in section 2, I mention some key claims that have been put forward. Not surprisingly, then, philosophers have not yet focussed – at least to my knowledge – on improvisation in installation art. The issue, though, is (...) timely. Not only some installation artists have explored improvisation in their practice, both solo and collaboratively (see section 3) but, as I shall argue, it can be claimed that some works of installation art represent or express improvisation (section 4), that some invite the public to engage in improvisation (section 5), and that curatorial teams responsible for the displays of certain installation artworks have the opportunity to introduce improvisational elements in their practice, if they so wish (section 6). (shrink)

Remodel[l]ing Reality is an inquiry into Wittgenstein's notion of übersichtliche Darstellung and the phenomenon of installation in visual art. In a sense, both provide a perspicuous overview of a particular part of our complex world, but the nature of the overview differs. Although both generate knowledge, philosophy via the übersichtliche Darstellung gives us a view of how things stand for us, while the installation shows an unexpected, exiting point of view. The obvious we tend to forget and the (...) ambiguity of reality are related to each other in a dynamic way. It is in this reflexive dynamics that we constantly remodel our reality. Tools we use are our creative abilities and our powers of imagination. In our choices and solutions we show which aspects of reality we find important and how we communicate these values. The outcome of this investigation is a new perspective on the art of installation and a new insight in Wittgenstein's notion of übersichtliche Darstellung. Because of this combination, the book is itself an artwork: an InstallationPackage. The book is distributed by Ideabooks Amsterdam, Isbn 978 90 804240 3 6. Remodel[l]ing Reality is included in Special Collections, Allard Pierson Museum Amsterdam. (shrink)

Video-objects are often discussed in terms of their ability to reflect upon the speed of our narcissistic culture, but less acknowledged is video’s agency to perform electronic events outside of human experience. This article engages in scholarship interested in the space of video operations where lived and imagined, real and virtual phenomena are experienced at the threshold of perception. Bringing into this conversation a discussion of The Waves (2003), an interactive installation by video pioneer and media critic Thierry Kuntzel, (...) the article moves away from the time/movement nexus grounded in a filmic understanding of the image to position video-memory as the emergence of a volume of time. Different from the time-image and movement-image of cinema, the volume-image of video defines a mode of engaging with multiple temporalities within the continuum of the video itself. Constituted progressively through layers of ever-changing signal processes, the volume-image of video technology is an open field, a transductive zone where multiple intensities create new representational rhythms, which disrupt the durational model of time so often attached to human experience. (shrink)

In his criticism of my paper on the concept of race (Sesardic, 2010), Adam Hochman raises many issues that deserve further clarification. First, I will comment on Hochman’s claim that I attack a straw man version of racial constructionism. Second, I will try to correct what I see as a distorted historical picture of the debate between racial naturalists and racial constructionists. Third, I will point out the main weaknesses in Hochman’s own defense of constructionism about race. And fourth, I (...) will briefly comment on why I think that Hochman unjustifiably dismisses one of the potential sources of racial differentiation that were suggested in my paper. Before I start, though, a preliminary clarification is in order. Hochman kindly calls my article ‘‘one of the strongest defenses of racial naturalism in recent times’’, which might suggest to the reader that my goal was to offer a full-fledged biological explication of the concept of race. But in fact my ambition was more limited. As I explained: My aim in this paper was not to prove the biological reality of race. Rather, more modestly, I have tried to show that typical attempts to disconnect the concept of race from genetics have too quickly and too uncritically been accepted by many ‘‘race critics’’. (Sesardic, 2010, p. 160; italics added) I will continue defending the same position in this article. (shrink)

In this text we intend to analyze Bill Viola’s video installation Nantes Triptych (1992) as an example of the richness which lies in the liminal spaces between arts. We defend the thesis that the utilization of the traditional pictorial structure of the triptych in this particular work, along with the powerful audiovisual material, renders a kairological event available to the viewer. This temporal experience makes possible an existential experience when in front of this video installation. To discuss this (...) assumption we will use classical art theory texts about the triptychs, as well as, among others, Deleuze’s texts about time image and the triptych structure, Agamben’s concept of kairos, the concept of kairological artwork coined by David Chan and the philosophy of temporality developed by Merleau-Ponty. (shrink)

La représentation de la région de Beni Mellal-Khénifra, par les deux groupes des migrants subsahariens qui y sont visibles, participe au processus de la production de leurs espaces vécus et à la différenciation des stratégies de cette production. Les migrants mancheurs produisent ces espaces à partir de leur conception de la région comme une nouvelle étape imprévue dans leurs parcours migratoires en adoptant une stratégie basée sur la déambulation et la mobilité. Tandis que le groupe des migrants commerçants recourent à (...) la stratégie de la stabilité ou l’immobilité engendrée par sa représentation des espaces de la région de Beni Mellal-Khénifra comme espaces d’installation pérenne et d’investissement. Cette recherche est une approche qualitative de l’immigration subsaharienne en relation avec l’espace basée sur une ethnographie multi-située. Le travail ethnographique de terrain est fondé sur une observation participante qui s’appuie sur la description dense et l’entretien semi-directif comme outils de collecte de données et la multiplication des sites d’observation. -/- . (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)

Final instalment of a book-review symposium on: Jeff Kochan (2017), Science as Social Existence: Heidegger and the Sociology of Scientific Knowledge (Cambridge UK: Open Book Publishers). -- Author's response to: Paolo Palladino (2018), 'Heidegger Today: On Jeff Kochan’s Science and Social Existence,' Social Epistemology Review and Reply Collective 7(8): 41-46; and Adam Riggio (2018), 'The Very Being of a Conceptual Scheme: Disciplinary and Conceptual Critiques,' Social Epistemology Review and Reply Collective 7(11): 53-59.

Kuhn wanted to install a new research agenda in philosophy of science. I argue that the tools are now available to better articulate his paradigm and let it guide philosophical research instead of itself remaining the object of philosophical debate.

In this first installment of a three-part series, I focus on the critique of civility. In so doing, I do not defend incivility. In fact, part of my critique of civility extends equally to incivility. My position is that we must move our normative discourse beyond both the thesis of civility and the antithesis of incivility to a synthesis that reframes the discussion in terms of nonviolence.

Neoliberalism has installed an unending competitive struggle in the economy. Within this context activists have pushed for a reappraisal of laziness and inactivity as forms of resistance. This idea has been picked up by Maurizio Lazzarato and Giorgio Agamben in different ways. I start with explaining the former’s appraisal of laziness as a release of potentialities unrealizable under financial capitalism. Lazzarato’s appraisal of laziness however resembles neoliberal theories of innovation, because both share the conceptual persona of a subject whose potentialities (...) exceed the current status quo. Potentiality is thus not an unambiguous antagonist of capitalism, as Lazzarato suggests. In order to adequately oppose neoliberalism, Lazzarato should question the role of potentiality in capitalism. Agamben has undertaken such a project. In the second part of the essay I consequently argue that Agamben’s philosophy of inactivity as impotentiality is able to circumvent neoliberalism and the society of the spectacle. (shrink)

What should we do about “tainted” public commemorations? Recent events have highlighted the urgency of reaching a consensus on this question. However, existing discussions appear to be dominated by two naïve opposing views – to remove or preserve them. My aims in this essay are two-fold. First, I argue that the two views are not naïve, but undergirded by concerns with securing self-respect and with the character of our engagement with the past. Second, I offer a qualified defence of vandalising (...) tainted commemorations. The defence comprises two parts. I consider two prominent suggestions – to install counter-commemorations and to add contextualising plaques – and argue that they are typically beset with difficulties. I then argue that in some circumstances, constrained vandalism is a response to tainted commemorations which effectively adjudicates the demands of the two opposing views. (shrink)

We propose four policies of ethical design of human-grade Artificial Intelligence. Two of our policies are precautionary. Given substantial uncertainty both about ethical theory and about the conditions under which AI would have conscious experiences, we should be cautious in our handling of cases where different moral theories or different theories of consciousness would produce very different ethical recommendations. Two of our policies concern respect and freedom. If we design AI that deserves moral consideration equivalent to that of human beings, (...) that AI should be designed with self-respect and with the freedom to explore values other than those we might impose. We are especially concerned about the temptation to create human-grade AI pre-installed with the desire to cheerfully sacrifice itself for its creators’ benefit. (shrink)

Over the past few decades, the dominant approach to explaining intentionality has been a naturalistic approach, one appealing only to non-mental ingredients condoned by the natural sciences. Karen Neander’s A Mark of the Mental (2017) is the latest installment in the naturalist project, proposing a detailed and systematic theory of intentionality that combines aspects of several naturalistic approaches, invoking causal relations, teleological functions, and relations of second-order similarity. In this paper, we consider the case of perceptual representations of colors, which (...) is a challenging case for Neander’s theory. This case will brings out a general methodological concern with Neander’s and other naturalistic theories: these theories generally rest on the assumption that the mental intentionality we are acquainted with in everyday life—the phenomenon exhibited by desires for cups of coffee, perceptual experiences of dogs playing in yards, and thoughts about the weather—is the very same kind of phenomenon that cognitive science studies under labels such as “mental representation” and, in some cases, “information processing.” This assumption is dubious, as the case of Neander’s theory illustrates. (shrink)

The research discussed in this paper centers around the convergence of extended reality (XR) platforms, computational design, digital fabrication, and critical urban study practices. Its aim is to cultivate interdisciplinary and multiscalar approaches within these domains. The research endeavor represents a collaborative effort between two primary disciplines: critical urban studies, which prioritize socio-environmental justice, and integrated digital design to production, which emphasize the realization of volumetric or voxel-based structural systems. Moreover, the exploration encompasses augmented reality to assess its utilization in (...) both the assembly process of the structures and the integration of phygital (physical and digital) data with the physical environment. Within the context of these research scopes, this paper introduces FabriCity-XR as an interactive phygital installation. In addition to presenting an overview of the integrated research driven and performative design to production methodologies, the project showcases the practical implementation of web-based augmented reality trails, eliminating the requirement for external applications for interaction. This approach allows users to seamlessly navigate and engage with phygital content overlaid on physical objects using their personal smart devices. The result is a captivating and immersive user experience that effectively merges the physical and digital realms. (shrink)

Harry Wolfson’s celebrated two-volume study of Spinoza – The Philosophy of Spinoza: Unfolding the Latent Process of His Reasoning – appeared in 1934 with Harvard University Press. The book originated in a series of five studies Wolfson published in the Chronicon Spinozanum between 1921 and 1926. In the Chronicon, Wolfson announced that the studies published in the journal are instalments from a planned larger work, to be titled: “Spinoza, the Last of the Mediaevals: A Study of the Ethica Ordine Geometrico (...) Demonstrata in the light of a hypothetically constructed Ethica More Scholastico Rabbinicoque Demonstrata.” In the preface to the 1934 book, Wolfson notes that the original title “had to be abandoned, as it did not seem advisable to have the title begin with the word ‘Spinoza’”. Thus, whatever stylistic reasons motivated Wolfson to amend the title, he was clearly not withdrawing from his view of Spinoza’s Ethics as being “More Scholastico Rabbinicoque Demonstrata.”. (shrink)

Shame is notoriously ambivalent. On one hand, it operates as a mechanism of normalization and social exclusion, installing or reinforcing patterns of silence and invisibility; on the other hand, the capacity for shame may be indispensible for ethical life insofar as it attests to the subject’s constitutive relationality and its openness to the provocation of others. Sartre, Levinas and Beauvoir each offer phenomenological analyses of shame in which its basic structure emerges as a feeling of being exposed to others and (...) bound to one’s own identity. For Sartre, shame is an ontological provocation, constitutive of subjectivity as a being-for-Others. For Levinas, ontological shame takes the form of an inability to escape one’s own relation to being; this predicament is altered by the ethical provocation of an Other who puts my freedom in question and commands me to justify myself. For Beauvoir, shame is an effect of oppression, both for the woman whose embodied existence is marked as shameful, and for the beneficiary of colonial domination who feels ashamed of her privilege. For each thinker, shame articulates the temporality of social life in both its promise and its danger. (shrink)

Beach's Gaelic Symphony is plausibly an abstract object that Beach created. The view that people create some abstract objects is called abstract creationism. There are abstract creationists about many kinds of objects, including musical works, fictional characters, arguments, words, internet memes, installation artworks, bitcoins, and restaurants. Alternative theories include materialism and Platonism. This paper discusses some of the most serious objections against abstract creationism. Arguably, these objections have ramifications for questions in metaphysics pertaining to the abstract/concrete distinction, time, causation, (...) vague existence, vague identity, and inadvertent creation. (shrink)

Equal Justice explores the role of the idea of equality in liberal theories of justice. The title indicates the book’s two-part thesis: first, I claim that justice is the central moral category in the socio-political domain; second, I argue for a specific conceptual and normative connection between the ideas of justice and equality. This pertains to the age-old question concerning the normative significance of equality in a theory of justice. The book develops an independent, systematic, and comprehensive theory of equality (...) and egalitarianism. The principal question is about the importance of equality in a theory of justice. More precisely, we should pose questions in four contracting circles: 1. Is justice the supreme value guiding our setup of the basic structure of society, or are there other, equally important values, such as recognition, care, communal belonging? 2. If justice is the highest guiding principle, which competing ideals—especially equality and freedom—ought to have precedence in a policy oriented toward justice? What status does the ideal of equality have in that framework? 3. If equality is a basic ideal of just policy, how should it be practically realized? What sort of equality (equal opportunity, equality of welfare, resource equality) should be demanded? 4. What patterned distribution of which specific goods does the ideal of equality demand? Which principles of distribution can be justified according to our justice ideal? To conclude and summarize: 5. What is the essential core of an egalitarian theory of justice, as opposed to an inegalitarian theory? These five questions structure the work’s order of argumentation. Part A elaborates the conceptual foundations and basic moral principles of justice and equality. Chapter I sets out to install justice as the central moral category in the socio-political domain. At the beginning of the first chapter, the conceptual foundations of justice are clarified. While not eliminating the classical distinctions between different forms of justice, I argue that the distributive paradigm is of primary importance. The primacy of justice in the socio-political domain is developed out of a confrontation with alternative positions, those which maintain either that justice generally, or distributive justice in particular, are subsidiary virtues. At the end of Chapter I, the first of the questions mentioned above is answered in a way that establishes justice as the guiding normative concept for the foundation and evaluation of any social order. To clarify the role of equality in a theory of justice, Chapter II separates the idea of equality into four different principles. They are organized in a way that begins with the most general and uncontroversial principle of equality, and progresses towards increasingly detailed and contested principles. There are two theses that articulate and defend the significance of equality for justice: First there is a conceptual connection between justice and equality, in that principles of formal and proportional equality are necessary in order to explicate the concept of justice. These two principles establish an unbreakable bond between justice and equality. Justice can only be explained—or so I argue—by reference to these and other (normative) principles of equality. The second thesis posits a normative relationship between justice and equality, which is disclosed by three substantive principles of equality: moral equality, the presumption of equality, and the principle of responsibility. I argue that the normative core of an egalitarian theory of justice is expressed by the latter two principles, which are themselves based on the first principle, that of moral equality. When we view one another as persons, what form of equality or equal treatment is normatively demanded? I argue that the answer to this question is given by the procedural principle of the presumption of equality: regardless of their apparent differences, all persons deserve strictly equal treatment, unless certain kinds of differences have whatever particular relevance would justify, on generally acceptable grounds, unequal treatment or unequal distribution. The justification of the presumption of equality is central to this work and has considerable importance. If the presumption principle’s validity can be justified by enlisting the principle of general justification, then the primacy of equality, and the essential argument for an egalitarian theory of justice, is established. This would likewise provide a procedure for the construction of a material theory of justice. The second question is answered thereby at the end of Chapter II: Equality should have primacy over competing ideals within a justice-oriented policy. The presumption of equality establishes this primacy and, at the same time, offers an appropriate metric and guideline for the construction of a material theory of distributive justice. The presumption of equality in Part B offers an elegant procedure for the development of a theory of distributive justice. Chapter III clearly sets out the necessary prerequisites that a theory of distribution must satisfy in order to determine a liberal-egalitarian distributional framework. We need to specify in which situation the distribution takes place; which goods are and are not to be distributed; in which respect the presumptive equality is to be produced; and by and to whom, and for what period, the relevant goods are to be distributed. The distribution is based on resources understood as general-purpose means. It is necessary to divide goods into different categories, since the justification for unequal treatment in one domain will not carry over into another. This makes presumptive equality necessarily complex. To that end, four spheres of justice are distinguished: (1) the political sphere, which involves allocating rights through the distribution of civil liberties; (2) the democratic sphere, in which political power and the rights of political participation are regulated; (3) the economic sphere, in which income and property are distributed; (4) the social sphere, in which social positions and opportunities are distributed. This framework of distributive justice answers the third of our guiding questions, about the nature of equality, in terms of equality of resources. Chapters IV and V set out the egalitarian distributive criteria for each sphere. I argue that the generally accepted, fundamental rights of classical liberalism are more effectively reconstructed by reference to the equal resource distribution presumptively required in those spheres. Chapter IV shows that when it comes to the first two spheres, those involving basic rights and freedoms and entitlement political participation, there can be no justified exceptions to the equal distribution of the relevant goods. That section argues, contrary to what we commonly find in theories of freedom or popular sovereignty, that the value of freedom and self-determination as the political basis of autonomy is best realized through the presumption of equal distribution. Chapter V deals with the other two spheres, those of economic goods and social positions, and argues for justified exceptions to equal distribution. In the economic sphere we find one principal reason favouring unequal distribution of resources, and three restrictions and compensations limiting that inequality. The basic exception to equal economic distribution arises from the unequal consequences of personal responsibility. From a suitably egalitarian standpoint, the principle of responsibility is the normative principle that determines which reasons justify economic inequality. Here the basic idea is that unequal shares of social goods are fair if they result from the choices and deliberate actions of the relevant parties. That individuals have to bear the costs of their own choices is a condition of autonomy. However, benefits or disadvantages arising from arbitrary and unmerited differences in social circumstances or natural endowments is unfair. The unequal consequences of independent decision-making and action must therefore be limited by compensating first for preferences, secondly for disadvantages, and thirdly by redistributing wealth in aid of the worse-off. I situations of emergency, compensating for disadvantages has priority over all other claims, owing to the urgency of the situation. Social inequalities go beyond the permissible limit if it is possible to improve the long-term social or economic situation of the worse-off by redistributing wealth to them. These exceptions lead to a complex system of free economic action within a framework of compensatory tax and transfer mechanisms. Finally, in the social sphere, the distribution of social positions, offices and opportunities must be structured to ensure that equally talented and motivated citizens have roughly equal chances of obtaining those offices or positions, irrespective of their economic or social class backgrounds. This compromise is permissible for reasons of freedom and prudence, and it makes a certain measure of inequality acceptable. The fourth of our guiding questions is answered accordingly. There are five principles of justice for the basic structure of society, and five legal principles that govern the special distribution of goods in the respective spheres—all are ranked according to their most defensible grounds of priority, ensuring that everyone is accorded equal justice. Chapter VI recapitulates the initial question of equality’s value. The conception of equal justice developed in this work postulates five principles of equality and five principles of law; these constitute an egalitarian framework because they support and promote social justice. Equality has value with respect to them, but is not given any independent, intrinsic value. That is why I call the account developed here a form of constitutive egalitarianism: justice is realized through the realization of equality, itself accomplished by applying the five postulates of equality and five distributive principles of law. This is an egalitarianism on two levels. The first level is involves the claim that morality or justice is conceptually connected with equality. The second level gives equality a substantial weight in what is conceptually validated at the first level, namely the presumption of equality, and constructs an appropriate interpretation and conception of distributive justice through principles of distribution for the individual spheres. The weight and importance of equality is shown by the distributive criteria applied to those spheres. This answers our final guiding question about the nature of an egalitarian theory. (shrink)

Purpose: This article aims to highlight key indicators of residents' quality of life in a specific contemporary building in Kruja, Albania. -/- Design/Method/Approach: A questionnaire with 30 questions was prepared for the inhabitance, and the Binary or Tobit probabilistic models were taken into consideration as part of the methodology, to conclude. The study will further analyze the implications of the inhabitants and their behavior in a specific contemporary building in the city of Kruja. It was examined the statistical significance of (...) each variable (questions) in the models elaborated with EViews 8 software. The stable models that are associated with the “Log-likelihood” statistics were statistically significant at a significance level of p < 5%, or with 95% confidence, based on the model tests. -/- Findings: The study concluded that the most statistically significant quality of life indicators part of the questionnaire is related to the typology of the apartments, methods of cooling during summer, present living conditions, apartment improvement, apartment orientation, and time spent in the living room. Furthermore, the study reveals that most of the quality-of-life indicators (part of the questionnaire) are not statistically important, so they will not be considered part of the models created in the article. The study reveals that increasing the living space and improving orientation is crucial to enhance the satisfaction of apartment inhabitants. When apartment sizes increase and orientation is improved, residents are more likely to opt for fans over air conditioners to reduce electricity costs and avoid installing additional cooling facilities during summer. They believe that better living conditions require larger apartments, additional water supply, increased electrical costs, and more time spent in the living room. The inhabitants also emphasize the importance of reducing moisture levels, decreasing window opening frequency, and increasing time spent with family. Interestingly, a one-degree improvement in summer cooling methods (e.g., switching from air blowers to air conditioning) corresponds to a one-degree improvement in winter heating methods (e.g., switching from gas to electricity), leading to a heightened need for clean electric heating. Overall, the study emphasizes the importance of meeting the physical and spatial needs of the residents to enhance their overall satisfaction and quality of life. Urban policies significantly impact housing affordability, quality, transport systems, environmental sustainability, and social equity, affecting overall living standards and economic growth. Cities must create well-designed policies that consider residents' needs and study findings to ensure sustainable development and citizen welfare. -/- Theoretical Implications: Gujarati’s (Basic Economics) theory was developed in the article. -/- Practical Implications: This study will serve as an indicator to analyze the further improvements that might occur in the specific building (not just in the city of Kruja), considering the main quality of life indicators. -/- Originality/Value: The article will serve as a base for further analysis of resident’s behavior and their social impact in the community in order to be aware of their needs for further developments in the construction field. -/- Research Limitations/Future Research: The findings depend profoundly on the type of building the residents are living in. The research stream that can be inspired by the research is strongly related to mathematical regression models, statistics, and probability. -/- Paper Type: Empirical . (shrink)

Recently, Intelligent Tutoring Systems (ITS) got much attention from researchers even though ITS educational technology began in the late 1960s and ITS is just embryonic from laboratories into the field. In this paper we outline an intelligent tutoring system for teaching basics of the databases system called (MDB). The MDB was built as education system by using the authoring tool (ITSB). MDB contains learning materials as a group of lessons for beginner level which include relational database system and lessons in (...) the process to install and set up a database. MDB system has exams for each level of the Lessons. An evaluation was done to see the effectiveness the MDB among learners and instructors. The outcome of the evaluation was promising. (shrink)

This paper recovers an important, century-old debate regarding the methodological and metaphysical foundations of dimensional analysis. Consideration of Richard Tolman's failed attempt to install the principle of similitude---the relativity of size---as the founding principle of dimensional analysis both clarifies the method of dimensional analysis and articulates two metaphysical positions regarding quantity dimensions. Tolman's position is quantity dimension fundamentalism. This is a commitment to dimensional realism and a set of fundamental dimensions which ground all further dimensions. The opposing position, developed primarily (...) by Bridgman, is quantity dimension conventionalism. Conventionalism is an anti-realism regarding dimensional structure, holding our non-representational dimensional systems have basic quantity dimensions fixed only by convention. This metaphysical dispute was left somewhat unsettled. It is shown here that both of these positions face serious problems: fundamentalists are committed to surplus dimensional structure; conventionalists cannot account for empirical constraints on our dimensional systems nor the empirical success of dimensional analysis. It is shown that an alternative position is available which saves what is right in both: quantity dimension functionalism. (shrink)

In the contemporary era of urban design, the advent of big data and digital technologies has ushered in innovative approaches to exploring urban spaces. This study focuses on the application of Augmented Reality (AR) and Extended Reality (XR) technologies in the metropolitan areas of Houston and Amsterdam. These technologies create immersive 'Phygital Installations' that blend physical and digital elements, effectively capturing people's perceptions and enhancing urban design proposals. By fostering human-centered planning, AR and XR technologies make urban design more interactive (...) and accessible to the public. Houston, with its rapid industrial growth and diverse socio-economic landscape, provides a unique setting to examine the impacts of these technologies on urban form and socio-environmental dynamics. In contrast, Amsterdam, with its rich historical layers and socio-cultural diversity, offers insights into the integration of AR/XR technologies in urban planning, particularly in the realm of historical preservation and contemporary urban development. This research contributes to the emerging field of AR/XR in urban design by highlighting the transformative potential of these technologies in enhancing the understanding and engagement in urban design and spatial planning. (shrink)

Autonomous and automatic weapons would be fire and forget: you activate them, and they decide who, when and how to kill; or they kill at a later time a target you’ve selected earlier. Some argue that this sort of killing is always wrong. If killing is to be done, it should be done only under direct human control. (E.g., Mary Ellen O’Connell, Peter Asaro, Christof Heyns.) I argue that there are surprisingly many kinds of situation where this is false and (...) where the use of Automated Weapons Systems would in fact be morally required. These include cases where a) once one has activated a weapon expected then to behave lethally, it would be appropriate to let it continue because this is part of a plan whose goodness one was best positioned to evaluate before activating the weapon; b) one expects better long-term consequences from allowing it to continue; c) allowing it to continue would express a decision you made to be resolute, a decision that could not have advantaged you had it not been true that you would carry through with it; d) the weapon is mechanically not recallable, so that, to not allow it to carry through, you would have had to refrain from activating it in the first place, something you expected would have disastrous consequences; e) you must deputize necessary killings to autonomous machines in order to protect yourself from guilt you shouldn’t have to bear; f) it would be morally better for the burden of responsibility for the killing to be shared among several agents, and the agents deputizing killing to machines can do this, especially where it’s not predictable which machine will be successful; g) a killing would be morally better done with elements of randomness and lack of deliberation, and a (relatively stupid) machine could do this where a person could not; h) the machine would be acting as a Doomsday Device, so that it could not have had its hoped for deterrent effect had you not ensured that you would be unable to recall it if enemy action activated it; i) letting it carry through is a necessary part of its own learning process, and you expect that this learning will have salutary effects later on; j) human intervention in the machine’s operation would disastrously impair its precision, or its speed and efficiency; k) using non-automated methods would require human resources you just don’t have in a task that nevertheless must be done (e.g., using land-mines to protect remote installations); l) the weapon has such horrible and indiscriminate power that it is doubtful whether it could be actually used in ways compatible with International Humanitarian Law and the Laws of War, which require that weapons be used only in ways respecting distinctness, necessity and proportionality, but its threat of use could respect these principles in affording deterrence provided human error cannot lead to their accidental deployment, this requiring that they be controlled by carefully designed autonomous and automatic systems. I then consider objections based on conceptions of human dignity and find that very often dignity too is best served by autonomous machine killing. Examples include saving your village by activating a robot to kill invading enemies who would inflict great indignity on your village, using a suicide robot to save yourself from a less dignified death at enemy hands, using a robotic drone to kill someone otherwise not accessible in order to restore dignity to someone this person killed and to his family, and using a robot to kill someone who needs killing, but the killing of whom by a human executioner would soil the executioner’s dignity. I conclude that what matters in rightful killing isn’t necessarily that it be under the direct control of a human, but that it be under the control of morality; and that could sometimes require use of an autonomous or automated device. (This paper was formerly called "Fire and Forget: A Defense of the Use of Autonomous Weapons in War" on Philpapers; the current title is the title of the published version.). (shrink)

The historical avant-gardes showed that it is in the syntactic space where the mutations of art occur, where the creative potentialities in contemporary art are played. Hence the need to accentuate the syntactic creation registers in the works of the Estridentistas. There is no creation of images, rhythms, words, atmospheres, sound orientations, planes or political-literary postures that are valid apart from the syntax effects in which the poems of Manuel Maples Arce, Germán List, Salvador Gallardo and Kyn-Taniya take place, the (...) paintings, engravings and sculptures by Fermín Revueltas, Ramón Alva de la Canal, Germán Cueto and Leopoldo Méndez, the novels and essays by Arqueles Vela, the pieces from the Estridentista period by Silvestre Revueltas, the plays by Salvador Gallardo and Germán Cueto. The syntax is the tracing of indirect paths created in each poem, installation, plastic or musical work, to show life in things; those forces, paths and paths that, when going from life to language, create a work. It is, therefore, a speed. I don't use "speed" as a metaphor. It is the speeds that interdigitate events, images, objects; those that relate and stress semantic, sound, semiotic and social forces, paths and trajectories. Velocity is the gradient of the syntax, the relationship between phenomena, the variation of the elements according to a certain direction, the trajectory medium, the semantic loads and the systems of signs: it is not necessary to think that the syntactic effects are something like general mechanisms that precede poems, plastic and musical works. A new syntactic speed detaches itself as much as it can from what is constituted and seeks to bring poetic, pictorial, musical language to its threshold of meaning, informational or communication, to its referential, rhythmic, constructive threshold. Therefore, it should not be confused with acceleration. Slowness is a speed, as in Handke's writing or in some sections of Tarr's films. (shrink)

This research project and exhibit, delves into the complex relationship between public exhibition, urban spaces, and socio-political norms in shaping urban thresholds within the two American and European metropolitan cities of Houston and Amsterdam. This study also investigates the transformative power of new media and emerging technologies in the production, circulation, and consumption of design, offering fresh perspectives on the influence of these technologies on urban design studies and digitally augmented physical spaces. By merging interdisciplinary research areas, including Design Computation (...) and Fabrication, Urban Communities, and Spatial Justice, this project provides an immersive exploration into the co-production of liminal spaces, focusing on the participation of diverse publics and the dynamics of inclusion, exclusion, and recognition in two cities of Houston and Amsterdam. The main emphasis of this paper is on the critical urban studies and the role of emerging technologies in advancing the theoretical and methodological frameworks of the presented immersive installation project. (shrink)

In August of 2000, Firestone executives initiated the second largest tire recall in U.S. history. Many of the recalled tires had been installed as original factory equipment on the popular Ford Explorer SUVs. At the time of the recall, the tires and vehicles had been linked to numerous accidents and deaths, most of which occurred when tire blowouts resulted in vehicle rollovers. While Firestones role in this case has been widely acknowledged, Ford executives have managed to deflect much of the (...) attention away from themselves, mainly by claiming that the Firestone tires were not its product, and therefore not its responsibility. In this paper, we examine the extent to which Ford can be held morally responsible for the incidents at issue. In so doing, we develop an approach for determining when an item is a product in its own right, as opposed to a component of another product. We argue that such an analysis not only provides a better understanding of this case, but also more properly accounts for the extent to which evolutions in technology and business relationships can affect issues of moral responsibility in business contexts. (shrink)

Two experiments with undergraduates as subjects were carried out with the aim of replicating and extending previous results showing that the implication of the behavioral life-cycle hypothesis (H. M. Shefrin & R. H. Thaler, 1988) that people classify assets in different mental accounts (current income, current assets, and future income) may explain how consumption choices are influenced by temporary income changes. In both experiments subjects made fictitious choices between paying for a good in cash or according to a more expensive (...) installment plan after they had received an income which was either less, the same, or larger than usual. In Experiment 1 subjects were supposed to have savings so that the total assets were equal, whereas in Experiment 2 the total assets varied. The results of both experiments supported the role of mental accounts in demonstrating that subjects were unwilling to pay in cash after an income decrease even though they had access to saved money. Thus, in effect they chose to pay more for the good than they had to. Indicating a need for further refinement of the concept of mental account, choices to pay in cash after an income decrease tended to be more frequent when the consumption and savings motives were compatible than when they were incompatible. Furthermore, increasing the total assets made subjects more willing to pay in cash after an income decrease. (shrink)

Purpose of this article is to investigate the role that the "miraculous" – that is, everything that goes beyond “natural” – plays in the worldview of Western man. Methodology. I do not consider “miracles” as the facts of nature, but as the facts of culture, so in this article I am not talking about specific cases of violation of “laws of nature”, but about the place of “miraculous” in the view of the world of Western man and those transformations, that (...) occur with this element outlook influenced the development of information technologies. Novelty. It has been proved that miracles should be sought in mind, because the “miraculous” event does our attitude towards it. Moreover, it is impossible to determine the “true miracle”, while we are “inside” the reality. It has been demonstrated that influenced the development of society is transformed representations of gods and miracles. It has been discovered fundamental shift associated with the transition from mythology-as-faith to mythology-as-show. However, even within the latter remains a need for miracles, though, and goes to a completely different level. Conclusions. The term "miracle" has no meaning outside of accepted socio-cultural settings. The last set as the “natural” conditions and admissibility (inadmissibility) of its violation. And these installations are formed by social institutions, which in this age and at this time have a weight sufficient to impose their views to all the congregation or the greater part. Any extraordinary event can be explained by the action of internal agents unknown to us, and their ability to alter the reality is not necessarily superior to even our own capabilities. The only thing we can not do – is to change the source code of being (e.g., fundamental physical constants). This could make only creatures that are not spelled out in these source codes. However, people have not seen anything like it, and scarcely become witnesses of such events. (shrink)

Dans cette entrée, après une introduction qui servira de cadre à notre discussion (section 1.), nous allons présenter et analyser des définitions du concept « Art ». Nous discuterons brièvement les définitions classiques les plus influentes puis nous nous concentrerons sur les principales définitions contemporaines. -/- Nous verrons pourquoi les définitions classiques sont aujourd’hui considérées comme insatisfaisantes (2.a.), et comment les philosophes, à partir de la seconde moitié du XXème siècle ont tenté de pallier leurs défauts. Dans les grandes lignes, (...) le problème principal soulevé à l’encontre des théories classiques est qu’elles cherchent toutes l’essence de l’art dans un trait caractéristique qui serait reconnaissable dans les œuvres elles-mêmes. Les théories contemporaines répondent à ce problème principalement de quatre façons, comme on le verra dans les sections 2.b à 2.d. Les théories sceptiques (2.b.) défendent qu’il est dès lors impossible de définir l’art – qu’on peut au mieux en donner certains caractères typiques, des airs de famille. Les théories relationnalistes (2.c.) défendent que ce qui fait qu’une chose est de l’art est à trouver en dehors de celle-ci, notamment dans les relations qu’elle entretient avec son contexte de création ou de présentation. Les théories néo-classiques (2.d.) continuent à chercher l’essence de l’art dans un trait caractéristique reconnaissable dans les œuvres elles-mêmes tout en prenant en compte les réactions sceptiques ou relationnalistes. Enfin, la théorie du ‘renvoi de la balle’ (2.e.) défend que l’on ne peut pas définir l’art mais seulement des sous-catégories comme la musique, la sculpture, les installations, les performances, etc. -/- Nous présenterons les avantages et les inconvénients principaux des théories contemporaines. Nous verrons qu’aucune n’est dénuée de problèmes, expliquant pourquoi il n’existe pas de consensus sur une définition de l’art aujourd’hui. Nous verrons également que – à l’exception d’un certain scepticisme qui jette, semble-t-il, trop vite l’éponge – chacune de ces théories amène, par son originalité, à une compréhension nouvelle et plus profonde de cette notion extrêmement complexe qu’est le concept « Art ». (shrink)

We describe an experimental approach toward implementing a commonsense "microtheory" for buying and selling. Our prototype system characterizes how intelligent agents hold items and money, how they buy and sell items, and the way money and items are transferred. The ontology of the system includes money (cash, check, credit card), agents (people, organizations), items (movable, real estate, service), barter, and the notions of transfer, loan, buying by installments, profit, and loss.

Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. (...) The strength of Danto’s theory is found in its ability to explain the art of the post-modern era. His body of work weaves philosophy, art history and art criticism together, merging his aesthetic philosophy with his extensive knowledge of the world of art. Danto’s essentialist theory of embodied meaning provides him with a critical tool that succeeds in explaining the currents of contemporary art, a task that many great thinkers of art history were unable to do. If Warhol inspired Danto to create a philosophy of art, it is appropriate that Danto write a tribute to Warhol that traces how Warhol brought philosophy into art. Danto’s account of ‘Warhol as philosopher’ positions him as a pivotal figure in the history of twentieth-century art, effecting a sea change in how art was made and viewed. Warhol achieved this by conceiving of works that embodied the answers to a series of philosophical puzzles surrounding the nature of art. Warhol, as Danto describes him, manifests himself in his art because he had transformed himself, in a way, into an icon of the times. This pragmatist notion that art should undermine the dichotomies that exist between art and life would, by some accounts, position Warhol to be the philosopher that Danto claims him to be, for he dissolved the philosophical questions posted by late modern aesthetic thinkers by creating art that imploded the accepted notions of art at the time. One of Danto’s greatest contributions to aesthetics is his theory’s ability to distinguish art from non-art, recognizing that it is the artist’s intention that levels the sublimity of art into the commonplace, thereby transfiguring the everyday. However, acknowledging this achievement, I argue that Warhol’s philosophical contribution actually manifests itself in a manner different from that proposed by Danto. Danto maintains that the internal drive of art leads to the unfolding of art theoretical concepts that ineluctably shift the terrain of world of art. I would agree with Danto that Warhol, almost as Hegel viewed Napoleon as Geist on a horse, pushed forward the boundaries of art through the actualization of art’s internal drive. But I would disagree that the conceptual nature of art is one that unfolds merely as a relation of concepts that artists trace through a connection to the meaning of history they forge using their unmediated grasp of style. Rather, I would argue that the artist’s style is not bound so narrowly to the meanings they express. Through their aesthetic articulations, artists initiate a process of social interaction. This process employs the philosophical logic which Danto attributes to Warhol indirectly, and through it, it is able to transfigure the vocabulary of art—the concepts of the artworld—by superseding the language of modernism. Warhol’s philosophical contribution is seen in his mastery of both the medium of art and the underlying logic of the medium’s expression and reception. (shrink)

The purpose of this paper is to review and discuss Luciano Floridi’s 2019 book The Logic of Information: A Theory of Philosophy as Conceptual Design, the latest instalment in his philosophy of information (PI) tetralogy, particularly with respect to its implications for library and information studies (LIS) .

The novel begins as follows:"Dora Greenfield left her husband because she was afraid of him. She decided six months later to return to him for the same reason. The absent Paul, haunting her with letters and telephone bells and imagined footsteps on the stairs had begun to be the greater torment. Dora suffered from guilt, and with guilt came fear. She decided at last that the persecution of his presence was to be preferred to the persecution of his absence."Murdoch's novel (...) The Bell is about Imber Court. It is a small Anglican religious community of lay people whose lives were transformed, not just by the arrival of a couple of dissimilar visitors, not just by the arrival of a new bell to be installed at Imber Abbey located beyond the lake, but more significantly by the discovery of a centuries-old bell the story of which is engulfed in a terrible legend. (shrink)

Voilà un livre comme on pouvait l’espérer. Centré sur la Covid-19 et sur sa diffusion, il s’installe au cœur de questions brûlantes, encore urgentes pour tout un chacun, mais il garde aussi la tête froide, prend du recul, informe, enseigne et questionne, qui plus est de façon pédagogique. Davantage : au-delà du bilan critique, il propose des perspectives inédites, voire quelques suggestions solides. Il nous donne à réfléchir sur des chemins moins balisés. À le lire, on comprendra, par l’exemple, pourquoi (...) un modèle ne peut assurer simultanément toutes les fonctions de connaissance qu’on en peut attendre (décrire, prédire, expliquer, etc.). On comprendra pourquoi il faut souvent des modèles simples mais aussi, dans certains cas, des modèles nécessairement plus compliqués. On comprendra également pourquoi il faut cultiver une pluralité de modèles, toujours dans la collégialité, souvent dans l’interdisciplinarité : non seulement pour que ces modèles prennent en compte plusieurs aspects, mais aussi pour que leurs diverses fonctions puissent entrer en dialogue, et enfin pour qu’ils s’épaulent, convergent ou se rectifient, en particulier là où l’on attend d’eux qu’ils mettent au jour des propriétés structurelles robustes, les seules offrant en retour une prise à l’action et à la décision légitimes. On comprendra enfin que la disponibilité de données à la fois pertinentes et stabilisées est un point d’achoppement majeur, dans les circonstances, tant il est discutable de paramétrer un modèle de diffusion de la Covid-19 avec les paramètres de la grippe simplement parce qu’ils sont mieux connus. (shrink)

Schools, colleges, and universities have become homogenizing systems that are almost exclusively focused on imposing a pre-ordered curricula through exams and grades or tight research lines. In the process, they are killing passion, creativity, and individuals’ potential and skills. Ultimately, schools and academia make up a system that serves a collective machinery but suffocates individual growth. This state of affairs is not a necessary evil. Learning, discovering and teaching can be a natural, spontaneous and luminous expressions of a free and (...) progressive growth if they are allowed to be practiced in an appropriate environment. This is a ‘manifesto’ for a Free-Progress-Education (FPE) paradigm according to which the best way of learning, acquiring knowledge, and doing research comes through a process of free self-directed learning, and a progress of self-unfoldment and self-discovery, that must be guided from within. In schools, colleges, universities and beyond. A FPE learning centre would be expected to foster curiosity, intuition, self-directed-learning in diversity, and, especially, wholesome respect for the practice of complete and responsible freedom of individual expression.FPE goes beyond the standard paradigm of unschooling or the pedagogical approach of democratic schools since it includes self-directed-education that can also work in high schools, colleges, universities, and research centres. It iAfter a brief introductory presentation, a personal preamble of the author describes his experiences with institutionalized learning from childhood to the doctoral dissertation and in a high school as a teacher. Then, the roots of the stagnant state of education will be investigated which is still based on an industrial and mechanistic mindset, and is perceived with increasing dissatisfaction. While analysing the detrimental effects that a managerial and industrial mentality has had on the education and intellectual growth of several generations, we will take as an example the deficiencies of the so-called big science, i.e. of the modern, large-scale scientific initiatives. Surveying past and present learning approaches such as the interesting renaissance of homeschooling and welcoming new trends such as unschooling or democratic education, the second part of this book looks beyond these paradigms searching for a wider spirit of education. It is emphasized that no reform is possible inside the current school and university paradigm, because it is in its essence an authoritarian system that won't allow itself to be dismantled from within. The last part of this book focuses upon a brief set of alternative proposals, which aim at overcoming the centuries-old shortcomings of the present educational system, by favouring intrinsic over extrinsic motivation. Preliminary practical ideas are put forward on what a free-progress learning community might look like, and what the first steps for its realization might be. It is explained there why it is only through a change from the ground up that the certificate-oriented educational system can transform itself into a project-oriented, self-organized, competence-portfolio based one, with no exams, grades, degrees, or other administrative trammels. At the same time, it must be made clear that the ultimate aim of doing away with the present system of assessment criteria would be to install a much deeper and articulated paradigm shift than some superficial reform and even beyond the actually undeveloped democratic education concept which still falls short beyond high-school level. What is visualized is an evolutionary pedagogical perspective, compared to the conventional one, and presented as the necessary condition for a 'Copernican approach' to education. Only after that perspective has been realized can new competences, curiosity, intuition, and real forms of creative learning return to flourish in schools and academia. (shrink)

In Logique du Fantasme, Lacan argues that the compulsion to repeat does not obey the same discharge logic as homeostatic processes. Repetition installs a realm that is categorically different from the one related to homeostatic pleasure seeking, a properly subjective one, one in which the mark “stands for,” “takes the place of,” what we have ventured to call “an event,” and what only in the movement of return, in what Lacan calls a “thinking of repetition,” confirms and ever reconfirms this (...) point of no return, which is also a qualitative cut and a structural loss. The kind of “standing for” Lacan intends here with the concept of repetition is certainly not something like an image or a faithful description. No, what Lacan wishes to stress is that this mark is situated at another level, at another place, it is “entstellt,” and as such, it is punctually impinging upon the bodily dynamics without rendering the event, without having an external meta-point of view, but cutting across registers according to a logics that is not the homeostatic memory logics. This paper elaborates on this distinction on the basis of a confrontation with what Freud says about the pleasure principle and its beyond in Beyond the Pleasure Principle, and also takes inspiration from Freud’s Project for a Scientific Psychology. We argue that Lacan’s theory of enjoyment takes up and generalizes what Freud was after in Beyond the Pleasure Principle with the Wiederholungszwang, and pushes Freud’s thoughts to a more articulated point: to the point where a subject is considered to speak only when it has allowed the other, through discourse, to have impacted and cut into his bodily pleasure dynamics. (shrink)

One of the vexed questions in the philosophy of wonder and indeed education is how to ensure that the next generation harbours a sense of wonder. Wonder is important, we think, because it encour- ages inquiry and keeps us as Albert Einstein would argue from ‘being as good as dead’ or ‘snuffed-out candles’ (Einstein 1949, 5). But how is an educator to install, bring to life, or otherwise encourage a sense of wonder in his or her stu- dents? Biologist Rachel (...) Carson suggests that exploring nature and specifically undertaking walks along the rocky coast of Maine would keep alive a person’s inborn sense of wonder (Carson 1984). Philosopher Jesse Prinz thinks that exposure to art will encourage wonderment because artworks, as he puts it, are “inventions for feeding the appetite that wonder excites in us” (Prinz 2013). Weird fiction (a subgenre of speculative fiction) – and in particular the work of one of its greatest exponents, the early-20th-century American author How- ard Phillips Lovecraft – is likewise a catalyst for wonder. The reason behind this is that Lovecraft’s ‘wonder-stories’ are densely packed with wonder per design; and in support of this claim I shall in what is to come 1) provide a brief introduction to Lovecraft and weird fiction; 2) present a working definition of wonder; and 3) clarify what is meant by something being ‘densely packed with wonder’ via bringing to the fore evidence of Lovecraft’s literary wonder- mongery. The paper ends with some reflections on the notion of ‘dark wonder’, why this peculiar label might be suitable for the kind of wonder we find in Lovecraft’s work, and why exposure to ‘dark wonder’ can be edifying, and in that sense educational. (shrink)

This article examines the fourteen conditions constituting Levinson and Alperson’s taxonomy of conditions for temporal arts. It claims that some of the conditions and several of the lists of arts exemplifying them need revision. It recommends adding a new condition concerned with the effects of the passage of time on gardens, environmental sculpture, and outdoor installations. The article concludes that gardens may be a model for understanding and appreciating other arts sharing the same bi-(multi-) modality.

The article investigates how the use of extended reality technologies and interactive digital interfaces have affected the design of exhibition spaces. Its main objective is to shed light on how these technologies have influenced the ways in which immersive art installations are conceived and experienced. Particular emphasis is placed on the impact of interactive technologies on how visitors experience exhibition spaces. The article examines an ensemble of immersive art cases, paying special attention to the distinction between immersion and interactivity. Two (...) concepts that are pivotal for understanding the transformations concerning the subjectivity of the exhibition visitor those of the “imagineer” and the “ultra-technologist”, which are analysed in the article. The intention is to render explicit how extended reality technologies have contributed to the design of immersive experiences, significantly influencing the interrelations between the technical, aesthetic and institutional aspects concerning exhibition design and the methods of dissemination of art. (shrink)

This article examines some work by the Oaxaca-based Mexican experimental filmmaker and video artist Bruno Varela in order to explore the sense of Gilles Deleuze’s view that modern political cinema is characterized by a “missing” people, to which the adequate response is the people-sustaining or people-generating trance. I argue that the element missing from Deleuze’s discussion is how the typical way for a people to go “missing” under capitalism involves the obfuscation of their labor, an idea that sustains the materially (...) grounded trance in Varela’s Papeles Secundarios (2004) and Cuerpos Complementarios (2022), drawn from the filmmaker’s experience as casting director of Iranian artist Shirin Neshat’s production of her video installation Tooba (2002) in Oaxaca. The article discusses the “baroque critique” involved in Varela’s elliptically representing the workday of the non-professional Oaxacan actors employed in Neshat’s production, understood here as a critique articulated using the detritus of that production. The result is a paradigm of trans-temporal playfulness on film that also challenges the claims to trans-temporal experience sought in Neshat’s work. Thus, the article also locates these arguments within debates about whether films can “do philosophy”, including a hypothesis about the obfuscations of labor lying behind why making-of documentaries—and their capacities to critique the philosophical pretensions of their original subjects—have not figured more centrally in those debates. (shrink)

The history of the methodology of African philosophy can be divided into two periods: the nascent stage that’s characterized by a rigor-demand, and the contemporary stage that’s characterized by a relevance-demand. In this, paper, I argue for one way to strike the appropriate balance between relevance and rigor in African philosophy. Specifically, I argue that the unconscious rejection of conceptual analysis as a philosophical method by contemporary African philosophers played a major role in how African philosophy came to be characterized (...) by a relevance-demand. Consequently, I submit that even though being only or excessively relevance-oriented is not bad, African philosophy would become rich enough to compete with other regional philosophies—Western, Chinese, and so on—if it re-installs conceptual analysis as part of its methodology. (shrink)

A philosophical analysis of the future of art must explicate art’s nature, as well as discuss the historical nature of art practice. Only so can one explain those contemporary developments in art which have led many people to doubt whether art even has a future. Arguably, art practice as we know it started with the installing of the modern system of the fine arts. I explain the pragmatics of art so understood, and suggest that we can define art, internally. We (...) need not resort to a nominalist approach that claims that something is a work of art if some representative of the art world says it is. Instead of such empty proceduralism, I explain how all art’s focal objects, persons and activities are mutually adjusted and can only be understood in light of the whole. Within that whole of art practice, the contemporary samples of art’s alleged failure can be assessed. Now the modern system treats the arts as aesthetic, and prescribes that to judge a work one has to experience it for oneself. Why this should be so, I explain in terms of the perceivability of the artist in the work. Next, art develops as a whole rather than in a piecemeal manner. Particular contemporary works may alienate the audience from art practice, yet once they are recognisably in a procedure which has clear artistic potency they can be incorporated fruitfully in the modern system as explained. In all, the future of art is the future of the modern system, unless the system as a whole goes. We see this happen with the Taliban, but do not ourselves seem to be vulnerable to such onslaught. Yet, our culture may be in the process of eliminating the human mind from the objective reality, and if nothing stops us, art too will come to an end. Luckily, by then we will not be such as to lament that demise. (shrink)

Atomic energy developed from 1940 as a subject shrouded in secrecy. Identified successively as a crucial element in military strategy, national status and export aspirations, the research and development of atomic piles (nuclear chain-reactors) were nurtured at isolated installations. Like monastic orders, new national laboratories managed their specialist workers in occupational environments that were simultaneously cosseted and constrained, defining regional variants of a new state-managed discipline: reactor technology. This paper discusses the significance of security in defining the new subject in (...) the USA, UK and Canada – wartime allies with similar political traditions but distinct trajectories in this field during the Cold War. The intellectual borders and content of the subject developed differently in each country, shaped under the umbrella of secrecy by disparate clusters of expertise, industrial traditions, and national goals. The nascent cadre was contained until the mid 1950s by classified publications and state-sponsored specialist courses. The early context of high security filtered its members and capped enduringly both their professional aspirations and public engagement. (shrink)

The textbook presents the problematic aspect of historical and modern representations of the phenomenology of religion in academic discourse. The most important topics of the course are presented in a form that is easy to understand, questions for self-assessment and problems for analysis are formulated, and recommendations for organizing independent work of students are given. The textbook's material is systematized according to the principle of a problem to a specific example of its installation in religion, culture, science, and philosophy. (...) The textbook explores the interdisciplinary connections between philosophy, the philosophy of religion, and religious studies. The publication is addressed to students studying in the field of training "Religious Studies", and recommended to students studying philosophy, as well as to anyone interested in issues of understanding religion taking into account the achievements of the phenomenology of religion. (shrink)

The paper leans on a movie cult from the 1960s, Blow-Up (1966) by Michelangelo Antonioni, of which a famous sequence is often mentioned, the one in which the protagonist, the photographer Thomas (considered here as a "conceptual character"), repeatedly enlarged the photographs he made in a park, in order to find an answer to the mystery surrounding the murder of a man: magnification which leads, on the one hand, to a gradual loss of definition of images, with the grain of (...) the picture becoming more and more evident, but also, on the other, in the emergence, from the very material of the print, of a fundamental detail that will help solve the mystery. What interests is the link between indicative referentiality and evidence documentary, between degrees of definition and authentication powers. The paper also analyzes the links that intertwine, in the film, between the photographs of Thomas (by Don McCullin) and paintings painted by another character of the movie, Bill (directed by Ian Stephenson), but also, outside the film, with all a series of examples from artistic production and visual culture of the time: very low definition images of the Kennedy assassination in Dallas (the famous Zapruder Film), the portrait of Lee Harvey Oswald directed by Sigmar Polke by simulating the halftone technique, the war photographs of Don McCullin and David Bailey's Fashion Photographs, Random Earths Studies by Mark Boyle and Joan Hills, Materialologies and Texturologies by Jean Dubuffet, as well as Zen for Film by Nam June Paik. Fimiani's text addresses also two contemporary installations which have tried to return to the issues from the photographic sequence of Antonioni's film: Blow-Up Blow-Up (2010) by Joan Fontcuberta and Portrait Landscape (from the Object Classifier series) (2015) by John Houck, an installation in which photograms of Blow-Up are analyzed through facial recognition software. (shrink)

This paper begins the last instalment of a six-part project correlating the key aspects of Kant’s architectonic conception of philosophy with a special version of the Chinese Book of Changes that I call the “Compound Yijing”, which arranges the 64 hexagrams (gua) into both fourfold and threefold sets. I begin by briefly summarizing the foregoing articles: although Kant and the Yijing employ different types of architectonic reasoning, the two systems can both be described in terms of three “levels” of elements. (...) Starting at an unnumbered level devoid of any element (the tao or thing in itself), the system proceeds by elaborating a key fourfold distinction (or “quaternity”) on the first level, a twelvefold distinction on the second level, and twelve quaternities (grouped in four quadrants, each with a set of three quaternities) on the third level. Each set of three quaternities (i.e., each quadrant) on the third level corresponds to one of the four “faculties” of the university, as elaborated in Kant’s book, The Conflict of the Faculties. Previous papers have examined the correlations between three key quaternities that Kant defends in relation to each of three faculties (philosophy, theology, and law) and the 12 gua that correspond to that faculty in the Compound Yijing. The final step is to explore the fourth quaternity on the third level, the 12 gua corresponding to the medical faculty. The “idea of reason” in Kant’s metaphysics that guides this wing of the comparative analysis is freedom, and the ultimate purpose of this faculty of the university is to train doctors to care for people’s physical well-being, as free agents imbedded in nature. But this paper will focus only on the four gua that correspond to four basic concepts in Kant’s theory of medicine. The two quaternities in the “yin-yang” (medical) quadrant of the Compound Yijing that will be skipped here are as follows. First, Kant’s account of the idea of freedom itself, which gives rise to the area of traditional metaphysics known as rational cosmology, comes in the first Critique’s Dialectic, in the section on the Antinomy of Reason (CPR A405-567/B432- 595). There he examines four irresolvable issues: whether the world has a beginning in time; whether composite substances consist of simple parts; whether a causality of freedom operates in the natural world; and whether an absolutely necessary being exists. Later I will argue that these correspond to the quaternity consisting of gua 15, 22, 36, and 52. (shrink)

The 11 experimental, pseudo-avantgarde visual poems (wordless, other than title and date) are an indirect homage to the late-great filmmaker and photographer, Chris Marker (1921-2012), foremost to his penchant for utilizing disintegrating imagery in his film-essays and multimedia installations. All images were captured using a Research in Motion, BlackBerry 8520 cellphone, and subsequently 100-percent de-saturated, and 100-percent contrast-adjusted, using Microsoft Office Picture Manager. The images, as a result, resemble the primitive production values given to the pinhole camera, and the “dogmatic” (...) (uniform) adjustments (as above), applied to the original BB images, reference the early strictures applied to filmmaking by Lars von Trier. The above-mentioned, black-and-white adjustments notwithstanding, all images are used “as captured,” without cropping. The series begins and ends in Botwnnog, Northwest Wales, in May and August of 2013, respectively, with interregnums and brief idylls in Rijeka, Croatia, Trieste and Ancona, Italy, and Igoumenitsa, Ioannina, and Athens, Greece. Tracking the peregrinations of the author of the poems across Europe, and intimately associated with the then-nascent research and exhibition project, “Not-I/Thou: The Other Subject of Art & Architecture,”* the poems are also a compressed form of scholarship, albeit operating in the shadow-lands of knowledge per se, and evoking the non-discursive side of literary-artistic production, a penumbral zone within cultural production that nonetheless references the discursive arts (essay and/or full-blown treatise), but favors the paradox and/or tautology – privileging, then, the much-desired destruction of dialectics. (shrink)