We cooperate with other people despite the risk of being exploited or hurt. If future artificial intelligence (AI) systems are benevolent and cooperative toward us, what will we do in return? Here we show that our cooperative dispositions are weaker when we interact with AI. In nine experiments, humans interacted with either another human or an AI agent in four classic social dilemma economic games and a newly designed game of Reciprocity that we introduce here. Contrary to the hypothesis that (...) people mistrust algorithms, participants trusted their AI partners to be as cooperative as humans. However, they did not return AI's benevolence as much and exploited the AI more than humans. These findings warn that future self-driving cars or co-working robots, whose success depends on humans' returning their cooperativeness, run the risk of being exploited. This vulnerability calls not just for smarter machines but also better human-centered policies. (shrink)

Technology and Artificial Intelligence, both today and in the near future, are dominated by automated algorithms that combine optimization with models based on the human brain to learn, predict, and even influence the large-scale behavior of human users. Such applications can be understood to be outgrowths of historical trends in industry and academia, yet have far-reaching and even unintended consequences for social and political life around the world. Countries in different parts of the world take different regulatory views for the (...) role and protection of user data, and this will in turn determine the course of development for technology and AI in the near future. (shrink)

This chapter sketches a literary history of writing the colonial interregnum through the comparison of a canonical Dublin text and its filmic adaptation with a canonical Johannesburg text and its filmic adaptation. Njabulo Ndebele’s short story ‘Fools’ (1983) repurposes formal elements from Joyce’s ‘The Dead’ (1914), transposing strategies for representing late colonial Dublin to a Johannesburg township during the height of apartheid in a context of extreme racial domination; beginning with close comparative readings of both stories, my chapter argues that (...) the context in which ‘Fools’ emerges determines the significance of its reappropriation of Joycean formal devices and simultaneously forces a re-reading of Joyce’s flirtation with bourgeois naturalism in ‘The Dead.’ Further, the respective publishing contexts of ‘Fools’ and ‘The Dead’ go on to determine their reception and recirculation, as demonstrated by the diverse histories of the American John Huston’s adaptation of ‘The Dead’ (1984), and Ramadan Suleman’s South African adaptation of ‘Fools’ (1997). In following this circumatlantic history of influence and adaptation from Joyce to Ndebele to Huston to Suleman, across hemispheres and media, I mean to articulate a relationship between modernist form and forms of modernity, particularly as those forms that appear and reappear in the global south over the course of the long twentieth century. Particular attention is paid here to the history of underdevelopment in the global south and how it impinges upon the production and circulation of literary adaptations. (shrink)

This essay identifies and intervenes in the limitations of both the social and the medical models of disability in the postcolonial context, suggesting that those limitations may apply to theorizations of disability more broadly. It suggests that Bessie Head's novel A Question of Power, which represents mental illness and disability without positing a stable etiology for them, illustrates the inapplicability of these ways of thinking about disability under instances of extreme precarity. As such, Head offers a test case for how (...) mental illness and disability writ large might be theorized without the suppositions implicit to the liberal subject. (shrink)

An examination of the specifically graphic-novelistic strategies employed in Art Spiegelman's graphic memoir, Maus, in leading the reader into a punctuated experience of time and memory, and in forcing complicity with the novel's problematic animal-as-ethnicity metaphor, in a wider attempt at putting together the critical vocabulary for discussing comic books as simultaneously textual and pictorial ‘texts’.

Marlene van Niekerk's 1994 Triomf is a plaasroman, or farm novel, without the farm; it formally resembles a nostalgic pastoral genre initiated by the collapse of Southern African agricultural economy around the time of the Great Depression, but removes even the symbol of the farm as aesthetic compensation for material loss. In the process, van Niekerk composes a post-apartheid tragicomedy of a lumpenproletariat white supremacist family coming into long-belated class consciousness, an epiphany which, surprisingly, survives the novel's translations from Afrikaans (...) to South African English to 'international' English. Crucially, this understanding is mediated by a critical tendency to appraise Triomf in the context of Faulkner and the Southern Gothic, a generic comparison which gets a lot wrong but is ultimately very revealing, less about Triomf than about the imperial world-system through which it circulates and is consecrated. Consequently, the novel stages globally what seems at first to be a parochial question: how is one supposed to imagine democratic reconciliation and integration after apartheid, when one of the classes to be reconciled lacks historical self-consciousness and has no obvious place in either the apartheid regime or the post-apartheid dispensation? By analyzing van Niekerk's novel and the institutions which consecrate it, the paper fleshes out critiques of world-literary hermeneutics, specifically for its naive handling of genre and context, and of post-apartheid 'reconciliation' under capital. (shrink)

This paper considers Achebe's No Longer at Ease in terms of its modest canonical fortunes and its peculiar formal construction. The paper argues that the novel's urban setting is produced through an emergent and local noir style, that this setting indexes the increasing centrality of the city in late colonial African life, and that it formally responds to the success of Achebe's rural Things Fall Apart and its problematic status as a paradigmatic African text. The paper suggests that No Longer (...) at Ease 's foreign and local horizons of interpretation, as symptoms of an ongoing imperial world-system, are internalized and symbolically resolved by the novel's instantiation of Lagos as chronotope. The paper's methodological intervention offers a hermeneutics of literary setting through which to elaborate the relationships between form, literary institutions, and material conditions in the postcolony. (shrink)

Part of a book forum on Ato Sekyi-Otu's 'Left Universalism, Africacentric Essays' with a response by the author.

In this article we examine the role of Entscheider (decision-makers) in the German asylum procedure, both legally and ethical. As the responsibility for deciding on asylum applications lies exclusively with them, their significance for the German asylum procedure can hardly be underestimated. However, over the last few decades the situation of Entscheider changed significantly: While the number and complexity of the cases they have to decide on has increased due to the growing immigration, the requirements for their education have been (...) lowered, owed to critical amendments to the relevant law. We analyze how the law currently defines the role of Entscheider, whether the legal framework is constitutional, and what modifications morality requires. Although the law defining their role seems to be constitutional, Entscheider’s education must be improved and they must be entrusted with the hearing of the applicants to meet what morality requires, we conclude. DOI: 10.17879/95189429199. (shrink)

Gignac and Zajenkowski (2020) find that “the degree to which people mispredicted their objectively measured intelligence was equal across the whole spectrum of objectively measured intelligence”. This Comment shows that Gignac and Zajenkowski’s (2020) finding of homoscedasticity is likely the result of a recoding choice by the experimenters and does not in fact indicate that the Dunning-Kruger Effect is a mere statistical artifact. Specifically, Gignac and Zajenkowski (2020) recoded test subjects’ responses to a question regarding self-assessed comparative IQ onto (...) a linear IQ scale when a normal IQ scale would likely have been more appropriate. More generally, researchers studying self-assessed intelligence should be aware of potential measurement problems that may arise when transforming an ordinal scale onto an interval scale. (shrink)

Philosophical exploration of individualism and externalism in the cognitive sciences most recently has been focused on general evaluations of these two views (Adams & Aizawa 2008, Rupert 2008, Wilson 2004, Clark 2008). Here we return to broaden an earlier phase of the debate between individualists and externalists about cognition, one that considered in detail particular theories, such as those in developmental psychology (Patterson 1991) and the computational theory of vision (Burge 1986, Segal 1989). Music cognition is an area in the (...) cognitive sciences that has received little attention from philosophers, though it has relatively recently been thrown into the externalist spotlight (Cochrane 2008, Kruger 2014, Kersten forthcoming). Given that individualism can be thought of as a kind of paradigm for research on cognition, we provide a brief overview of the field of music cognition and individualistic tendencies within the field (sections 2 and 3) before turning to consider externalist alternatives to individualistic paradigms (section 4-5) and then arguing for a qualified form of externalism about music cognition (section 6). (shrink)

The field of business ethics has shown an increasing interest in the responsibilities of firms in taking climate action, (cf. Dietz et al., 2018; Heede, 2014). Especially multistakeholder initiatives are heralded as inclusive platforms in which public and private actors together can provide democratically legitimate solutions for taking effective (global) climate action (cf. Arnold, 2016; Bziuk, 2022; Hormio, 2017; Scherer et al., 2016; Tempels et al., 2017). Although this is promising, the effectiveness of these (political) efforts of firms to tackle (...) climate change are doubted (Coen et al., 2022; Dietz et al., 2021), and on a normative level PCSR is criticized for lacking pluralism and being predominantly libertarian and exclusive of marginalised stakeholders (Djelic & Etchanchu, 2017; Fougère & Solitander, 2020; Hussain & Moriarty, 2018; Mäkinen & Kasanen, 2014; Mäkinen & Kourula, 2012; Moog et al., 2015; Pek et al., 2023). Therefore, we strive to diversify PCSR by exploring the merits of workplace democracy for corporate responsibility in the context of climate change. Both academic and societal debate, democratisation of work has gained significant momentum (Ferreras et al., 2022; Frega & Herzog, 2020; Krüger, 2023; Malleson, 2023; Quijoux, 2020; Reinecke & Donaghey, 2021; Stehr, 2023). Drawing on arguments about the epistemic benefits of democratic decision making and insights from feminist standpoint epistemology, we show that democratically governed firms will make better decisions regarding corporate climate policies and the involvement of other stakeholders, and as such the democratisation of firms can play a crucial role in combating climate change. (shrink)

This essay explores the role that the aesthetic-nonaesthetic distinction plays in assessing activist art by women and artists of color. First, I shall review one traditional line of philosophical thought and show how it serves as the foundation for three types of reasons typically given for artworks reputed to lack aesthetic value. I develop two of the three reasons by examining recent writings opposed to the aesthetic value of activist art by well-known art critic Donald Kuspit, pointing out his aberrant (...) use of "obscene." Kuspit's examples of activist art--the work of Jenny Holzer, Barbara Kruger, and Adrian Piper--are presented in light of his charges. I then explore Piper's art in depth in order to outline ways of expanding the notion of aesthetic value beyond its traditional confines. Finally, I suggest moving beyond entrenched, traditional patterns of assessment and invite underrepresented voices to contribute to the emerging discussion of the multiplicity of aesthetic values. (shrink)