Traditional medical practices and relationships are changing given the widespread adoption of AI-driven technologies across the various domains of health and healthcare. In many cases, these new technologies are not specific to the field of healthcare. Still, they are existent, ubiquitous, and commercially available systems upskilled to integrate these novel care practices. Given the widespread adoption, coupled with the dramatic changes in practices, new ethical and social issues emerge due to how these systems nudge users into making decisions and changing (...) behaviours. This article discusses how these AI-driven systems pose particular ethical challenges with regards to nudging. To confront these issues, the value sensitive design approach is adopted as a principled methodology that designers can adopt to design these systems to avoid harming and contribute to the social good. The AI for Social Good factors are adopted as the norms constraining maleficence. In contrast, higher-order values specific to AI, such as those from the EU High-Level Expert Group on AI and the United Nations Sustainable Development Goals, are adopted as the values to be promoted as much as possible in design. The use case of Amazon Alexa's Healthcare Skills is used to illustrate this design approach. It provides an exemplar of how designers and engineers can begin to orientate their design programs of these technologies towards the social good. (shrink)

The pervasiveness of AI-empowered technologies across multiple sectors has led to drastic changes concerning traditional social practices and how we relate to one another. Moreover, market-driven Big Tech corporations are now entering public domains, and concerns have been raised that they may even influence public agenda and research. Therefore, this chapter focuses on assessing and evaluating what kind of business model is desirable to incentivise the AI for Social Good (AI4SG) factors. In particular, the chapter explores the implications of this (...) discourse for SDG #17 (global partnership) and how this goal may encourage Big Tech corporations to strengthen multi-stakeholder partnerships that promote effective public-private and civil society partnerships and the meaningful co-presence of non-market and market values. In doing so, the chapter proposes an analysis of the sociological notion of "social license to operate" (SLO) elaborated in the mining and extractive industry literature and introduces it into the discourse on sustainable digital business models and responsible management of risks in the digital age. This serves to explore how such a social license can be adopted as a practice by digital business models to foster trust, collaboration and coordination among different actors - AI researchers and initiatives, institutions and civil society at large - for the support of SDGs interrelated targets and goals. (shrink)

Thepaperaimstoexplorethepotentialofresearchbydesigninarchi- tecture and visual arts. The main objective of the paper is to analyze the different models and epistemological positions advanced in the academic milieus as far as doctoral research by design is concerned, to explore the differences and similar- ities between research by design in the field of architecture and in the field of visual arts. Even though the research by design in the fields of architecture and visual arts is focused on the production of knowledge through visual, associative, (...) and experimental research, the models of research by design in visual arts differ from those prevailing in architectural programs. The paper focuses on a corpus of models of doctoral research by design carried out within different university pro- grams in schools of architecture and visual arts, and various multi-university and supra-disciplinary programs (architecture and visual arts) which share the inten- tion to develop their research projects through creative practice. Two questions to which this paper aims to respond are the following: Under which circumstances and conditions a work in the field of architecture (drawn, graphic, or con-structed) or its formulation (verbal or written) can be recognized as active in the constitution of knowledge? What are the modes of inquiry specific to architectural and artistic practices that make it possible to build knowledge that can be transmitted and shared? (shrink)

Healthcare is becoming increasingly automated with the development and deployment of care robots. There are many benefits to care robots but they also pose many challenging ethical issues. This paper takes care robots for the elderly as the subject of analysis, building on previous literature in the domain of the ethics and design of care robots. Using the value sensitive design approach to technology design, this paper extends its application to care robots by integrating the values of care, values that (...) are specific to AI, and higher-scale values such as the United Nations Sustainable Development Goals. The ethical issues specific to care robots for the elderly are discussed at length alongside examples of specific design requirements that work to ameliorate these ethical concerns. (shrink)

New technologies are the source of uncertainties about the applicability of moral and morally connotated concepts. These uncertainties sometimes call for conceptual engineering, but it is not often recognized when this is the case. We take this to be a missed opportunity, as a recognition that different researchers are working on the same kind of project can help solve methodological questions that one is likely to encounter. In this paper, we present three case studies where philosophers of technology implicitly engage (...) in conceptual engineering (without naming it as such). We subsequently reflect on the case studies to find out how these illustrate conceptual engineering as an appropriate method to deal with pressing concerns in the philosophy of technology. We have two main goals. We first want to contribute to the literature on conceptual engineering by presenting concrete examples of conceptual engineering in the philosophy of technology. This is especially relevant, because the technologies that are designed based on the conceptual work done by philosophers of technology potentially have crucial moral and social implications. Secondly, we want to make explicit what choices are made when doing this conceptual work. Making explicit that some of the implicit assumptions are, in fact, debated in the literature allows for reflection on these questions. Ultimately, our hope is that conscious reflection leads to an improvement of the conceptual work done. (shrink)

Although still highly controversial, the idea that we can use technology to radically alter our environment in order to mitigate the climate challenges we now face is becoming an ever more discussed approach. This chapter takes up a specific climate engineering technology, carbon capture, usage, and storage (CCUS), and highlights how this technology works and how its governance still needs further work to ensure that it is aligned to the ideal of sustainable development. Given that climate engineering technologies like CCUS (...) have the potential to ameliorate many of the climate issues and support the SDGs, there remains a lacuna of inserting these globally impactful technologies within a normative political framework to respect that proper responsibility is attributed. The aim of the chapter is to examine the concept of accountability, how it has been traditionally understood in the literature, and why a polysemic and multidimensional account of accountability is required if climate engineering technologies like CCUS are actually to support sustainable development. This may serve as a first theoretically informed basis for reflection on how to create a synergy between the responsible deployment of climate engineering innovation and the achievement of the SDGs targets, one that can shed light on how justifications and decisions about sustainable strategies and constraints are managed, taken and communicated. (shrink)

The article explores the relationship between Baukunst and Zeitwille in the practice and pedagogy of Ludwig Mies van der Rohe, and the significance of the notions of civilization and culture for his philosophy of education and design practice. Focusing on the negation of metropolitan life and mise en scene of architectural space as its starting point, it examines how Georg Simmel’s notion of objectivity could be related to Mies’s understanding of civilization. Its key insight is to recognize that Mie’s practice (...) and pedagogy was directed by the idea that architecture should capture the driving force of civilization. The paper also summarizes the foundational concepts of Mies’s curriculum in Chicago. It aims to highlight the importance of the notions of Zeitwille and impersonality in Mies van der Rohe’s thought and to tease apart the tension between the impersonality and the role of the autonomous individual during the modernist era. (shrink)

The article examines the impact of the virtual public sphere on how urban spaces are experienced and conceived in our data-driven society. It places particular emphasis on urban scale digital twins, which are virtual replicas of cities that are used to simulate environments and develop scenarios in response to policy problems. The article also investigates the shift from the technical to the socio-technical perspective within the field of smart cities. Despite the aspirations of urban scale digital twins to enhance the (...) participation of citizens in the decision-making processes relayed to urban planning strategies, the fact that they are based on a limited set of variables and processes makes them problematic. The article aims to shed light on the tension between the real and the ideal at stake during this process of abstracting sets of variables and processes in the case of urban scale digital twins. (shrink)

Departing from the intention to explore Frank Gehry’s drawings serving to their own designer to grasp ideas during the process of their genesis, the article examines Frank Gehry’s concern about the revelation of the first gestural drawings and all the sketches and working models concerning the evolution of his projects, and his intention to capture the successive transformation and progressive concretisation of architectural concepts. The article also compares Gehry’s design process with that of Enric Miralles, Alvar Aalto, Bernard Tschumi, and (...) Le Corbusier. It sheds light on Miralles, Aalto, Le Corbusier and Gehry’s interest in a holistic understanding of all the parts of an architectural project, which is expressed through their tendency to draw the different sketches concerning the same project on the same sheet of paper. At the core of Gehry’s design approach is the osmosis of function and morphology. This aspect of his design vision could be compared to Alvar Aalto’s design process. At the core of the article are the distinction between communication drawings and conceptual drawings, and Gehry’s concern about achieving an osmosis between function and morphology. The article also investigates Gehry’s use of uninterrupted self-twisting line in his sketches, exploring his intention to enhance a straightforward relationship between the gesture and the decision-making regarding the form of the building. (shrink)

Departing from the fact that László Moholy-Nagy’s Von Material zu Architektur (1929), had been an important source of inspiration for Alvar Aalto, this article examines the affinities between László Moholy-Nagy and Alvar Aalto’s intellectual positions. The article places emphasis on two particular ideas: how Aalto and Moholy-Nagy conceived the connection of biology with standardization and technology and its relationship to light and perception. Special attention is paid to the notions of “flexible standardisation” and rationalisation in Aalto’s thought, as well as (...) to his belief that nature and standardization should be conceived are closely interconnected. In regard to their shared intellectual development, the article sheds light on the first encounters of the two men including: their meeting at the second Congrès International de l’Architecture Moderne (CIAM) in 1929; the June 1931 Finish meeting of Aino Marsio-Aalto, Alvar Aalto, Moholy-Nagy and Ellen Frank; the June 1931 exchanges between Aalto and Moholy-Nagy during the inner circle CIAM meeting in Berlin; and the common stay of the Aaltos and Moholy-Nagy in London in 1933 are discussed. Particular emphasis is placed on Aalto’s “The Reconstruction of Europe is the Key Problem for the Architecture of Our Time”, in which he argued that standardization in architecture should draw upon biological models. (shrink)

Many of our beliefs behave irrationally: this is hardly news to anyone. Although beliefs’ irrational tendencies need to be taken into account, this paper argues that beliefs necessarily preserve at least a minimal level of rationality. This view offers a plausible picture of what makes belief unique and will help us to set beliefs apart from other cognitive attitudes.

The article explores the place of women and migrants in Italian Neorealist and New Migrant cinema, arguing that New Migrant cinema continues and reworks key Neorealist tropes and tendencies. It intends to render explicit how an ensemble of films challenge the stereotypes concerning gender, national and cultural identities. Among the figures that are scrutinized are the borgatari, extracomunitari, popolane and terrone. Its main objective is to demonstrate how the cinematic expression of these figures in Italian Neorealist and New Migrant cinema (...) enhanced the reinvention of italianità and the generalised understanding of gender. It also aims to explain why the cross-fertilisation between migration studies, urban studies and gender studies is indispensable for comprehending this reinvention. Particular emphasis is placed on the shared interest of Roberto Rossellini’s Roma città aperta and Vittorio De Sica’s Il tetto in the plight over housing and the special character of the urban landscape of Rome. The article also sheds light on certain common concerns of Italian Neorealist and New Migrant cinema, especially as far as national and gender narratives are concerned. Pivotal for the reflections developed here are the roles of Anna Magnani in Roberto Rossellini’s Roma città aperta, Luchino Visconti’s Bellissima and Pier Paolo Pasolini’s Mamma Roma. (shrink)

How were the concepts of the observer and user in architecture and urban planning transformed throughout the 20th and 21st centuries? Marianna Charitonidou explores how the mutations of the means of representation in architecture and urban planning relate to the significance of city's inhabitants. She investigates Le Corbusier and Ludwig Mies van der Rohe's fascination with perspective, Team Ten's interest in the humanisation of architecture and urbanism, Constantinos Doxiadis and Adriano Olivetti's role in reshaping the relationship between politics and (...) urban planning during the postwar years, Giancarlo De Carlo's architecture of participation, Aldo Rossi's design methods, Denise Scott Brown's active socioplactics and Bernard Tschumi's conception praxis. (shrink)

The article presents the reasons for which the issue of providing housing to low-income citizens has been a real challenge in Addis Ababa during the recent years and will continue to be, given that its population is growing extremely fast. It examines the tensions between the universal aspirations and the local realities in the case of some of Ethiopia’s most ambitious mass pro-poor housing schemes, such as the “Addis Ababa Grand Housing Program” (AAGHP), which was launched in 2004 and was (...) integrated in the “Integrated Housing Development Program” (IHDP) in 2006. The article argues that the quotidian practices of communities and their socio-economic and cultural characteristics are related to the spatial attributes of co-housing practices. Drawing upon the idea that there is a mutual correspondence between social and spatial structures, it places particular emphasis on the analysis of the IHDP and aims to show that to shape strategies that take into account the social and cultural aspects of daily life of the poor citizens of Addis Ababa, it is pivotal to invite them to take part in the decision-making processes regarding their resettlement. Departing from the fact that a large percentage of the housing supply in Addis Ababa consists of informal unplanned housing, the article also compares the commoning practices in kebele houses and condominium units. The former refers to the legal informal housing units owned by the government and rented to their dwellers, whereas the latter concerns the housing blocks built in the framework of the IHDP for the resettlement of the kebele dwellers. The article analyzes these processes of resettlement, shedding light of the fact that kebele houses were located at the inner city, whereas the condominiums are located in the suburbs. Despite the fact that the living conditions in the condominium units are of a much higher quality than those in the kebele houses, their design underestimated or even neglected the role of the commoning practices. The article highlights the advantages of commoning practices in architecture and urban planning, and how the implementation of participation-oriented solutions can respond to the difficulties of providing housing. It argues that understanding the significance of the endeavors that take into account the opinions of dwellers during the phase of decision-making goes hand in hand with considering commoning practices as a source of architecture and urban planning frameworks for low-cost housing in this specific context. The key argument of the article is that urban planning and architecture solutions in Addis Ababa should be based on the principles of the so-called “negotiated planning” approach, which implies a close analysis of the interconnections between planning, infrastructure, and land. (shrink)

The article examines the principles of Giancarlo De Carlo’s design approach. It pays special attention to his critique of the modernist functionalist logic, which was based on a simplified understanding of users. De Carlo′s participatory design approach was related to his intention to replace of the linear design process characterising the modernist approaches with a non-hierarchical model. Such a non-hierarchical model was applied to the design of the Nuovo Villaggio Matteotti in Terni among other projects. A characteristic of the design (...) approach applied in the case of the Nuovo Villaggio Matteotti is the attention paid to the role of inhabitants during the different phases of the design process. The article explores how De Carlo’s “participatory design” criticised the functionalist approaches of pre-war modernist architects. It analyses De Carlo’s theory and describes how it was made manifest in his architectural practice—particularly in the design for the Nuovo Villaggio Matteotti and the master plan for Urbino—in his teaching and exhibition activities, and in the manner his buildings were photographs and represented through drawings and sketches. The work of Giancarlo De Carlo and, especially, his design methods in the case of the Nuovo Villaggio Matteotti can help us reveal the myths of participatory design approaches within the framework of their endeavour to replace the representation of designers by a representation of users. The article relates the potentials and limits of De Carlo’s participatory design approach to more contemporary concepts such as “negotiated planning”, “co-production”, and “crossbenching”. The article also intends to explore whether there is consistency between De Carlo’s theory of participation and its application. (shrink)

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)

The article examines the collaborations between the pensionnaires of the Villa Medici in Rome and the members of the French School of Athens, shedding light on the complex relationships between architecture, art, and archeology. The second half of the 19th century was a period during which the exchanges and collaborations between archaeologists, artists, and architects acquired a reinvented role and a dominant place. Within such a context, Athens was the place par excellence, where the encounter between these three disciplines took (...) place. The main objective of the article is to render explicit how the revelations of archeology, actively disseminated by the members of the French School of Athens—the “Athéniens”—had an important impact on the approach of certain pensionnaires of the Villa Medici in Rome. Particular emphasis is placed on certain pensionnaires, who decided to devote their envois to ancient monuments of Greece. In parallel, the article intends to shed light on the methods that helped the pensionnaires-architects of the Villa Medici in Rome appropriate archaeological discoveries concerning Greek antiquities. The article takes, as a starting point, the following hypothesis: to better understand the figure of the architect-archaeologist, of whom Jacques Ignace Hittorff is an emblematic example, it is pivotal to bear in mind that before the second half of the 19th century neither the figure of Hellenic archeology nor the figure of the architect had yet acquired their autonomy. Taking into account that Johann Joachim Winckelmann, in the middle of the 18th century, forged an ideal Greek model, which was criticized during the second half of the 19th century, the article also sheds light on the fact that the revelations of archaeologists have called into question the Winckelmannian image of Greece. Another aspect that is explored in the article is Jacques Ignace Hittorff’s studies concerning the polychromy of ancient Greek monuments, paying special attention to his Restitution du temple d’Empédocle à Sélinonte ou l’Architecture polychrome chez les Grecs. The article also explores how the shifts of the status of philhellenism are related to the mutations of the meaning of travel to Greece. In parallel, it investigates the impact of Greek independence on the ideals of beauty and nature in arts, as well as how Greek independence is related to the intensification of the interest in the excavations of Greek antiquities. (shrink)

The automobile has reshaped our conceptions of space and our modes of accessing and penetrating the urban and non-urban territory in multiple ways, revolutionizing how architects perceive the city and contributing significantly to the transformation of the relationship between architecture and the city. Despite the fact that many architects and architectural critics and theorists have been attracted to automobile vision, in the field of history and theory of architecture and urban design, many questions concerning the impact of the automobile on (...) our perception of the city and its territory have not yet been explored in depth. This is surprising when one considers that no other single factor changed the city so drastically during the twentieth century as the pervasive presence of the automobile. The article examines three different cases of architects—John Lautner, Alison and Peter Smithson, and Aldo Rossi—who tried to construct new visual regimes in photography from the car. The main objective is to present how new visual regimes in photography from the car informed in various ways the visual attitudes in their designs of buildings. The interexchange between the ways of capturing the views from the car and the formation of new design methods can explain the necessity to establish a new theoretical framework offering the possibility to historians of architecture and urban design to address in a sharp and concrete way the reciprocal relation between automobile vision and design approaches. (shrink)

The article examines the impact of the study for Levittown of urban sociologist Herbert Gans on Denise Scott Brown’s thought. It scrutinizes Denise Scott Brown, Robert Venturi, and Steven Izenour’s ‘Remedial Housing for Architects or Learning from Levittown’ conducted in collaboration with their students at Yale University in 1970. Taking as its starting point Scott Brown’s endeavour to redefine functionalism in ‘Architecture as Patterns and Systems: Learning from Planning’, and ‘The Redefinition of Functionalism’, which were included in Architecture as Signs (...) and Systems: For a Mannerist Time (2004), the article sheds light on the fact that the intention to shape a new way of conceiving functionalism was already present in Learning from Las Vegas, where Robert Venturi, Denise Scott Brown and Steven Izenour suggested an understanding of Las Vegas as pattern of activities. Particular emphasis is placed on Scott Brown’s understanding of ‘active socioplastics’, and on the impact of advocacy planning and urban sociology on her approach. At the core of the reflections developed in this article is the concept of ‘urban village’ that Gans uses in US in The Urban Villagers: Group and Class in the Life of Italian-Americans (1972) to shed light on the socio-anthropological aspects of inhabiting urban fabric. (shrink)

The article examines the reorientations of the appreciation of ugliness within different national contexts in a comparative and relational frame, juxtaposing the Australian, American, British and Italian milieus. It also explores the ways in which the transformation of the urban fabric and the effect of suburbanization were perceived in the aforementioned national contexts. Special attention is paid to the production and dissemination of how the city’s uglification was conceptualized between the 1950s and 1970s. Pivotal for the issues that this article (...) addresses are Ian Nairn’s Outrage: On the Disfigurement of Town and Countryside, Robin Boyd’s The Australian Ugliness, Donald Gazzard’s Australian Outrage: The Decay of a Visual Environment, and the way the phenomenon of urban expansion is treated in these books in comparison with other books from the four national contexts under study, such as Ludovico Quaroni’s La torre di Babele and Reyner Banham’s The New Brutalism: Ethic or Aesthetic?. Particular emphasis is placed on Boyd’s articles in The Architectural Review between 1951 and 1970. At the core of the article is the analysis of the debates around ugliness between the 1950s and 1970s within the British, Italian, American and Australian contexts. (shrink)

Cet article se propose explorer le cas de l’« architecte-historien », terme par lequel je désigne un architecte prenant lui-même en charge son histoire. Ainsi, quelle est la signification, pour un architecte, d’une telle prise en charge de l’interprétation de son œuvre? Aldo Rossi, en 1981, publie A Scientific Autobiography, livre qui constitue une enquête sur les sources de sa propre création. Mon intention dans cet article est de déchiffrer et de comprendre la position de la notion d’introspection dans la (...) réflexion d’Aldo Rossi. Un des objectifs de ma contribution est de montrer quelle est la signification de cette introspection pour le domaine de l’architecture. Dans l’épigraphe de son autobiographie, Rossi pose la question suivante : « Dès lors, à quoi ai-je pu aspirer dans mon métier? » (Rossi, 1988 [1981a] : 5). Cette interrogation montre sa volonté de mettre en question ou au moins d’examiner son apport à la connaissance et à la pratique architecturales. La réponse qu’il propose à sa propre question est la suivante : « [C]ertes à peu de choses, vu que la possibilité de réaliser de grandes choses est historiquement forclose. » (Rossi, 1988 [1981a] : 5). (shrink)

L’article vise à retracer les relations entre les pratiques de l’architecture et les pratiques de l’archéologie, en accordant une importance particulière au rôle joué par les antiquités grecques dans la formation intellectuelle des archéologues et architectes du xixe siècle, d’une part, et à la signification du voyage en Grèce, d’autre part. L’article vise à répondre à la question de la spécificité du voyage en Grèce et de sa relation avec l’idée du « Grand tour » et du « retour en (...) Arcadie » des architectes et peintres. En parallèle, l’article explore les modalités par lesquelles les architectes-pensionnaires de la Villa Médicis à Rome s’approprièrent les découvertes archéologiques concernant les antiquités grecques, et l’impact des échanges des architectes-pensionnaires de la Villa Médicis à Rome avec les membres de l’École française d’Athènes sur leurs vues restaurées de monuments antiques grecs. Une attention particulière est accordée à l’analyse de l’osmose entre architecture et archéologie. La seconde moitié du xixe siècle constitue un moment où les échanges et la collaboration entre archéologues et architectes acquièrent une place dominante, et Athènes est l’endroit par excellence où la rencontre entre ces deux domaines porte ses fruits. Durant toute cette période, les collaborations entre archéologues et architectes travaillant sur des monuments antiques, à Athènes ou ailleurs en Grèce, deviennent très importantes. Ces collaborations ont fourni les fondations pour des ouvrages d’une importance majeure pour leurs deux champs respectifs, mais aussi pour l’histoire de l’art en général. (shrink)

L’article examine les « compositions » de Tchernikhov en liant sa recherche constante de nouvelles formes à la capacité de convertir les « fantaisies » en représentations. Contrairement à Aristote, qui conçoit la mimèsis comme l’équivalent de l’entreprise artistique, Tchernikhov perçoit ses « compositions » comme des actes de dépassement de la mimèsis par la phantasia. Les illustrations visionnaires de ses Fantaisies architecturales expriment son intention de remplacer les mots par des images graphiques. Son approche est fondée sur la croyance (...) que la puissance de l’imagination permet à la langue graphique, qui est par ailleurs internationale, de fonctionner comme un précurseur du progrès. L’objectif de l’article est d’élucider comment Tchernikhov traite la tension entre imagination et réalité et d’examiner dans quelle mesure sa production graphique parvient à surmonter la mimèsis à travers la phantasia. La réponse à ces questions pourrait nous aider à expliquer pourquoi Tchernikhov a souvent été jugé comme inclassable et à évaluer à quel point sa démarche reflète les polarités entre les rationalistes et les constructivistes. L’opposition entre « composition » et « construction » permet de mieux comprendre le positionnement à la fois singulier et fondamental de Tchernikov par rapport au constructivisme. L’article met en évidence le fait que le rôle essentiel de la phantasia pour Tchernikhov découle de la valorisation de la « composition » plutôt que la « construction ». (shrink)

Cet article présente les débats sur la comparaison en histoire. Il s’agit de revisiter les liens de la comparaison en histoire avec d’autres disciplines des sciences humaines et sociales. Les questions qui guident la présentation des débats théoriques sont les suivantes : Que signifie comparer en histoire, au-delà des débats sur la comparabilité des sources? Comment la comparaison en histoire pourrait-elle désigner les transferts au-delà des cadres nationaux? Comment les historiens se situent-ils par rapport aux autres disciplines à l’égard de (...) la comparaison et des transferts culturels? Quel est le contenu de leurs débats? L’intention de retracer les distinctions entre la démarche comparée, l’histoire croisée, l’histoire connectée, l’étude des transferts et la démarche transnationale en histoire conduit le récit de cet article. En réexaminant les notions et leurs origines, et les relations entre les notions et les méthodes on vise, d’une part, à présenter les débats internes sur les « définitions » et, d’autre part, aborder les perspectives programmatiques des différentes postures historiographiques. (shrink)

Successful biomedical data mining and information extraction require a complete picture of biological phenomena such as genes, biological processes, and diseases; as these exist on different levels of granularity. To realize this goal, several freely available heterogeneous databases as well as proprietary structured datasets have to be integrated into a single global customizable scheme. We will present a tool to integrate different biological data sources by mapping them to a proprietary biomedical ontology that has been developed for the purposes of (...) making computers understand medical natural language. (shrink)

Multiple Authors - please see paper attached. -/- AI systems have seen dramatic advancement in recent years, bringing many applications that pervade our everyday life. However, we are still mostly seeing instances of narrow AI: many of these recent developments are typically focused on a very limited set of competencies and goals, e.g., image interpretation, natural language processing, classification, prediction, and many others. We argue that a better study of the mechanisms that allow humans to have these capabilities can help (...) us understand how to imbue AI systems with these competencies. We focus especially on D. Kahneman’s theory of thinking fast and slow , and we propose a multi-agent AI architecture (called SOFAI, for SlOw and Fast AI) where incoming problems are solved by either system 1 (or "fast") agents (also called "solvers"), that react by exploiting only past experience, or by system 2 (or "slow") agents, that are deliberately activated when there is the need to reason and search for optimal solutions beyond what is expected from the system 1 agent. (shrink)

[Multiple authors] In this paper, we propose a general architecture that is based on fast/slow solvers and a metacognitive component. We then present experimental results on the behavior of an instance of this architecture, for AI systems that make decisions about navigating in a constrained environment. We show how combining the fast and slow decision modalities allows the system to evolve over time and gradually pass from slow to fast thinking with enough experience, and that this greatly helps in decision (...) quality, resource consumption, and efficiency. (shrink)

This paper aims to shed light on the nature of belief and provide support to the view that I call ‘Minimalism’. It shows that Minimalism is better equipped than the traditional approach to separating belief from imagination and addressing cases of belief’s evidence- resistance. The key claim of the paper is that no matter how epistemically irrational humans’ beliefs are, they always retain a minimal level of rationality.

In this paper, we propose a methodology to maximize the benefits of interdisciplinary cooperation in AI research groups. Firstly, we build the case for the importance of interdisciplinarity in research groups as the best means to tackle the social implications brought about by AI systems, against the backdrop of the EU Commission proposal for an Artificial Intelligence Act. As we are an interdisciplinary group, we address the multi-faceted implications of the mass-scale diffusion of AI-driven technologies. The result of our exercise (...) lead us to postulate the necessity of a behavioural theory that standardizes the interaction process of interdisciplinary groups. In light of this, we conduct a review of the existing approaches to interdisciplinary research on AI appliances, leading to the development of methodologies like ethics-by-design and value-sensitive design, evaluating their strengths and weaknesses. We then put forth an iterative process theory hinging on a narrative approach consisting of four phases: definition of the hypothesis space, building-up of a common lexicon, scenario-building, interdisciplinary self-assessment. Finally, we identify the most relevant fields of application for such a methodology and discuss possible case studies. (shrink)

PENULTIMATE DRAFT. At times, weird stories such as the Pizzagate spread surprisingly quickly and widely. In this paper I analyze the mental attitudes of those who seem to take those absurdities seriously: I argue that those stories are often imagined rather than genuinely believed. Then I make room for the claim that often these imaginings are used to support group ideologies. My main contribution is to explain how that support actually happens by showing that motivated cognition can employ imagination as (...) a seemingly rational tool to reinforce and protect beliefs. (shrink)

In this article, I consider the reception of images that are present in a city space. I focus on the juxtaposition of computer‑generated images covering fences surrounding construction sites and the real spaces which they screen from view. I postulate that a visual experience is dependent on input from the other human senses. While looking at objects, we are not only standing in front of them but are being influenced by them. Seeing does not leave a physical trace on the (...) object; instead the interference is more subtle — it influences the way in which we perceive space. Following in the footsteps of Sarah Pink, Michael Taussig and William J. T. Mitchell, I show that seeing (to paraphrase the title of an article by the last of the above mentioned scholars) is a cultural practice. The last part of the article presents a visual essay as a method that can contribute to cultural urban studies. I give as an example of such a method a photo‑essay about chosen construction sites in Poznań, which I photographed between December 2014 and June 2015. (shrink)

Technological developments involving robotics and artificial intelligence devices are being employed evermore in elderly care and the healthcare sector more generally, raising ethical issues and practical questions warranting closer considerations of what we mean by “care” and, subsequently, how to design such software coherently with the chosen definition. This paper starts by critically examining the existing approaches to the ethical design of care robots provided by Aimee van Wynsberghe, who relies on the work on the ethics of care by Joan (...) Tronto. In doing so, it suggests an alternative to their non-principled approach, an alternative suited to tackling some of the issues raised by Tronto and van Wynsberghe, while allowing for the inclusion of two orientative principles. Our proposal centres on the principles of autonomy and vulnerability, whose joint adoption we deem able to constitute an original revision of a bottom-up approach in care ethics. Conclusively, the ethical framework introduced here integrates more traditional approaches in care ethics in view of enhancing the debate regarding the ethical design of care robots under a new lens. (shrink)

Marianna Charitonidou's books discuss the problem of changes in the creation of architecture in the 20th century. The author showed representatives of four generations of architects of this period. The first group is represented by Le Corbusier and Ludwig Mies van der Rohe. The second generation was described as a group of opponents to the CIAM environment centered around the Team X grouping and the activities of Alison and Peter Smithson and Aldo van Eyck. Generation three was discussed based (...) on the work of Aldo Rossi and Giancarlo Da Carlo. Generation four, active since the 1980s, was linked to the activities of Rem Koolhaas and Bernard Tschumi. (shrink)

"Translation, as with any practice, is something to return to again and again. Opening this issue, curator and poet Srajana Kaikini’s multi-layered article, ‘The Return of the Translator’ underlines the relevance of translation as a critical process, available to anyone, in any field. Bringing in references to philosopher Sundar Sarukkai, poet Gangadhar Chittal, and Buddhist philosophical principles, she locates the place of translation. Kaikini looks closely at the ways “language and the world are in strange relation with each other,” to (...) borrow her words. Translation as a method, she main- tains, is a matter of intention, creation, and experience." from the Editorial, Marianna Maruyama. (shrink)