This article relates the ideas of Stanisław Brzozowski (1878-1911) with those of Bernard Stiegler (1952-2020), both of whom problematize the "work" of art understood as a labor practice. Through the conceptual analysis of epigenetics and epiphylogenetics for aesthetic theory, I claim that both thinkers develop practical concepts relevant to contemporary art philosophy. First, I present an overview of Brzozowski's aesthetics, for whom literature and the arts are linked with ethics, and aesthetic form is tied with moral judgment. Then, I continue (...) with an outline of Stiegler's, for whom the role of artists is to sculpt a new culture and historical epoch called the Neganthropocene. Finally, the notion of "work" as a type of memory practice is analyzed. The comparison shows that Stiegler develops epigenetics phenomenologically via memory ("tertiary retentions") and phylogenetics to epiphylogenetics. Both philosophers argue against determinism. This study suggests that their key ideas advance and complement each other. (shrink)

This article presents a new approach to studying aesthetics by weaving together a thread of ideas based on investigating the problematics of the philosophy of art from a behavioral paradigm in order to exceed the margins of aesthetics. I claim that it makes no sense to ask if something is art, but rather we should be looking out into the manners in which art subsists, consists, and insists itself. Several notions of what I call behavioral aesthetics are proposed such as (...) observation, aesthetic experience and aesthetic conditioning, behavioral materialism, out-comes, behavioral memory and replication or acquisition, interaction and intra-action, emotional engineering, artificial instincts, aesthetic dissonance, and the problem of measurement. The proposed goal of behavioral aesthetics consists in studying the process of individuation as constitutive of art with the methods of Bernard Stiegler’s general organology and genealogy of the sensible. The article presents a behavioral stance as a borderline mode for approaching the genealogy of aesthetics. I mostly refer to Tania Bruguera’s Behavior Art School and Wright Judson’s Behavioral Art, and the paradigm of new materialism, notably agential realism of Karan Barad. (shrink)

From a behaviorist perspective, the desire to upload “minds” is already being realized on a mass, hyper-industrial scale thanks to the convergence of cognitive computing and Big Data. The accusation is that the “mind” is not an entity that exists intracranially. Instead, it is conceived as a process of individuation, which occurs in different modes and numbers. Some narratives of mind-uploading and technics in popular culture are explored: Transcendence (2014, dir. Wally Pfister) and Player Piano by Kurt Vonnegut. The discussed (...) issues consider Bernard Stiegler’s phenomenological notion of originary default and Thierry Bardini’s analysis of junk. Several questions are raised regarding miscalculations, accidents, in addition to Nicolas Agar’s discussion on the end of humanity, and Daniel Dennett’s Multiple Drafts theory within the context of exteriorization, which is considered as constitutive of interiority. (shrink)

In this two-part article, I propose a new materialist understanding of behavior. The term “mattering” in the title refers to sense-making behavior that matters, that is, to significant habits and materialized behaviors. By significant habits I mean protocols, practices and routines that generate ways of reading material signs and fixed accounts of movement. I advance a notion of behaving that stresses its materiality and sensory shaping, and I provide select examples from music. I note that current definitions of behavior do (...) not capture its material dimension. This is because behavioral science has mostly viewed matter as passive, and not as an active agency. Such an approach has metaphysically framed behavior as a phenomenon of presence that is external from its environment. The approach of behavioral science to matter where there are fixed borders between the internal and external is lacking, since it does not account for agential cuts as conceptualized by Karen Barad. Instead, I consider behavior performatively; as an ongoing iterative practice and as integral to the growth of immanently self-caused matter that spawns metastable relational formations that produce different possibilities for successive formations. In this regard, behavior matters, and matter behaves. One key aspect of my article advances Bernard Stiegler as a critical new materialist thinker. This advancement concerns the technical doings of artworks, which include the material activity that is generative of sensitivity: feelings and beliefs associated with a sense or meaning. I outline an example of the materiality of habits as constitutive of music. After that, I coin the transformative doings of matter on the artist as a “caripulation,” which is a desired movement or motion that transforms the mover and the moved. Finally, I raise “pharmacological” considerations in terms of the Stieglerian aspects of organic and inorganic organized matter. (shrink)

Celem niniejszej pracy jest zastosowanie wizji „Lewiatana” Thomasa Hobbesa do koncepcji superinteligencji lub nadludzkiej inteligencji, które dyskutowane jest wśród transhumanistów i poruszone jest przez takich filozofów i futurologów jak między innymi Nick Bostrom, Stanisław Lem, albo Ray Kurzweil. Inspiracją mojej pracy były pytania w rodzaju: „kiedy człowiek przestaje być autonomicznym podmiotem?” albo „czy człowiek w ogóle może być samodzielny?”. Niemniej jednak wydaje mi się, że takie pytania mogą się pojawić wtedy, kiedy człowieka rozpoznamy jako zwierzę polityczne (politikon zoon w sensie (...) Arystotelesowskim). Albowiem trudno wyobrażać sobie wyłonienie pojęcia polityki wobec człowieka samotnego, to znaczy w izolacji od innych ludzi i bez odniesienia się lub ustosunkowania się do nich. Będę argumentował z perspektywy historyka ewolucyjnego. Za badaczy posiadających wkład do takiego stanowiska można uznać Karola Darwina, Samuela Butlera, George’a Dysona i szczególnie Yuvala Noaha Harariego. Opieram się głównie na pracach dwóch ostatnich. (shrink)

Obóz Kultury 2.0 Mirosław Filiciak, Alek Tarkowski, Agata Jałosińska, Andrzej Klimczuk, Maciej Rynarzewski, Jacek Seweryn, Stunża M., D. Grzegorz, Marcin Wilkowski & Anna Orlik .

Artykuł poruszać będzie zagadnienia dotyczące sposobu definiowania artysty oraz istnienie artystów w kontekście historycznym, ontologicznym i filozoficznym. Autor rozważy także dylematy moralne i etyczne, dotyczące statusu dzieła, jak i problemy estetyczne odniesione do „standaryzacji” dzieł według wzorca produktów i języka biznesowego. Udowodni, że żaden współczesny człowiek w istocie nie potrafi zrobić „kanapki” jako jednostka. Wytwory artystyczne są w podobnej sytuacji. Status quo jest w procesie przewartościowania. W artykule postawiona będzie teza, że współczesny artysta jest nauczycielem, który stymuluje bądź angażuje działalność (...) osób – korzystając z nowych rozwiązań technologicznych – do powstających w sposób zbiorowy dzieł sztuki. Te nowe realia wymagają ogólnego dostępu do zasobów koniecznych dla nowego społeczeństwa. Rozwój technologii spowodował, że wśród artystów i odbiorców znacznie zradykalizował się sposób tworzenia i recepcji sztuki. Nie jest to bynajmniej tajemnicą, szczególnie biorąc pod uwagę konflikty między własnością autorską a prywatną (piractwo) oraz historię tego „problemu” – począwszy od pojawienia się prasy drukarskiej. W świetle nowej technologii nasuwa się pytanie, czy usiłujemy utrzymać przestarzały model? Czy komputer może być artystą? Czy może nim być tłum? A zwierzęta? Czy twory sztuki mogą być własnością publiczną? Co w przypadku powszechnego dostępu do edukacji artystycznej? Jaki paradygmat wprowadzić? Jaka powinna być polityka wobec zasobu energii kreatywnej? (shrink)

While drawing from the philosophy of Bernard Stiegler throughout the paper, I commence by highlighting Zoltan Istvan’s representation of transhumanism in the light of its role in politics. I continue by elaborating on the notion of the promise of eternal life. After that I differentiate between subjects that are proper for philosophy (such as the mind or whether life is worth living) and science (measurable and replicable). The arguments mostly concern mind-uploading and at the same time I elaborate on a (...) simple critique of mind-body dualism, which is one of the key imagined orders exploitable by technologies in the narratives of transhumanism present in popular culture. This is reframed as a problem of action. The focus of this article is on the claim that certain transhumanisms are dangerous forms of Neo-Darwinism. It comes from a critical assessment of capital and the exploitation of bodies through market forces. Entropy is a process of growing disorder, while neganthropy is an anthropological struggle against exploitation, not only of bodies, but of all ecosystems of the Earth. The arguments of Stiegler from a collection of lectures are recapitulated, and his claims are presented through the prism of transhuman narrative, with a particular focus on Christian Salmon's position in the book Storytelling: Bewitching the Modern Mind. (shrink)

Aesthetics is thought of as not only a theory of art or beauty, but also includes sensibility, experience, judgment, and relationships. This paper is a study of Bernard Stiegler’s notion of Aesthetic War (stasis) and symbolic misery. Symbolic violence is ensued through a loss of individuation and participation in the creation of symbols. As a struggle between market values against spirit values human life and consciousness within neoliberal hyperindustrial society has become calculable, which prevents people from creating affective and meaningful (...) attachments to symbols in relation to our retentional apparatuses, technology and memory. Such tension can be thought of as a dissonance between overlapping domains of social life, private and public. New Media is a reflection of aesthetic dissonance, an experience such as being bored and entertained at the same time, between antagonistic experiences, values, and behavior. Moreover, new media is at once a medium of customizing aesthetic experience individually as well as the threat and practice of prioritizing calculability and modeling of consumer behavior in favor of capitalistic effectiveness, which results in the simultaneous categorization of an individual as a data point, putting those who do not fit an algorithm’s premises at a disadvantage. (shrink)

This paper focuses on the question of filtration through the perspective of “too much information”. It concerns Western society within the context of new media and digital culture. The main aim of this paper is to apply a philosophical reading on the video game concept of Selection for Societal Sanity within the problematics of cultural filtration, control of behaviors and desire, and a problematization of trans-individuation that the selected narrative conveys. The idea of Selection for Societal Sanity, which derives from (...) the first postmodern video game Metal Gear Solid 2: Sons of Liberty (2001), is applied into a philosophical framework based on select concepts from Bernard Stiegler’s writing and incorporating them with current events such as post-truth or fake news in order to explore the role of techne and filtration within social organizations and individual psyches. Alternate forms of behavior, which contest cultural paradigms, are re-problematized as tension between calculability and incalculability, or market value versus social bonding. (shrink)

The dynamism between otherness and differences with identity and equivalence provides key ideas for analyzing the process of gender individuation by artistic works. In this article I discuss the problem of artistic and aesthetic reactions to homogeneous cultural patterns of masculinity, which is characterized by the concept of "toxic masculinity" in pop-cultural, sociological, psychological and gender studies discourses. One common theme is that "toxic masculinity" encompasses harmful standards that generate antagonisms and diminish multi-figure masculinity to a singular "socially acceptable" level (...) at the expense of children, women and men - and thus society as a whole. The artist's task is to reveal this noxiousness, and to highlight the value of the coexistence of a variety of forms of masculinity in terms of its diversity, thereby helping to mitigate the consequences of disruptive gender relations. (shrink)

Seeing with Ears, Hearing with Eyes. How Technology Molds Synesthesia Within Us -/- The subject of consideration within this lecture is the contribution of existing scientific discoveries on the visual and musical connection within the perceptual plane. Points of reference are the studies of Amir Amedi, Jacob Jolij and Maaieke Meurs, Harry McGurk, as well as, the works of Iwona Sowińska, Roger Scruton, Oliver Sacks, and a cultural analysis of Joshua Bell’s performance. I will also consider how the senses effect (...) each other, pursuing the diversified reception of vision, which consists of the sense of hearing [sic!], on which I would like to focus attention. -/- Paper structure:  Introduction to key concepts in the fields of research and development,  The visual outlook on hearing,  The aural perspective on vision,  Relationships to related sciences,  Summary of multimedia examples,  An attempt to extend the “techno-view” to the auditory senses within synesthesia. (shrink)

By drawing on the philosophy of Bernard Stiegler, the phenomena of mechanical (a.k.a. artificial, digital, or electronic) intelligence is explored in terms of its real significance as an ever-repeating threat of the reemergence of stupidity (as cowardice), which can be transformed into knowledge (pharmacological analysis of poisons and remedies) by practices of care, through the outlook of what researchers describe equivocally as “artificial stupidity”, which has been identified as a new direction in the future of computer science and machine problem (...) solving as well as a new difficulty to be overcome. I weave together of web of “artificial stupidity”, which denotes the mechanic (1), the human (2), or the global (3). With regards to machine intelligence, artificial stupidity refers to: 1a) Weak A.I. or a rhetorical inversion of designating contemporary practices of narrow task-based procedures by algorithms in opposition to “True A.I.”; 1b) the restriction or employment of constraints that weaken the effectiveness of A.I., which is to say a “dumbing-down” of A.I. by intentionally introducing mistakes by programmers for safety concerns and human interaction purposes; 1c) the failure of machines to perform designated tasks; 1d) a lack of a noetic capacity, which is a lack of moral and ethical discretion; 1e) a lack of causal reasoning (true intelligence) as opposed to statistical associative “curve fitting”; or 2) the phenomenon of increasing human “stupidity” or drive-based behaviors, which is considered as the degradation of human intelligence and/or “intelligent human behavior” through technics; and finally, 3) the global phenomenon of increasing entropy due to a black-box economy of closed systems and/or industry consolidation. (shrink)

The process of decision making is predictable and irrational according to Daniel Ariely and other economic behaviorists, historians, and philosophers such as Daniel Kahneman or Yuval Noah Harari. Decisions made anteriorly can be, but don’t have to be, present in the actions of a person. Stories and shared belief in myths, especially those that arise from a system of human norms and values and are based on a belief in a “supernatural” order (religion) are important. Because of this, mass cooperation (...) amongst strangers is possible. (shrink)

The attributes of gender in the media are disputable. This can be explained by a conflict generated by culturally acquired alternative imagined hierarchies which are not compatible or may be even contradictory. This article is a philosophical enquiry that examines the representation of gender and the environment in which it is conditioned.

Regarding the place of humans in a time of post-media I take into consideration the function of new technology and fictional information on human, embodied, and consequentially emotive forms of evaluating truth and messages conveyed, especially ones sent via the Internet. The main aim of this essay is to argue for the critical role played by post-media understood as digital technology in disseminating and co-creating post-truth conditions mediating human relationships horizontally (peer-to-peer, rather than vertically or from older generations to younger (...) ones) with each other and with information posted online. (shrink)

This chapter argues that the space of the thermal pool is central to Tarkovsky’s exploration of the mystery of sacrifice and the pain of exile in Nostalghia. Spatially, the geometry and textures of the pool are echoed throughout the film’s interiors, in hotel corridors and cathedrals. I propose that we can see Tarkovsky’s aesthetic in Nostalgia as one of overflow. The water that initially fills the pool overflows into nearly every scene, as interiors of houses are flooded in dream-like visions, (...) and the echoing sound of dripping water is omnipresent. Thematically, the film explores the way in which past and present, memory and dream, and the spaces of home and exile flow into each other, using techniques of superimposition. I argue that such overflowing, in both theme and aesthetic, can be productively read in conjunction with Henri Bergson’s theories of duration, in which variegated temporal rhythms continually bleed into each other. Nostalgia’s pool forms a space of becoming, where place and identity is continually in flux. (shrink)

This article argues that Christianity has the potential to strengthen people’s health when solving the forgiveness dilemma. However – paradoxically – the starting point for the analysis is the presumption that a hasty and imprudent decision to forgive may negatively impact the health of the decision-maker, and that Christianity may contribute to people making unconsidered decisions by prompting them to forgive. In the first part of the analysis, the concept of health and its biblical understanding are discussed. The second part (...) includes both a reflection on forgiveness-related dilemmas and the tension between the decision to forgive and the feeling of regret that may negatively influence health. In the third part, the Christian concept of forgiveness with reference to the aforementioned issues is discussed. (shrink)

Ramowy Katalog Kompetencji Cyfrowych Justyna Jasiewicz, Mirosław Filiciak, Anna Mierzecka, Kamil Śliwowski, Andrzej Klimczuk, Małgorzata Kisilowska, Alek Tarkowski & Jacek Zadrożny Centrum Cyfrowe Projekt: Polska (2015) .

The Framework Catalogue of Digital Competences Justyna Jasiewicz, Mirosław Filiciak, Anna Mierzecka, Kamil Śliwowski, Andrzej Klimczuk, Małgorzata Kisilowska, Alek Tarkowski & Jacek Zadrożny Centrum Cyfrowe Projekt: Polska (2015) .

Raport wydany został przez Stowarzyszenie "Miasta w Internecie". Jego celem jest opracowanie modelu i katalogu funkcjonalnych kompetencji cyfrowych. Przedstawia on analizȩ badań i literatury przedmiotu, taksonomie kompetencji cyfrowych oraz projekt pomiaru funkcjonalnych kompetencji cyfrowych. Raport powstał w ramach „Projektu systemowego - działania na rzecz rozwoju szerokopasmowego Internetu ", realizowanego przez Ministerstwo Administracji i Cyfryzacji oraz Stowarzyszenie „Miasta w Internecie" pod hasłem POLSKA CYFROWA RÓWNYCH SZANS.

Decalogue Five tells the story of Waldemar Rekowski (Jan Tesarz), a jaded taxi driver, Piotr Balicki (Krzysztof Globisz), an idealistic, newly-licensed attorney, and Jacek Lazar (Mirosław Baka), a young and troubled drifter, whose lives intersect with one another as a result of fate, or contingent circumstance, or some combination of both. With brutal detail and detachment, the film depicts Jacek’s seemingly aimless wanderings through Warsaw, his senseless killing of Waldemar, his interactions with Piotr (his court-appointed attorney), and his eventual (...) execution after a failed defense in court. Like other films within the Decalogue series, Five illustrates what happens when human beings are forced to confront ethical dilemmas (and thus are forced to confront themselves as responsible moral decision makers) in a world that seems to offer little in the way of moral direction, meaning, purpose, and community with others. Discussing the overarching aim of the Decalogue series as a whole, Krzysztof Kies´lowski refers to the sense of alienation, aimlessness, and loneliness that often describes the human condition. (shrink)

The author discusses the relationship between art and the body, as exemplified by the similarities and differences in the works of: two Japanese artists, Matsui Chie (b. 1960) and Higashikage Tomohiro (b. 1978); and the Polish artist, Mirosław Bałka (b. 1958). These examples are referred to in the context of a unique project recently conducted in Japan — the Tatsuno Art Project 2013. Held with the support of the Agency for Cultural Affairs of Japan, the project aims to present (...) contemporary art to people from across Japan and around the globe, and to capitalize on the region’s unique cultural heritage, creating opportunities for people to communicate with local residents and making Tatsuno a more dynamic and popular place to visit. This paper considers various connections between art and the body by focusing on a selection of works included in the Tatsuno Art Project 2013: Arts and Memories. Known in past centuries as the ‘little Kyoto’ of Harima Province, Tatsuno is an atmospheric old castle town. It is mild and relatively warm all year round, with the climate of the nearby Seto Inland Sea region, said to be similar to that of the Mediterranean. Thanks to the support of numerous people, the organizers were able to hold the 2013 event which represented the culmination of their efforts over the past few years, being the largest ever in terms of scale with nine invited artists, eleven other participating artists, and one contemporary musician, for a total of 21 creators contributing works. With new spaces added to create a total of 16 venues, the community‑wide project truly achieved its goal of presenting the ‘historic castle town as a museum’. The project curators were also able to strengthen Tatsuno’s international ties by inviting artists from France and Poland to take part, as well as Japanese artists residing in the UK and Spain. (shrink)