A prominent view in contemporary philosophy of technology suggests that more technology implies more possibilities and, therefore, more responsibilities. Consequently, the question ‘What technology?’ is discussed primarily on the backdrop of assessing, assigning, and avoiding technology-borne culpability. The view is reminiscent of the Olympian gods’ vengeful and harsh reaction to Prometheus’ play with fire. However, the Olympian view leaves unexplained how technologies increase possibilities. Also, if Olympians are right, endorsing their view will at some point demand putting a halt (...) to technological development, which is absurd. Hence, we defend an alternative perspective on the relationship between responsibility and technology: Our Promethean view recognises technology as the result of collective, forward-looking responsibility and not only as a cause thereof. Several examples illustrate that technologies are not always the right means to tackle human vulnerabilities. Together, these arguments prompt a change in focus from the question ‘What technology?’ to ‘Why technology?’. (shrink)

Following up on its predecessor in this Journal, the article defends philosophy as a guide to making and analyzing art; identifies Cubist solutions to the Prometheus Challenge, including a novel analysis of Picasso’s Les Demoiselles d’Avignon; defines a new concept of aesthetic attitude; proves the compatibility of Prometheus Challenge artworks with logic; and explains why Plato would have welcomed such artworks in his ideal state.

Degas, Manet, Picasso, Dali and Lipchitz produced works of art exemplifying a seeming impossibility: Not only combining incompatible attributes but doing so consistently with aesthetic strictures Horace formulated in Ars Poetica. The article explains how these artists were able to do this, achieving what some critics have called ‘a new art,’ ‘a miracle,’ and ‘a new metaphor.’ The article also argues that the author achieved the same result in sculpture by means of philosophical analysis – probably a first in the (...) history of art. (shrink)

Both current and past analyses and critiques of transhumanist and posthumanist theories have had a propensity to cite the Greek myth of Prometheus as a paradigmatic figure. Although stark differences exist amongst the token forms of posthumanist theories and transhumanism, both theoretical domains claim promethean theory as their own. There are numerous definitions of those two concepts: therefore, this article focuses on posthumanism thought. By first analyzing the appropriation of the myth in posthumanism, we show how the myth fails (...) to be foundational and how we need to rethink the posthumanist mythological framework. We then introduce Haldane’s Daedalus figure as a fruitful analogy to understand the demiurgic posture that critics mean to unveil by first using Prometheus. Daedalus embodies the artisan role, whose status as an inventor for the mighty preserves from the gods' direct opprobrium. Thereafter, we introduce the Camusian Myth of Sisyphus as a competing analogy that ultimately serves as a myth better suited to address the posthumanist position on an existential standpoint. we ultimately show that Sisyphus, as the ‘absurd man’ that Camus claims him to be, is himself the posthuman, thus serving as a more ideal foundational myth for posthumanism and preserving the importance of narrative in posthuman discourses. To conclude, we specifically show that the concept of Sisyphus as a posthuman icon has significance that reaches beyond narrative value to current ecological debates in posthumanism. (shrink)

El presente artículo está dedicado al trabajo de Hans-Georg Gadamer titulado “Prometeo y Pandora”, publicado originalmente en español en 1949 en el volumen Goethe. 1749 - 28 de agosto – 1949, editado por la Facultad de Filosofía y Letras de la Universidad de Cuyo, Argentina. En primer lugar, se ofrece una introducción en la que se presenta el contexto original histórico-intelectual de su edición, traducción y publicación, los antecedentes filosóficos del texto dentro de la obra de Gadamer (conferencias y artículos (...) previos sobre el tema), una presentación breve de las fuentes y de los temas que trata el texto, así como una serie de aclaraciones sobre las correcciones que se realizaron para esta edición crítica. En segundo lugar, se ofrece una nueva edición de “Prometeo y Pandora”. Este ensayo es uno de los dos primeros trabajos de Gadamer que fueron traducidos al castellano y, a su vez, una de las primeras traducciones de las producciones de Gadamer a una lengua extranjera. //--// The following investigation focuses on the article of Hans-Georg Gadamer entitled “Prometheus and Pandora”, originally published in Spanish in 1949, in the book: "Goethe. 1749 – 28th August – 1949", edited by the Faculty of Philosophy and Letters of the University of Cuyo, Argentina. Firstly, an introduction is offered in which is presented the original historical-intellectual context of its edition, translation and publication, the philosophical background of the text within Gadamer’s work (conferences and previous articles on the subject), a brief description of the sources and topics encompassed in the text, as well as a series of clarifications on the corrections made for the current critical edition. This essay is one of the first two works by Gadamer that were translated into Spanish and, in turn, one of the first translations of Gadamer's productions into a foreign language. (shrink)

Prometheus has grown four years older since its last and highly controversial special issue, published in 2017 on the Shaken Baby Debate. But, as always, Prometheus is committed to open discussion and dissemination of scientific research, regardless of the potential backlash or controversy that may ensue from such a venture, a venture that is at the core of authentic scholarship. Since the beginning of 2020, the world has changed irrevocably, making once-held norms seem obsolete in favour of new (...) ways of being in the world and new technologies emerging to face these new ways of living. Although it has been a long-held insight in the philosophy of technology that technical systems are carriers of values, the SARS-CoV-2 pandemic has made manifest how these values, and their incarnations in sociotechnical systems, can likewise change. Prometheus has, since its inception, danced in tandem with the critical interpretations, theories, and methods for understanding innovation, and how innovations fundamentally impact and are impacted by the world in which they emerge and are situated. For this reason, Steffen Steinert, Tristan de Wildt, and I chose to guest edit this special issue on designing for value change and chose Prometheus as its home. (shrink)

In the Panathenaic Games, there was a torch race for teams of ephebes that started from the altars of Eros and Prometheus at Plato’s Academy and finished on the Acropolis at the altar of Athena, goddess of wisdom. It was competitive, yes, but it was also sacred, aimed at a noble goal. To win, you needed to cooperate with your teammates and keep the delicate flame alive as you ran up the hill. Likewise, Plato’s philosophy combines competition and cooperation (...) in pursuit of the goal of wisdom. On one level, agonism in Plato is explicit: he taught in a gymnasium and featured gymnastic training in his educational theory. On another level, it is mimetic: Socratic dialogue resembles intellectual wrestling. On a third level, it is metaphorical: the athlete’s struggle illustrates the struggle to be morally good. And at its highest level, it is divine: the human soul is a chariot that races toward heaven. This volume explores agonism in Plato on all of these levels, inviting the reader—as Plato does—to engage in the megas agōn of life. Once in the contest, as Plato’s Socrates says, we’re allowed no excuses. (shrink)

Heidegger argues that modern technology is quantifiably different from all earlier periods because of a shift in ethos from in situ craftwork to globalised production and storage at the behest of consumerism. He argues that this shift in technology has fundamentally shaped our epistemology, and it is almost impossible to comprehend anything outside the technological enframing of knowledge. The exception is when something breaks down, and the fault ‘shows up’ in fresh ways. Stiegler has several important addendums to Heidegger’s thesis. (...) Firstly, that Heidegger fails to fully appreciate the early Greek myth of Prometheus, and the technological depth that fire offers all human societies. Secondly, the fall, or failure, which is doubled in the myth of Prometheus, and shows up in epistemology accordingly. Thirdly the acceleration of technology since the onset of Information Technology, and the way this is disorientating our Being. I argue the fall in both Heidegger and early Stiegler has encaptured their imagination. In later work, Stiegler argues that acceleration is fused with algorithmic pretensions, that are distorting and undermining the creative political imaginary, and making it difficult to revalue the values that underpin the nihilist Anthropocene. The overcoming of the Anthropocene engages politics, economics, power, physics, and ecology. (shrink)

Kafka's work provoked more than three decades of interpretations before Wagenbach provided information showing that Kafka was quite familiar with the work of Brentano and his Prague followers, including their unique conceptions of natural law, ethical concepts, and human acquaintance with them. Kafka took a lively interest in discussions in this Prague circle, and The Trial may without violence be read as a deliberate illustration for issues in philosophy of law as they would have been understood within this circle. This (...) does not require that it be read as a reflection of Kafka's personality, nor does it require that he accepted Brentano's views. Wagenbach demonstrated Kafka's familiarity with unique conceptions, in the work of Brentano and his Prague followers, of natural law and ethics. Issues involved in these conceptions are cogently illustrated in The Trial. K. is tried for violating a law which is no positive law but a necessary condition for all positive law since all positive laws imply that they ought to be obeyed. Brentano adamantly rejected all forms of nativism. The opposite of 'natural' in the phrase 'natural law' is not 'acquired' but 'conventional.' Acquaintance with natural norms is entirely acquired: persons having no such acquaintance can exist; K. is such a person. Natural norms, have a cognizable inherent correctness; any other norms oblige only through being authoritatively decreed. Conventional guilt or innocence is subject to influence. K.'s quest for a person to exert such influence on his behalf is evidence of his guilt. K. is unaware that absolute guilt is possible. In the Prometheus myth related by Plato's Protagoras, a sense of justice and right is necessary for politically organized society. Without insight into the natural sanction for correct positive laws, citizens cannot fulfill the duty rationally to choose positive laws: citizens will wrong one another, cities perish, humankind will be threatened. The myth gives important clues to the imagery of the parable "Before the Law." Every authentic act of willing requires that something be desired for its own sake. Since there is a plurality of intrinsic goods, authentic action requires recognizing the chosen action to be better than its alternatives. Acquaintance with good, evil, better, and worse is acquired, Brentano insisted, only by perceiving certain affects to be correct. Like judgments, affects are either blind or evident. Basic moral concepts arise like all others from perception. K. could become innocent by acquiring the lacking concepts. Then, actual acquittal would be just despite his guilt when arrested. His trial tests whether he is likely to experience intrinsically correct emotions. Guilt would be objective, independent of any finding by the Court. K.'s guilt entails his lacking any such concept of absolute guilt. He is convinced that guilt depends entirely on the Court, is altogether a matter of authority. This is K.'s delusion concerning his relation to the Court and the Law, the delusion illustrated by the legend, "Before the Law.". (shrink)

This paper begins with the examination of some premises of Mary Shelley's novel, Frankenstein or the Modern Prometheus, and briefly revisits some of the concepts or ideas that she had adapted and that will allow to determine the premises that characterize what we named as Frankenstein Paradigm. Such a paradigm, as we suggested, allows us to perceive, on the one hand, the avant-garde vision of Mary Shelley about human condition (regardless of literary immersion in gothic subjects), and on the (...) other hand, the complexity of themes that would mark what is termed by post-human, that we will give some examples whether in contemporary art or in the framework of figures and representations of daily life (some illustrations on movies will be given). In this regard, we will notice the prosthetic transformations that have already occurred and, therefore, to verify the practical application of the premises contained in the Frankenstein paradigm. Next, it is necessary to carry out a reflection on the ethical and social implications posed by post-humanism as the well-known paradox of the ship of Theseus (which, as we all know, illustrates the problem of identity). (shrink)

A condensed summary of the adventures of ideas (1990-2020). Methodology of evolutionary-phenomenological constitution of Consciousness. Vector (BeVector) of Consciousness. Consciousness is a qualitative vector quantity. Vector of Consciousness as a synthesizing category, eidos-prototecton, intentional meta-observer. The development of the ideas of Pierre Teilhard de Chardin, Brentano, Husserl, Bergson, Florensky, Losev, Mamardashvili, Nalimov. Dialectic of Eidos and Logos. "Curve line" of the Consciousness Vector from space and time. The lower and upper sides of the "abyss of being". The existential tension of (...) being. Five reference “points” (existential-extremum) - world events in the evolution of Consciousness from “homo habilis” to “homo sapiens sapiens”. “Prometheus Effect". Inversion and reversion of Сonsciousness. "Open" and "closed" Сonsciousness. Consciousness and Self-Consciousness. Protogeometer: fall in the future, in the "EgoLand". The problem of justification/substantiation of mathematics (knowledge) is an ontological problem. The crisis of ontology and ontological limits of cognition. Ontological structure of space. The project of constructive dialectic ontology. The methodology of dialectical-ontological construction (modeling): conceptual-figure synthesis, total unification of matter, coincidence of ontological opposites, primordial Meta-Axioma and Superprinciple, vector (bivector) of the absolute state (states) of matter (absolute forms of existence). The ontological "celestial triangle" (Plato). Ontological invariants of the Universum and their ontological paths. Ontological and gnoseological dimensions of space. Triune (ontological) space of nine gnoseological dimensions: absolute rest (linear state, "Continuum")+ absolute motion (absolute vortex, "Discretuum") + absolute becoming (absolute wave, "Dis-Continuum"). Primordial generating structure: ontological framework, ontological carcass and ontological foundation. Ontological (structural, cosmic) memory - the semantic core of the conceptual construction of the Universum being as an eternal process of generation of new meanings and structures. Consciousness is an absolute (unconditional) attractor of meanings, a univalent phenomenon of ontological memory, which manifests itself at a certain level of the Universum being. Ontological space-MatterMemory-Ontological time (S-MM-T). Ontological Rhythm and Cycle. The nature and structure of ontological time. Natural (absolute) determinism. (shrink)

In a number of recent films, Scotland has served as the setting for dramas that could have taken place anywhere. This has occurred in two related ways: First, there are films such as Perfect Sense (2011) and Under the Skin (2013). These films involve storylines that, while they do take place in Scotland, do not require the country as a setting. Second, there are films such as Prometheus (2012),The Dark Knight Rises (2012), Cloud Atlas (2012), and World War Z (...) (2013). These films, while being filmed (at least partly) in Scotland, have plots that do not involve Scotland. Scottish locations, in this second group of movies, act as stand- ins for locations in other cities, or even other worlds. -/- This phenomenon, in which the uniqueness of Scottish locations is deemphasized so that they may act as mere backdrops for the primary action in films, is a relatively new one. It is in sharp contrast to another, more traditional tendency in movie making in which Scottish locations are foregrounded to dramatize myths and stereotypes uniquely Scottish; such as Kailyard, Tartantry or Clydesideism. In this paper I pursue an analysis, drawing on the work of Martin Heidegger, that characterizes this trend as part of a new Scottish myth in the making: the myth of Scotland as nowhere in particular. -/- The myth of Scotland as nowhere in particular takes the countryside and cities of Scotland as raw material for the telling of stories having transcultural interest. In this, Scotland becomes a space or clearing with no particular defining characteristics of its own to distract from the dramas themselves. This allows for the unfolding of narratives that, while they use Scotland as a setting, have little if anything to do with Scotland, and thus appeal to anyone, anywhere. (shrink)

A review of Sorgner's "On Trans-humanism." What to do with transhumanism? And – before we figure out how to categorize it, think about it and make actionable policy decisions with it – how should we define transhumanism? Stefan Lorenz Sorgner asks these questions in "On Trans-humanism" when he examines the idea’s provenance and the pedigree of related ideas. This approach turns out to be, on balance, a productive and useful way into a field that does not yet examine its own (...) roots and relationships often enough. I go on to critique some aspects of his approach, pointing out his lack of attention to posthuman and ecosystemic sensibilities, etc. Evans, Woody. Review of On Transhumanism, by Stefan Lorenz Sorgner, trans. Spencer Hawkins (2020). Prometheus: Critical Studies in Innovation, vol. 38, no. 2, June 2022, pp. 271-274. ScienceOpen. [This line at the bottom of page 272 was misprinted: "Imagine, instead, that we designate the after-transhuman posthuman as something like ‘post-transhuman’ or ‘posthuman’." It should read: "...as something like ‘post-transhuman’ or ‘posthuman-T’" with a superscript "T" after the second posthuman.]. (shrink)

In his book, The Bounds of Sense, P. F. Strawson commented that Immanuel Kant’s argument in the second analogy “proceeds by a non sequitur of numbing grossness,” causing a fair amount of debates. Kant’s task in the second analogy is to argue that every event has a cause. Strawson criticizes Kant by claiming that in his argument, Kant not only changes the content of necessity but also shifts a conceptual necessity to a causal one. In this paper, I defend Kant’s (...) second analogy against Strawson’s objection by arguing that Strawson misinterprets Kant’s strategy. (shrink)

Enactivism is a family of theories that construe action as constitutive of cognition and reject the need to postulate representations in order to explain all cognitive activities. Acknowledging a biologically basic, non-representational mode of cognition, however, raises the question of how to explain higher or more complex cognitive acts, what we call explanatory integration challenge. In this paper, we critically discuss some attempts to meet that challenge through scaling up basic cognition and through scaling down complex cognition within the enactivist (...) research program. (shrink)

This article brings a new perspective to the ethical debate on geoengineering through stratospheric aerosol injection (SAI), incorporating the emerging techno-moral change scholarship into the discussion surrounding sustainability. The techno-moral change approach can help us understand different ways in which technology might shape society. First, it helps highlight how values and norms are interrelated. Second, it shows that techno-moral change can happen even if the technology is in no way realized. Through the introduction of two techno-moral vignettes, two diametrically opposed (...) ways in which SAI forces us to rethink sustainability and our relationship with nature are suggested. SAI could lead to a situation of entrenchment, wherein sustainability as a norm is undermined, or transformation where the necessity of acting according to sustainability is highlighted. (shrink)

The co-shaping of technology and values is a topic of increasing interest among philosophers of technology. Part of this interest pertains to anticipating future value change, or what Danaher (2021) calls the investigation of “axiological futurism”. However, this investigation faces a challenge: “axiological possibility space” is vast, and we currently lack a clear account of how this space should be demarcated. It stands to reason that speculations about how values might change over time should exclude farfetched possibilities and be restricted (...) to possibilities that can be dubbed to be realistic instead. But what does this realism criterion entail? This paper introduces the notion of realistic possibilities as a key conceptual advancement to the study of axiological futurism and offers suggestions as to how realistic possibilities of future value change might be identified. Additionally, I propose two slight modifications to the approach of axiological futurism. First, I argue that axiological futurism can benefit from a thoroughly historicised understanding of moral change. Secondly, I argue that when employed in normative contexts, the axiological futurist should seek to identify realistic possibilities that come along with substantial normative risks. (shrink)

My goal with this article is to present the elements involved in Cicero's criticism of Stoic rhetoric. First, I will present the rhetoric of the Stoics based on the testimonies we have left on these philosophers. Soon after, I will expose Cicero's criticisms of the Stoics. Next, I will argue that Cicero's criticisms arise because his proposal with rhetoric is different from the Stoics' proposal. Due to this difference, it is necessary to understand that the Stoics, on the other hand, (...) also had motives to defend their vision of rhetoric in face of Ciceronian criticism. Meu objetivo neste artigo é apresentar os elementos envolvidos na crítica de Cícero à retórica estoica. Inicialmente apresentarei a retórica dos estoicos baseado nos testemunhos que nos restaram sobre esses filósofos. Logo depois, exporei as críticas assinaladas por Cícero aos estoicos. Em seguida, argumentarei que as críticas de Cícero surgem em consequência de que sua proposta com a retórica é diferente da proposta estoica. Em função dessa diferença, é preciso compreender que os estoicos, em contrapartida, também tinham motivos para defender sua visão de retórica perante as críticas ciceronianas. (shrink)

Technology should be aligned with our values. We make the case that attempts to align emerging technologies with our values should reflect critically on these values. Critical thinking seems like a natural starting point for the critical assessment of our values. However, extant conceptualizations of critical thinking carve out no space for the critical scrutiny of values. We will argue that we need critical thinking that focuses on values instead of taking them as unexamined starting points. In order to play (...) a crucial role in helping to align values and technology, critical thinking needs to be modified and refocused on values. Here, we outline what value-centred critical thinking could look like. (shrink)

No livro I da Ethica Eudemia, Aristóteles dedica um capítulo a considerações acerca de seu método. No entanto, analisando passagens de outros tratados do autor, é possível concluir que há algo comum que perpassa as diversas considerações acerca de seu método, a saber: que o ponto de partida de toda investigação é dado pelo que é mais cognoscível a nós, e todo o procedimento de investigação visa chegar ao que é mais cognoscível em si mesmo – o conhecimento estrito do (...) objeto, que inclui compreender suas causas. O objetivo deste trabalho é tentar compreender como esse procedimento acontece na investigação moral, que opera no âmbito do discurso e, portanto, das definições. Para isso, pretendemos analisar como acontece a passagem da análise do que é dado na experiência em direção ao conhecimento de suas causas, que é próprio de outros tratados aristotélicos, para a análise das opiniões vagas e imprecisas em direção às definições estritas com as quais a Ethica Eudemia pretende operar. (shrink)

Designing in Ethics provides a compilation of well-curated essays that tackle the ethical issues that surround technological design and argue that ethics must form a constitutive part of the designing process and a foundation in our institutions and practices. The appropriation of a design approach to applied ethics is argued as a means by which ethical issues that implicate technological artifact may be achieved.