Benjamin's The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media .

Walter Benjamin’s oft-quoted 1936 essay “The Work of Art in the Age of Its Technological Reproducibility” advances the claim that, for the first time in history, the “function” of the work of art is political, as evidenced by cinema. For Benjamin, film is the “first art form whose artistic character is entirely determined by its reproducibility” and Giorgio Agamben, a contemporary Benjaminian philosopher, further elucidates this “function,” positing that cinema essentially ranks with ethics and politics, (...) not solely with aesthetics, and, consequently, is proximate to philosophy itself. Whereas Deleuze’s Cinema books posed cinema as enacting time in a pure state, Agamben, in his “Notes on Gesture,” breaches from Deleuze’s spatial and cartographic theory of cinema, drawing on Guy Debord’s “détournement via montage,” Simone Weil’s “decreation” and, perhaps most implicitly, from Benjamin. Agamben’s political theory of cinema, motivated by cinema’s “stoppage and repetition of time,” is directly informed by Benjamin’s: “optical unconscious,” appropriation of Brecht’s “social Gestus,” and the relationship between technological reproducibility and aura. Agamben’s “gesture” fastens cinema’s aesthetics not only to ethics and politics, but to the “ontological consistency of human experience,” or to a way of being. (shrink)

This essay critically examines the implications of digital technology on philosophy, applying Walter Benjamin's analysis of art in the mechanical age to the digital reproduction of philosophical texts. It identifies three core transformations: enhanced accessibility, global dissemination, and facilitated scholarly collaboration, brought forth by the advent of digital humanities. The discussion extends to the challenges digital mediums pose to the traditional "aura" of texts, the democratization of philosophical engagement, and the exacerbation of a digital divide among scholars. Through a nuanced (...) critique, the essay advocates for a balanced approach to digital scholarship in philosophy, emphasizing the need to harness digital tools judiciously while addressing the digital divide. This analysis contributes to the ongoing discourse on the digital history of philosophy, highlighting the complex interplay between technology and philosophical practice. (shrink)

Vardoulakis examines the connection between the political and aesthetic commitments of the philosophies of Martin Heidegger and Walter Benjamin. He compares "The Origin of the Work of Art" to "The Work of Art in the Age of Technological Reproducibility.".

The relation between Martin Heidegger and radical environmentalism has been subject of discussion for several years now. On the one hand, Heidegger is portrayed as a forerunner of the deep ecology movement, providing an alternative for the technological age we live in. On the other, commentators contend that the basic thrust of Heidegger’s thought cannot be found in such an ecological ethos. In this article, this debate is revisited in order to answer the question whether it is possible to (...) conceive human dwelling on earth in a way which is consistent with the technological world we live in and heralds another beginning at the same time. Our point of departure in this article is not the work of Heidegger but the affordance theory of James Gibson, which will prove to be highly compatible with the radical environmentalist concept of nature as well as Heidegger’s concept of the challenging of nature. (shrink)

This study aimed to trace the 2015 to 2019 MAME graduates in the College of Teacher Education for Graduate Studies of the University of Northern Philippines in terms of their personal profile, their work-related profile before and after taking their master’s degree, reasons of taking up the program, competency level before and after taking the program, appraisal of the most useful courses offered in the program, evaluation on the contribution of the program to their personal and professional growth and (...) assessment on the features of the program and suggestions of how to improve the program. The researcher utilized mixed method of research. The subjects were the MAME graduates, and a questionnaire and open-ended questions were sent to them thru various online flat forms. Based on the findings of the study, the following conclusions are derived: pursuing graduate studies chooses no sex, civil status or age as long as there is a will to improve one's self; students have math- related educational background and finished the program within the prescribed number of years; having master’s degree could contribute greatly in landing a permanent teaching job in public schools; professional and personal growth and development is the strongest drive to pursue advance education; the program offers subjects that are useful which enhanced the teaching competencies of the graduates and consequently contribute to the holistic development of the graduates; and that there are areas needing improvement in the MAME program. (shrink)

Aesthetic theorists often interpret and understand works of art through the social and political context that creates and inspires the work. The recent economic recessions, and the accompanying austerity measures in many European countries, provide an interesting test case for this contextual understanding. Economists debate whether or not spending on entertainment and arts drops during times of recession and austerity. Some economists assume that spending will decline in times of austerity, but others point to evidence that spending on creative (...) arts and entertainment remains steady and even increases during a recession because of the relief and escapism that the arts provide. Tax incentives and production rights are often given to filmmakers in the United States; in hopes that such projects will enliven a local economy and provide work for a local creative community. In the context of recent austerity measures in Greece and Spain, new and creative ways for members of the arts community to bring about new projects, and fund them in ways that critique political leadership, have emerged. Following Richard Wollheim’s classic aesthetic theory of “criticism as retrieval,” we should be mindful of the cultural values that are at stake in the creativity-culture market now being created. In any case, some scholars estimate that austerity measures in many countries will last until 2020, giving us ample opportunity to be even more “creative” with both financial incentives and artistic achievements. Keywords: Austerity, Cultural Economy, Creative Class, Tax Incentives, Aesthetics, Microtheatres, Entertainment. (shrink)

Expert knowledge regularly informs personal and civic-decision making. To decide which experts to trust, lay publics —including policymakers and experts from other domains—use different epistemic and non-epistemic cues. Epistemic cues such as honesty, like when experts are forthcoming about conflicts of interest, are a popular way of understanding how people evaluate and decide which experts to trust. However, many other epistemic cues, like the evidence supporting information from experts, are inaccessible to lay publics. Therefore, lay publics simultaneously use second-order social (...) cues in their environment to inform decisions to trust. These second-order social cues, or ‘social indicators of trust’, prevent lay publics from having to trust blindly. Social indicators of trust therefore inform lay publics’ epistemic vigilance, or constant low level-monitoring of testimony from experts. This special issue examines the nature, acquisition and application of social indicators of trust for scientific experts and institutions. It also raises questions about the types of trust asked of lay publics and challenges traditional normative assumptions about the relationship between science and lay publics through study of attitudes, values, and experiences. The issue descriptively re-examines the structure of institutions, their role and methods for ferrying information, as well as how social indicators operate in times of crisis. In this collection of works, we bridge history, science, philosophy of science, science and technology studies, science communication and social epistemology, to broaden the discourse on trust in experts and more accurately reflect the imperfect yet indispensable endeavour that trusting is. (shrink)

Over the last thirty years, once staunchly film history scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, André Gaudreault and Benoît Turquety (to name just a few) have abandoned history for historiography and film studies for media archaeology. Considering the heightened attention given to kulturtechnik (Siegert), the database as a dominant symbolic metaphor,1 and the decentered networked tenants of the postmodern global present, cinema is taking on the characteristics of new media, existing in increasingly intertextual space. Thus, the term (...) “post-cinema” has been co-opted as a viable intermediary that accounts for new media conditions, as cinema is no longer emblematic of our cultural climate. It was once presaged in 1992 that “[t]he end of the cinema truly sounds the death knell of the ultimate metaphysical adventure of Dasein. In the twilight of post-cinema, of which we are seeing the beginning, human quasi-existence, now stripped of any metaphysical hypostasis and deprived of any theological model, will have to seek its proper generic consistency elsewhere.” Accordingly, we are no longer “moviegoing animals” who seek images of ourselves among a collective in the dark but, rather, users interfacing within a network of moving images. By locating post-cinema within the semblance of social media, we are allocated a newfound series of theoretical interventions, the most marked of which is that of media archeology vis-à-vis dialectical materialism. This is a lens through which Brian Winston has recently deftly decried Virtual Reality’s “empathy machine” utopic illusionism, bolstered by Chris Milk and a slew of neurohumanities researchers, steadily maintaining that the fundamental myth of “technologies of seeing” is in disguising “their artifice, their cultural formation and their ideological import.” However, this approach, which illuminates the bifurcation between Max Horkheimer/Theodor Adorno and Walter Benjamin, neglects what Benjamin identified as occurring to the work of art in the age of its technological reproducibility—a shift from a technology’s “cult value,” associated with the unique work, to its “exhibition value,” associated with the social act of viewing as part of a mass. Speaking to this divarication, Benjamin Barber, in Strong Democracy, foresaw new media’s two-fold potential—as they are organized and networked, new media and communications technologies possess the possibility to both energize citizen information and political participation but, simultaneously, to supplement the deterioration of public debate. As evinced by Mark Adrejevic’s concept of Infoglut, this two-pronged possibility has only been exacerbated by the interlocking relationship between the advent of a “glut” of information, post-truth politics, the demise of symbolic efficiency, and a renewed focus on the role of affect and emotion as “alternative modalities for thinking about the role of communication in a post-referential era.” Manuel Castells qualifies Barber’s pessimism, noting that the Internet can “be an appropriate platform for informed, interactive politics, stimulating political participation.. […] beyond the closed doors of political institutions,” but that the Internet, like any technology, “is shaped by its uses and users.” Thus, if there exists a positive correlation between exposure to post-cinema media artifacts and political participation, then I seek to explore the revelatory political possibilities of “exhibition value” by way of a particular “post-cinema” case study: the Marxist-Leninist Turkish hacktivist group Redhack’s YouTube-circulated documentary RED! (2013), a project that demanded—by way of the moving-image—to galvanize cyberprotest and democratize a “hacktivist commons. (shrink)

The editorial introduces issue 21.1 of Technoetic Arts via a critical reflection on the artificial intelligence hype (AI hype) that emerged in 2022. Tracing the history of the critique of Large Language Models, the editorial underscores that there are substantial ethical challenges related to bias in the training data, copyright issues, as well as ecological challenges which the technology industry has consistently downplayed over the years. -/- The editorial highlights the distinction between the current AI technology’s reliance on extensive pre-existing (...) human-generated data for pattern recognition and the performative process inherent in art practice. Patterns of creative output can be replicated without a thorough understanding of underlying concepts. In contrast, the performative process of art practice, as explored through the conceptual frameworks of creativity by Noam Chomsky, Charles Sanders Peirce, and Roger T. Ames and with reference to an earlier publication of the editorial’s author, creates concepts and continually ‘strives to extend itself towards the unknown.’ -/- Following this introductory section, the editorial provides an overview of the ten articles featured in this issue of Technoetic Arts. The first four texts engage with emerging technologies from various perspectives in art and design. The subsequent six articles, part of a special section titled 'Perspectives from Chandigarh,' reflect a quest for meaningful existence within colonial, patriarchal, and biopolitical structures that frame everyday practices of exclusion and oppression. (shrink)

The articles considers how the "death of the subject" influences ways in which we understand the aestheticization of the political." It explores how Walter Benjamin's "The Work of Art in the Age of Technological Reproducibility" can contribute to a conception of the political implications of thinking the subject. It also turns to Solon's conception of subjectivity as a way of mediating the current discussion on the subject.

Usually technological innovation and artistic work are seen as very distinctive practices, and innovation of technologies is understood in terms of design and human intention. Moreover, thinking about technological innovation is usually categorized as “technical” and disconnected from thinking about culture and the social. Drawing on work by Dewey, Heidegger, Latour, and Wittgenstein and responding to academic discourses about craft and design, ethics and responsible innovation, transdisciplinarity, and participation, this essay questions these assumptions and examines what (...) kind of knowledge and practices are involved in art and technological innovation. It argues that technological innovation is indeed “technical”, but, if conceptualized as techne, can be understood as art and performance. It is argued that in practice, innovative techne is not only connected to episteme as theoretical knowledge but also has the mode of poiesis: it is not just the outcome of human design and intention but rather involves a performative process in which there is a “dialogue” between form and matter and between creator and environment in which humans and non-humans participate. Moreover, this art is embedded in broader cultural patterns and grammars—ultimately a ‘form of life’—that shape and make possible the innovation. In that sense, there is no gap between science and society—a gap that is often assumed in STS and in, for instance, discourse on responsible innovation. It is concluded that technology and art were only relatively recently and unfortunately divorced, conceptually, but that in practices and performances they were always linked. If we understand technological innovation as a poetic, participative, and performative process, then bringing together technological innovation and artistic practices should not be seen as a marginal or luxury project but instead as one that is central, necessary, and vital for cultural-technological change. This conceptualization supports not only a different approach to innovation but has also social-transformative potential and has implications for ethics of technology and responsible innovation. (shrink)

This paper aims to demonstrate the contemporary relevance of Adorno’s thought for business ethicists working in the critical tradition by showing how his critique of modern social life anticipated, and ofers continuing illumination of, recent technological transformations of capitalism. It develops and extrapolates Adorno’s thought regarding three central spheres of modern society, which have seen radical changes in light of recent technological developments: work, in which employee monitoring has become ever more sophisticated and intrusive; leisure consumption, in (...) which the algorithmic developments of the culture industry have paved the way for entertainment products to dominate us; and political discourse, in which social media has exacerbated the anti-democratic tendencies Adorno warned of in the mid-twentieth century. We conclude by presenting, as a rejoinder to these developments, the contours of an Adornian ethics of resistance to the reifcation and dehumanisation of such developments. (shrink)

Artificial intelligence and robotics is pervasive in daily life and set to expand to new levels potentially replacing human decision-making and action. Self-driving cars, home and healthcare robots, and autonomous weapons are some examples. A distinction appears to be emerging between potentially benevolent civilian uses of the technology (eg unmanned aerial vehicles delivering medicines), and potentially malevolent military uses (eg lethal autonomous weapons killing human com- batants). Machine-mediated human interaction challenges the philosophical basis of human existence and ethical conduct. Aside (...) from technical challenges of ensuring ethical conduct in artificial intelligence and robotics, there are moral questions about the desirability of replacing human functions and the human mind with such technology. How will artificial intelligence and robotics engage in moral reasoning in order to act ethically? Is there a need for a new set of moral rules? What happens to human interaction when it is mediated by technology? Should such technology be used to end human life? Who bears responsibility for wrongdoing or harmful conduct by artificial intelligence and robotics? -/- Whilst Kant may be familiar to international lawyers for setting restraints on the use of force and rules for perpetual peace, his foundational work on ethics provides an inclusive moral philosophy for assessing ethical conduct of individuals and states and, thus, is relevant to discussions on the use and development of artificial intelligence and robotics. His philosophy is inclusive because it incorporates justifications for morals and legitimate responses to immoral conduct, and applies to all human agents irrespective of whether they are wrongdoers, unlawful combatants, or unjust enemies. Humans are at the centre of rational thinking, action, and norm-creation so that the rationale for restraints on methods and means of warfare, for example, is based on preserving human dignity as well as ensuring conditions for perpetual peace among states. Unlike utilitarian arguments which favour use of autonomous weapons on the basis of cost-benefit reasoning or the potential to save lives, Kantian ethics establish non-consequentialist and deontological rules which are good in themselves to follow and not dependent on expediency or achieving a greater public good. -/- Kantian ethics make two distinct contributions to the debate. First, they provide a human-centric ethical framework whereby human exist- ence and capacity are at the centre of a norm-creating moral philosophy guiding our understanding of moral conduct. Second, the ultimate aim of Kantian ethics is practical philosophy that is relevant and applicable to achieving moral conduct. -/- I will seek to address the moral questions outlined above by exploring how core elements of Kantian ethics relate to use of artificial intelli- gence and robotics in the civilian and military spheres. Section 2 sets out and examines core elements of Kantian ethics: the categorical imperative; autonomy of the will; rational beings and rational thinking capacity; and human dignity and humanity as an end in itself. Sections 3-7 consider how these core elements apply to artificial intelligence and robotics with discussion of fully autonomous and human-machine rule-generating approaches; types of moral reasoning; the difference be- tween ‘human will’ and ‘machine will’; and respecting human dignity. (shrink)

Psychoanalysis, particularly as articulated by figures like Freud and Lacan, highlights the inherent division within the human subject—a schism between the conscious and unconscious mind. It could be said that this suggests that such an internal division becomes amplified in the context of generative art, where technology and algorithms are used to generate artistic expressions that are meant to emerge from the depths of the unconscious. Here, we encounter the tension between the conscious artist and the generative process itself, which (...) may yield unexpected, even uncontrollable results. -/- This paper, therefore, seeks to address this division within the modern subject and its relationship to technology, wherein the division within the living body is revealed through the presence of prosthetic elements, which mirrors the division brought about by the incorporation of language as a signifier. I argue that the amplification of this internal schism does not necessarily lead to a more fractured subject. Instead, generative art, bolstered by advancements in AI and machine learning, offers a unique opportunity for individuals to externalize and explore their minds in novel ways. -/- By examining contemporary works such as Hal Foster’s Prosthetic Gods, which stands as a pivotal exploration of the convergence between modernist art and psychoanalytic theory and Isabel Millar’s Psychoanalysis of Artificial Intelligence, this paper elucidates the profound implications of Freud’s vision of modern -/- subjectivity as Prothesengott (Prosthetic God) and address the questions concerning this technological imbrication of the human mind and body through the Lacanian framework. Although for Freud, Man does not become a real God, rather, the potential to transcend one’s limitations ascribes us to God-like qualities by seeking to generate new forms of life that go beyond merely reproducing nature — a transcention of the natural. Millar emphasizes that Freud observes that this is evidenced by the fact that these additional organs remain distinct from the organism and can never assimilate into it. One continually falls short of realizing the fantasy he envisions, opting instead to use his supplementary artificial organs to endlessly revolve around the objects of the drive. -/- This evolving relationship that the drive has with its technological objects, resounds in Lacan’s conception of “lathouse” which allows extimate objects to convert interiority (unconscious) into exteriority (conscious) and exteriority into interiority. The thesis of this paper seeks to employ this underutilized concept to understand the nature of human subjectivity and its bodily and structural relationship to generative art. Therefore, this paper emphasizes what really happens when we enter into this relationship with the lathouse, whereby this artificial object has effects in the "real of jouissance", where these Lathouses create a network, namely the Alethosphere. My goal is to argue that generative art as a technological development, can be seen as an extension to the development of the drive. Conclusively, I make the claim for generative art's potential to externalize the human creative drive by emphasizing the interplay between randomness and structure, and how it offers a means to surpass our inherent limitations by presenting an avenue for self-expression that transcends traditional modes of art. (shrink)

ABSTRACT: A report on the pioneering of a new pedagogy designed to challenge students to use and improve their memory, increase their awareness of logical fallacies and tacitly embedded contradiction(s) and sensitize them to the deeply symbolic nature of thought in all its expressions (math, logos, music, picture and motor skills), as created, by the author, from in situ research at a senior level (ESL) course in Storytelling at one of East Asia’s premiere second languages university, and from teaching children (...) in several university summer programs. -/- As a Visiting Professor of Foreign Languages, I recently had a glorious opportunity to innovate curriculum and teaching techniques in an East Asian university classroom. Under the auspices of teaching senior level thematic courses in English as a Foreign Language, or more specifically, “storytelling,” I was blessed with the opportunity to innovate both on the level of curriculum and pedagogy. -/- But let me backtrack to set up my story from the start. All of this began in a children’s ESL class at a private language institute where I was given some newly formed intermediate level English classes for middle school students on a new campus that had yet to form a library. While waiting for my standard textbooks to arrive I began innovating with one of my own childrens’ stories titled The Tale of the Purple People Eater (a three page mythic story written in the late 90s. Please see appendix). In working with this story, because I envisioned presenting it orally (from memory) at first as a way to introduce students to memory arts exercises, I was compelled to read it over many times, which, to my surprise revealed a troubling feature: it was riddled with contradictions in every paragraph. At any rate, with the middle school aged students I only touched on this feature very briefly and focused more on language acquisition exercises. The tale nevertheless impressed upon me this bizarre aspect of language where a story can appear naturally cogent on the surface, but can also come apart at the seems if taken “literally.” Hence, later while teaching Storytelling in university with a rather dry textbook, I was invited to supplement the class with exercises of my own. Here I was curious to try work shopping the ‘Tale of The Purple People Eater’ with young adults. This involved three stages: 1) Memory work — or engaging with the unpublished story orally; 2) Exploring the contradictory nature of language and thought; 3) Probing the “deeply-symbolic” nature of meaning. -/- Of course, all of these levels have a long history of precedence in our civilization. Memory arts — though defunct now — had been highly developed in the ancient world, not least among bards who performed oral recitations from memory of the entire Illiad and Odyssey. Dialectics — now transmuted into the debate for show and prizes — had a deeper epistemological mission to discover truth and achieve enlightenment (i.e. Socrates, Boethius and St-Augustine). And if it could not be done via contradictory-prone rationality, it would do it by re-attaching or re-membering broken meanings via the sym-bol (“throwing together”), as per our lineage of platonic poets who created a world compelling enough to make us ask where Jesus went during his (underworld journey) three days in the crypt? Or, and, on what terrain did Dante travel? -/- Lets look at all three: Memory work can be very simple: it amounts to an oral recitation of the story in class followed by a homework assignment wherein the students are asked to reproduce the story (in writing) from memory. They can then compare ‘notes’ in class and by working in groups attempt to produce one version per group of the story in question. In this way we invite them to engage with ‘live’ stories as did our oral-history ancestors. Likewise, by writing it down (“for the first time”) they are re-living the act of our first bardic writer(s) who wove together a collection of competing versions of a popular legend to produce a standard. Very primal work! If Plato thought that writing meant the end of memory in his time, imagine what smart phones are doing to memory now. Contradictions too are easy to work with. It suffices to project a written version of the teacher’s story on the classroom screen — no note taking! — and let students have ample time to read it over and over, at first to check with their own memorized version, and later to seek out logical contradictions in the prose. Any way to ‘repair’ the story? Does it lose credibility because of contradictions? Can it be real without being true? Can it be true without being real? Do reality (L. res = matter) and truth (Gk. a-leithea = un-forgetting) etymologically speaking, share the same domain? -/- Further, if below the surface-meaning the story falls apart, its apparent mythical meaning immediately is called into question. This is a good time to ask the students to propose a (deeper) interpretation. On the surface, the obvious meaning of the Tale of the Purple People Eater, a world in which a purple ogre predatorily feasted on the purple race of the United Peoples of Benetton (a multi-racial nation representing every “skin colour of the rainbow”), revolves around racism, and indeed everyone save for one, thought the story was about racism. -/- I, the author, had the challenge of discovering the deeper meaning of my own story. Because it was written inspirationally one morning, the way we might record the memory of a dream from the night before in a journal, I also was ignorant of the story’s meaning. As luck would have it, a few days before I was to give my class feedback on their interpretations, a meditation on the color “purple” led to the book “The Color Purple” which I first heard of from a friend who, in my reply to a question about the book she was reading (in 1985), summarized it succinctly in one sentence about a black woman’s sexual awakening and liberation. I quickly got the book from the university library as well as the film which I viewed several times before my next class. -/- To my utter amazement, after reading the Tale of the Purple People Eater in light of the Color Purple and adjusting the meaning of color in the tale from the color of people’s complexion to the “color of people’s souls” (to commensurate with the film) as depicted in their clothing and other accoutrements (e.g. automobiles) as reflective of the “health of their souls” (white for revolt, purple for majesty, etc…) where the enslaved Celie is surrounded by drab lifeless colors in the beginning of the film in contrast to the liberated woman she has become in the end of the story symbolized by the extraordinary intensity of the purple shawl that bedecks her like an African queen, the tale can be considered, in part, as a kind of back story of the inner evolution of the book’s and film’s protagonist. -/- Many other cross-polenised metaphors come to the fore: Hippocrates in the tale is the mail man in the film; St-Yves anti-ageing gel is a metaphor for remaining in “childhood (sexual) slavery”; the Ex-Thrax vaccine is the spiritual laxative in the form of letters from Africa (from Ex-Lax and Thrace, a “wild place”) that eases Celie out of her yoke; the egg-shaped conference table with the pointy end in the tale is the kitchen table in the last meeting where Celie threatens her husband with the pointy end of the knife in the film… -/- Of course, the students could not be expected to decode the meaning of a story of this nature whose collective unconscious connotations the author himself had to go to great lengths to excavate almost like a detective of the subconscious. What was important here was the shared engagement between mind and narrative and how it acted as a vehicle for 1) re-membering, 2) becoming aware that all language is a metaphorical cover and 3) that the deep symbol and fused metaphor are divided not by external time and space but by external reality (in the Latin sense, res) and internal truth (in the Greek sense, aleithea). Myth then, in its highest meaning is a hybrid form (of these two) of narrative. Hence both parts real and true. (shrink)

I develop a phenomenological account of racialized encounters with works of art and film, wherein the racialized viewer feels cast as perpetually past, coming “too late” to intervene in the meaning of her own representation. This points to the distinctive role that the colonial past plays in mediating and constructing our self-images. I draw on my experience of three exhibitions that take Muslims and/or Arabs as their subject matter and that ostensibly try to interrupt or subvert racialization while reproducing some (...) of its tropes. My examples are the Jean-Joseph Benjamin-Constant exhibition at the Montreal Museum of Fine Arts (2015), the exposition Welten der Muslime at the Ethnologisches Museum in Berlin (2011–2017), and a sculpture by Bob and Roberta Smith at the Leeds City Art Gallery, created in response to the imperial power painting, General Gordon’s Last Stand, that is housed there. My interest is in how artworks contribute to the experience of being racialized in ways that not only amplify the circulation of images but also constitute difficult temporal relations to images. Drawing on Frantz Fanon’s Black Skin, White Masks, I argue that such racialized images are temporally gluey, or stuck, so that we are weighted and bogged down by them. This essay received Honorable Mention from the American Society for Aesthetics Feminist Caucus Committee in the Feminist Research Essay prize in 2020. (shrink)

The essay has three main objectives and therefore is divided into three parts. The first is to dispel some misconceptions related to the notion of aura, in the centre of Benjamin’s essay The Work of Art in the Age of Mechanical Reproduction (§ 1). First and foremost, is criticized the claim that Benjamin intends the decline of the aura of the work of art (its crisis) in terms of an irreversible end. In response to this misunderstanding is then (...) analyzed the concept of aura in the light of fundamental opposition between the two conceptions of technology (as magic and as perfective mímesis) at the centre of the second version of the essay on the work of art (§§ 2-3). The theme of the aura is so is explained in the context of Benjamin’s other works (especially the Arcades Project and the Baudelaire), in close relationship with his political theory of experience and with its original historical materialism (§ 4). The third part of the essay, finally, concerns the contemporary metamorphosis of aura, in relation to art practice and digital interfaces that shape social life (§ 5). (shrink)

The necessary condition for the reception of art is aesthetic distance, which paradoxically relies on direct experience: one has to be there in front of the artwork, has to live the experience. Therefore, the current pandemic and the practice of social distancing, which attempts to slow it down, is a serious challenge for the arts. This text analyses the ways in which artists and the institutions which mediate art react to the conditions caused by the pandemic. I will present some (...) creative practices which turn the adversity of the pandemic into an asset (the White Cuib Facebook project and the series by Sándor Bartha). So, there are projects which mine the gap (social distancing) and use it creatively. Then I will analyze the practice of some museums and galleries, focusing on the positive examples (e.g., the “Stay at Home Museum”) as well as on the difficulties. The examined cases will reveal the fact that while the artists were able to react in creative ways to the constraints and to create artworks which point beyond the contextual value, art institutions generally attempted merely to get through this period, hoping that they would soon be able to get back to life as usual. (shrink)

This essay presents a brief survey on some of the basic questions concerning the Philosophy of Technology, including the different historical perspectives regarding the part played by technology in human life and societies. From the historical debate between the more pragmatic and the more skeptical sides, the optimistic and pessimistic views, an answer is proposed, finding support in a sociological point of view in what can be interpreted as a contemporary marxist approach on these problems. This work was developed (...) in the context of the course \textit{An Introduction to the History of Science} given by Professor Luca Maria Possati, part of the Philosophy degree at the Faculty of Arts and Humanities of University of Porto, Portugal. (shrink)

Modern technology plays an important role in our daily lives. Many people use technology for their works, interactions, and special interests such as art. Art as a discipline, which expresses human emotion and creative side, takes a new form for its contextualization with the help of information technology. A neologism for this discipline is “digital art.” Some experts who employ a traditional value in their aesthetical perspective consider this new approach unlikely. Walter Benjamin, an eminent figure from this group, stated (...) that art must have an aura in its production as is the case in paintings. With this aura, the work of art and not artwork has uniqueness of value. However, the problem arises when information technology becomes a predominant tool for the work of art. Digital art does not consider the aura as the core value in defining something as a work of art. Furthermore, digital artists think that art can exist within a digital object and maintain its uniqueness. Parallel with the latter, this article will describe the dispute and make a clear statement that a work of art in the digital age does not require aura. (shrink)

Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...) even by the imitation of a person or an act. And although we are usually well aware that it is a simulacrum, not a real situation, it nevertheless sometimes seems as if we ourselves are standing there on the stage or in the painting, so intense and emotional is our response, even though we are just spectators. Aristotle concludes from this that we have intellectual capacities which allow us put ourselves in another’s place and consequently to react to simulated situations as though they are actually happening to us, here and now. In this process, he contends, observation, memory, imagination and emotions are crucial elements. In the past it was not customary to invoke human mental faculties to explain our response to works of art. The Ancient Greeks, after all, knew little about the human body or brain and usually referred to the extended world of the gods in their endeavours to comprehend the ‘inner world’ of human beings. In our time the situation is completely different—such an allusion to the brain no longer surprises us. Whether it is about the mystery of the consciousness, the question of free will or accounts of bizarre psychological aberrations or disorders, we have become accustomed to references to parts of the brain, to images of brain scans, to reports about neural networks and the like. However, because there are so many factors that play a part in our appreciation of works of art we need a complex explanation for it, and it is not enough to look only at certain properties of the brain that are determined by evolution. Those properties are shared by every human being, and so are rather useless in explaining people’s different reactions to the same work of art. Evidently the brains of individuals differ so much that they make it possible for people to respond differently to one and the same artwork. This, of course, raises questions concerning the painted emotions that can be seen in this exhibition. Virtually everyone, after all, is fascinated by such paintings and usually recognizes the emotions they represent. The reactions to these painted emotions are also often similar. This is probably why artworks like this are generally highly valued, then and now, here and elsewhere: from the enigmatically smiling Egyptian Queen Nefertiti and the startled Rembrandt to a seemingly despairing African mask. Aristotle observed that in the theatre players imitate actions that are associated with emotions in a number of ways and that these emotions are shared in a particular fashion by the playwright, the actors and the audience. The audience may even be carried away by these emotions to such an extent that they are in a sense purged of them and can subsequently leave the theatre relieved. Are such emotional reactions perhaps related to the fact that emotions are universal and that brains respond similarly to them? Is this why we can so readily identify painted emotions? May we therefore also assume that the properties of the brain determined by evolution help us to explain these emotions? In answering these questions we shall discuss a number of insights into emotions in psychology and brain science and explore some theories about the possible function of emotions and their expression. (shrink)

List of Illustrations Introduction 1 The Didactic and the Elegant: Some Thoughts on Scientific and Technological Illustrations in the Middle Ages and Renaissance 3 2 Temples of the Body and Temples of the Cosmos: Vision and Visualization in the Vesalian and Copernican Revolutions 40 3 Descartes’s Scientific Illustrations and ’la grande mecanique de la nature’ 86 4 Illustrating Chemistry 135 5 Representations of the Natural System in the Nineteenth Century 164 6 Visual Representation in Archaeology: Depicting the Missing-Link in (...) Human Origins 184 7 Towards an Epistemology of Scientific Illustration 215 8 Illustration and Inference 250 9 Visual Models and Scientific Judgment 269 10 Are Pictures Really Necessary? The Case of Sewall Wright’s ’Adaptive Landscapes’ 303 Bibliography 339 Notes on Contributors 373 Index 377. (shrink)

Marjorie Perloff is a distinguished commentator on the literature of this century, best known for her work on Futurism, one of the pre-First War international and inter-art avant garde movements. Radical Artifice takes on the avant garde since 1960, observed from the angle of the institutions of popular culture -- in particular television talk shows, and graphic advertisements. The project of the book is to respond to Charles Bernstein's decree: "There is no natural look or sound to a poem. (...) Every element is intended, chosen. That is what makes a thing a poem" (qtd. 35). "Why, Perloff asks, "is the natural now regarded with such suspicion?" (35). (shrink)

For Plato mimesis is the appearance of the external image of things. In his view, the reality was not to be found in the world of objects but in the realm of ideas. Therefore, Plato sees the arts as an occupation that is inferior to science and philosophy, but that is also a potential source of corruption. His concept of imitation, although it evolved over time, led him to take an increasingly dogmatic and intolerant position regarding artistic creation. His notion (...) that poetry is morally dangerous establishes the foundations for a didactic critique, which tends to flourish in societies undergoing political crises. Plato wrote his works during an age of instability and decline; an age when the role of Athens as the leading power in the Mediterranean was beginning to be questioned. Through an analysis of Ion and Books II, III, and X of The Republic, this essay explores the epistemological and moral —rather than aesthetic— nature of Plato’s judgment on the value of Poetry and the Arts. (shrink)

While not considered the focus of Marx, aesthetics, and art have become a project of Marxism. But understanding art in a Marxist world requires taking Marx’s philosophy and understanding how art behaves in capitalism. I transplant the artwork to a Marxist analysis by investigating art as described by Heidegger, Dufrenne, and Merleau-Ponty, how art relates to the idea of the commodity in Marx, culture in Deleuze, and art in modern capitalism through Marcuse.

The delusory quest for disembodiment, against which the quest for re-embodiment is reacting, is characteristic of macroparasites who live off the work, products and lives of others. The quest for disembodiment that characterizes modernism and postmodernism, it is argued, echoes in a more extreme form the delusions on which medieval civilization was based where the military aristocracy and the clergy, defining themselves through the ideal forms of Neo-Platonic Christianity, despised nature, the peasantry and in the case of the clergy, (...) women. This argument is used to expose and reveal the oppressive and ecologically destructive drive underlying the aspirations of the dominant classes in the modern/postmodern world to disembodiment, whether this be seen as the quest to be unbounded by time and place, to be free of dependence on labour and natural resources, to be free of the humdrum of everyday life by entering ‘virtual’ worlds, or, as with post-humanists, to overcome the limits of the body by fusing with technology. These modern and postmodern forms of the quest for disembodiment, it is suggested, now threaten civilization, the future of humanity and most terrestrial life. This analysis is used to clarify the liberating mission of the grand narrative for re-embodiment, exemplified by the quest for Inclusive Democracy, Earth Democracy, Ecological Civilization, or for an Ecozoic Age. The grand narrative of the Age of Re-embodiments is shown to be inseparable from the struggle for truth, justice and liberty as central to real democracy empowering people to augment rather than undermine the conditions for life. (shrink)

Essentialism is one of the common approaches in the philosophy of technology. Based on this approach, technology has an independent essence, and knowing technology requires knowing this essence. The present article aims to criticize essentialism in the philosophy of technology in the framework of critical rationalism. The paper argues that essentialism is inadequate because it leads to irrationalism and determinism and destroys any ground for reform and critical discussion about technology; instead, it recommends sudden and irrational changes. Secondly, it contains (...) some presuppositions and false doctrines about the evolution of technology and its relation to humans. We will also explain that essentialists’ recommendation to take refuge in art or hold a free relationship towards technology is inconclusive in facing technological inconveniences. Instead, local considerations should be taken into account in the modification process, and they should be carried out piecemeal and in a critical context. (shrink)

Public attitudes concerning cognitive enhancements are significant for a number of reasons. They tell us about how socially acceptable these emerging technologies are considered to be, but they also provide a window into the ethical reasons that are likely to get traction in the ongoing debates about them. We thus see Conrad et al’s project of empirically investigating the effect of metaphors and context in shaping attitudes about cognitive enhancements as both interesting and important. We sketch what we suspect is (...) a central theme that runs through these public attitudes, but that Conrad el al’s paper elides. We were disappointed that they did not more directly explore the efficacy of frames and metaphors associated with the values of authenticity and self-expression. This seems like a missed opportunity. Based on the premise that individualistic values enjoy centrality in Western and especially North American culture (e.g. Taylor 1989), we hypothesize that metaphors and frames informed by those values will be especially effective in shaping public attitudes. That is, when various kinds of novel enhancement are described as allowing people to more fully express themselves, or as helping people overcome obstacles to being authentic and true to their inner sense of themselves, those enhancements will be considered justified, and their use more likely to be viewed as socially acceptable by the public. We support our contention by drawing on work by Elliott (2004, 2011, c.f. Kadlac 2018), and discuss how this study, and others modeled on it, might shed light on our hypothesis. (shrink)

The essay reflects on Gadamer’s ambiguous legacy for the philosophy of work. On the one hand, there are times when Gadamer reproduces the problematic distinction between language and labor which short-circuits the very idea of a hermeneutics of work. This is particularly evident in Gadamer’s reflections on technique and craftsmanship in the central sections of Truth and Method, as well as in his descriptions of the “art” of dialogue and the tasks of hermeneutics that separate them emphatically them (...) from the sphere of “making.” I raise some questions about the adequacy of the distinction Gadamer draws between techne and phronesis that structures this account. I argue here that Gadamer’s characterization of the learning process involved in the mastery of a technique, as well as his conception of the instrumentality and monologicality of technical knowledge, is difficult to sustain, especially in view of recent research in the psychology and anthropology of work. I then go on to point out that elsewhere in his oeuvre Gadamer himself is critical of the conception of work that emerges through the lens of the techne / phronesis distinction. Indeed, on these occasions he hints at a conception of work that points beyond the Arendt / Habermas conception towards a critical hermeneutics of working life. This alternative approach to work is particularly apparent in Gadamer’s appropriation of Hegel’s dialectic, in his understanding of play, and in some of his later diagnostic reflections on the spirit of the age. In section four, I offer some suggestions for explaining how the tensions evident in Gadamer’s approach to work came about. Here I am interested in what prevented Gadamer from embracing whole-heartedly the project of a hermeneutics of work that he himself helped to lay the foundations for. I conclude with some brief remarks on why we should seek to build upon these foundations and renew the project of a critical hermeneutics of work today. (shrink)

Praised as a panacea for resolving all societal issues, and self-evidently presupposed as technological innovation, the concept of innovation has become the emblem of our age. This is especially reflected in the context of the European Union, where it is considered to play a central role in both strengthening the economy and confronting the current environmental crisis. The pressing question is how technological innovation can be steered into the right direction. To this end, recent frameworks of Responsible Innovation (...) focus on how to enable outcomes of innovation processes to become societally desirable and ethically acceptable. However, questions with regard to the technological nature of these innovation processes are rarely raised. For this reason, this paper raises the following research question: To what extent is RI possible in the current age, where the concept of innovation is predominantly presupposed as technological innovation? On the one hand, we depart from a post-phenomenological perspective to evaluate the possibility of RI in relation to the particular technological innovations discussed in the RI literature. On the other hand, we emphasize the central role innovation plays in the current age, and suggest that the presupposed concept of innovation projects a techno-economic paradigm. In doing so, we ultimately argue that in the attempt to steer innovation, frameworks of RI are in fact steered by the techno-economic paradigm inherent in the presupposed concept of innovation. Finally, we account for what implications this has for the societal purpose of RI. (shrink)

This paper explores the relationship between technological and human intelligence through ‘The New Natural’, a term which at once accepts the nature of technological intelligence as real instead of forever ‘artificial’. It supports an evolutionary, reciprocal relationship between humans and technology that culminates in technological singularity and rejects the primacy of human perception known to popular human access theories, before seriously considering the ‘decentered’ implications of posthuman access. In conversation with western-centric sci-fi film of the late twentieth (...) century, then, this philosophical study explores how the concept of a technology-only intelligence entity can: (1) help us dispose of the core problems often associated with human-only access, (2) neutral-ize our fears of human annihilation at the hands of technological intelligence, and (3) establish strong grounds for why we may have to push back against early conceptions of nature’s opposition to technology, if only so we may resist falling into the great, and most human-centered traps known to the Anthropocene. (shrink)

Two stories have dominated the historiography of early modern philosophy: one in which a seventeenth century Age of Reason spawned the Enlightenment, and another in which a skeptical crisis cast a shadow over subsequent philosophy, resulting in ever narrower "limits to knowledge." I combine certain elements common to both into a third narrative, one that begins by taking seriously seventeenth-century conceptions of the topics and methods central to the rise of a "new" philosophy. In this revisionist story, differing approaches to (...) the central subject matter of early modern metaphysics--knowledge of substances through their essences and causal powers--arise as a result of disagreements about the powers of the human cognitive faculties. Methodological writings are seen as attempts to direct readers in the proper use of their cognitive faculties. The early modern rejection of the Aristotelian theory of cognition ranks equally in importance with rejection of Aristotelian doctrines about nature. Skepticism is more often than not a tool to be used in teaching the reader the proper use of the cognitive faculties, or indeed in convincing the reader of the existence or inexistence of certain cognitive faculties or powers. Instead of early modern "epistemology" or "theory of knowledge," one speaks, with seventeenth century writers, of theories of the cognitive faculties and their implications for the possibility of human knowledge. The early modern rejection of Aristotelian logic can then be seen as reflecting a negative assessment about the fit between syllogistic reasoning and logic as an art of reasoning or thinking which refines the use of the cognitive faculties. -/- Central to this new historiography is the story of the relation between the intellect and senses as cognitive faculties or powers. The development of philosophy from Descartes to Kant can be portrayed as a series of claims about the power of the intellect to know the essences of things, with resulting consequences for ontology and the foundations of natural philosophy. I illustrate this revised narrative by comparing three conceptions of the intellect in three philosophical settings, provided by several late scholastic Aristotelians, Descartes, and Locke. I have two aims: first, to exhibit the central role played by the conception of intellect or understanding in these authors, and, second, to locate their discussions of the cognitive faculties in relation to recent understandings of psychology, epistemology, logic, mind, and their relations. Early modern writings do not easily fit into the modern categories of epistemology and psychology; more generally, the early modern concern with the workings of mind does not coincide with recent conceptions of naturalism. These findings can help us to see problems with our current categories. (shrink)

Praised as a panacea for resolving all societal issues, and self-evidently presupposed as technological innovation, the concept of innovation has become the emblem of our age. This is especially reflected in the context of the European Union, where it is considered to play a central role in both strengthening the economy and confronting the current environmental crisis. The pressing question is how technological innovation can be steered into the right direction. To this end, recent frameworks of Responsible Innovation (...) (RI) focus on how to enable outcomes of innovation processes to become societally desirable and ethically acceptable. However, questions with regard to the technological nature of these innovation processes are rarely raised. For this reason, this paper raises the following research question: To what extent is RI possible in the current age, where the concept of innovation is predominantly presupposed as technological innovation? On the one hand, we depart from a post-phenomenological perspective to evaluate the possibility of RI in relation to the particular technological innovations discussed in the RI literature. On the other hand, we emphasize the central role innovation plays in the current age, and suggest that the presupposed concept of innovation projects a techno-economic paradigm. In doing so, we ultimately argue that in the attempt to steer innovation, frameworks of RI are in fact steered by the techno-economic paradigm inherent in the presupposed concept of innovation. Finally, we account for what implications this has for the societal purpose of RI. (shrink)

Mark Coeckelbergh is a Belgian philosopher who specializes in the philosophy of technology. His work primarily explores the intersection of technology and society, specifically the philosophical implications of emerging technologies such as AI and robotics. He has written on whether machines can be moral agents and how ethical frameworks should be applied to autonomous machines. He has a broad philosophical perspective drawing on classical sources, Eastern philosophy, Marxism, Foucault, phenomenology, and the postmodernists. In this short text, he brings his (...) remarkable insights and erudition to bear on our attempts at self-improvement in the age of AI. (shrink)

Following media-theoretical studies that have characterized digitization as a process of all-encompassing cybernetization, this paper will examine the timely and critical potential of Günther Anders’s oeuvre vis-à-vis the ever-increasing power of cybernetic devices and networks. Anders has witnessed and negotiated the process of cybernetization from its very beginning, having criticized its tendency to automate and expand, as well as its circular logic and ‘integral power’, including disruptive consequences for the constitution of the political and the social. In this vein, Anders’s (...) works, particularly his magnum opus Die Antiquiertheit des Menschen [The Obsolescence of Man], sheds new light on the technologically organized milieus of the contemporary digital regime and also highlights a new form of cybernetic ‘conformism’. The goal of the essay is therefore, not only to emphasize the contemporary nature of Anders’s thought but also to use it to frame a critique of current neo-technocratic and, ultimately, post-political concepts, such as ‘algorithmic regulation’, ‘smart states’, ‘direct technocracy’, and ‘government as platform’. This essay argues that cybernetic capitalism is causing what Anders terms ‘ Unfestgelegtheit’ to disappear; that is, we are losing the originary possibility of technologically structuring our world in alternative ways, particularly given the determinist character of current technologies. (shrink)

the Mona Lisa, the Mondscheinsonate, the Chanson d’automne are works of art, the salt shaker on your table, the car in your garage, or the pijamas on your bed are not. the basic question of the metaphysics of works of art is this: what makes a thing a work of art? that is: what sort of property do works of art have in virtue of which they are works of art? or more simply: what sort of property being a (...) work of art is? In this paper we argue that things are works of art in virtue of what they are like, their intrinsic features, that is, in virtue of the fact that they have the perceptual (auditory, visual, etc.) properties they have. In other words: being a work of art supervenes on perceptual-intrinsic features. Currently, this metaphysical view is extremely unpopular within the philosophy of art. It is unpopular because there allegedly exists a knock-down objection to it, the well-known argument from indiscernible counterparts. our thesis implies, among other things, that every perceptual duplicate of a work of art is also a work of art. according to the argument from indiscernible counterparts, however, there could be (or even: there are) indiscernible counterparts such that one of them is a work of art while the other is not. hence things cannot be works of art solely in virtue of what they are like. Our paper divides into three parts. In the first part we state our views. In the second part we defend it against various versions of the argument from indiscernible counterparts. (In doing so our position will become more plausible, we hope). In the final part we provide some meta-reflections on the matter. (shrink)

Online technologies enable vast amounts of data to outlive their producers online, thereby giving rise to a new, digital form of afterlife presence. Although researchers have begun investigating the nature of such presence, academic literature has until now failed to acknowledge the role of commercial interests in shaping it. The goal of this paper is to analyse what those interests are and what ethical consequences they may have. This goal is pursued in three steps. First, we introduce the concept of (...) the Digital Afterlife Industry, and define it as an object of study. Second, we identify the politico-economic interests of the DAI. For this purpose, we develop an analytical approach based on an informational interpretation of Marxian economics. Third, we explain the practical manifestations of the interests using four real life cases. The findings expose the incentives of the DAI to alter what is referred to as the “informational bodies” of the dead, which in turn is to be seen as a violation of the principle of human dignity. To prevent such consequences, we argue that the ethical conventions that guide trade with remains of organic bodies may serve as a good model for future regulation of DAI. (shrink)

The Infectious Disease Ontology (IDO) is a suite of interoperable ontology modules that aims to provide coverage of all aspects of the infectious disease domain, including biomedical research, clinical care, and public health. IDO Core is designed to be a disease and pathogen neutral ontology, covering just those types of entities and relations that are relevant to infectious diseases generally. IDO Core is then extended by a collection of ontology modules focusing on specific diseases and pathogens. In this paper we (...) present applications of IDO Core within various areas of infectious disease research, together with an overview of all IDO extension ontologies and the methodology on the basis of which they are built. We also survey recent developments involving IDO, including the creation of IDO Virus; the Coronaviruses Infectious Disease Ontology (CIDO); and an extension of CIDO focused on COVID-19 (IDO-CovID-19).We also discuss how these ontologies might assist in information-driven efforts to deal with the ongoing COVID-19 pandemic, to accelerate data discovery in the early stages of future pandemics, and to promote reproducibility of infectious disease research. (shrink)

In recent years there has been growing interest in adapting virtue ethics to the ethics of technology. However, it has most typically been invoked to address some particular issue of moral importance, and there is only a limited range of works dealing with the methodological question of how virtue ethics may contribute to this field. My approach in this paper is threefold. I start with a brief discussion of Aristotelian virtue ethics, with a view to constructing a framework in which (...) to then address at least some of the aspects of the growing technicization of life that call for scrutiny. I subsequently proceed further by outlining three possible models of virtue-theoretical analysis within the ethics of technology, giving special attention to those changes in human agency where technicization can be seen to exert a significant influence. Finally, I focus on the third such possibility, the extended virtue model, as a basis for calling for a more inclusive account of moral agency. (shrink)

The paper assumes that fear presents a certain degree of ambivalence. To say it with Hans Jonas (1903-1993), fear is not only a negative emotion, but may teach us something very important: we recognize what is relevant when we perceive that it is at stake. Under this respect, fear may be assumed as a guide to responsibility, a virtue that is becoming increasingly important, because of the role played by human technology in the current ecological crisis. Secondly, fear and responsibility (...) concern both dimensions of human action: private-individual and public-collective. What the ‘heuristics of fear’ teaches us, is to become aware of a deeper ambivalence, namely the one which characterizes as such human freedom, which may aim to good or bad, to self-preservation or self-destruction. Any public discussion concerning political or economic issues related with human action (at an individual or collective level) ought not to leave this essential idea out of consideration. (shrink)

Abstract The awakening of art to self-awareness and the statement of its autonomy are modern phenomena. The way we think about art in the modern age may be derived from the Kantian “beauty without concept”. Beautiful art is the work of the genius, who creates a work of art that is valuable in itself and is admired in museums by the public. That which I call here “the modern paradigm of art” is based on an absence: the non-conceptuality (...) of the beautiful, i.e., the fact that objective qualities cannot define the beautiful. This absence establishes originality as the essential requirement for modern art and creates the possibility for artists to push the boundaries of the modern paradigm. Thus, the 20thcentury sees the appearance of strategies for overriding or substituting originality. The artist withdraws from behind her work, and the work of art is no longer an unapproachable object with an aura, just as the museum is also no longer the temple of the arts. But do these experiments overcome the frontiers of art’s modern paradigm? And, more generally, can this paradigm be overcome at all? Here I deduct three elements of the modern paradigm of art from the idea of “beauty without concept”: (1) the original artist, who is seen as a genius, (2) the work of art with an aura, and (3) the museum as the temple of art. Then I present how artists, based on the requirement of originality, worked on dismantling the frontiers of the modern paradigm. (shrink)

This article is devoted to the topical aspects of the transformation of society, science, and man in the context of E. László’s work «Macroshift». The author offers his own attempt to consider the attributes of macroshift and then use these attributes to operationalize further analysis, highlighting three essential elements: the world has come to a situation of technological indistinguishability between the natural and the artificial, to machines that know everything about humans. Antiquity aspired to beauty and saw beauty (...) in realistic art, but technology made indistinguishability possible, bringing the risks of deepfakes and post-truth. Following J. Bernal’s logic, the author distinguishes between different types of the future, comparing them with the Kantian triad of ethical questions: (1) What can we know? (2) What should we do? (3) What can I hope for? Under these conditions, the fact that technology has become a real tool of geopolitics is no longer just a matter for discussion, but a subject of deep philosophical consideration. AI is becoming not only an opportunity, but also a threat, on a scale that has never been seen before in our civilizational history. Therefore, the former, linear development of science gives way to nonlinearity. Society in the macroshift will be radically transformed, and the author identifies five main transformations of the current macroshift. The post-nonclassical approach in the analysis of scenarios for modeling the future, both accidentally possible and preferred, is becoming the most important tool of futurology and prognostics. The author describes the future around five social trends that will determine the economy and society of the coming decades. In addition, opportunities for the future development of science are proposed, subject to significant penetration of AI technologies. These technologies will have a fundamental impact on all aspects of our society, economy, and human existence. (shrink)

The study aimed to identify the reality of the use of artificial intelligence applications as a modern trend among training institutions in the southern Palestinian governorates. The study used the descriptive analytical method. The southern Palestinian governorates, and the random sample was used to collect data, as (90) applicable questionnaires were retrieved. The results of the study showed that the general estimate of artificial intelligence applications reached (83.63%), and that the order of areas of artificial intelligence applications is as follows (...) (Training And Development, System Capacity, User Behavior, Smart Agent, News Availability), and the results also showed that there were no statistically significant differences. In the use of artificial intelligence applications according to the gender variable, there are statistically significant differences in the use of artificial intelligence applications according to the variables (educational qualification, age group, number of years of service, governorate). The study presented a set of recommendations, the most important of which are: the need to attract experts and specialists to work in training institutions in order to develop applicable artificial intelligence applications, as well as the need for centers to develop their training systems in line with modern technology. (shrink)

Arthur C. Danto did not live to witness the proliferation of AI in artistic creation. However, his philosophy of art offers key ideas about art that can provide an interesting perspective on artwork generated by artificial intelligence (AI). In this article, I analyze how his ideas about contemporary art, intention, interpretation, and authorship could be applied to the ongoing debate about AI and artistic creation. At the same time, it is also interesting to consider whether the incorporation of AI into (...) artistic creation marks a new chapter in the narrative, which seems to have reached its end, or if it represents a significant rupture with past artistic traditions. (shrink)

Higher education institutions are mining and analyzing student data to effect educational, political, and managerial outcomes. Done under the banner of “learning analytics,” this work can—and often does—surface sensitive data and information about, inter alia, a student’s demographics, academic performance, offline and online movements, physical fitness, mental wellbeing, and social network. With these data, institutions and third parties are able to describe student life, predict future behaviors, and intervene to address academic or other barriers to student success (however defined). (...) Learning analytics, consequently, raise serious issues concerning student privacy, autonomy, and the appropriate flow of student data. We argue that issues around privacy lead to valid questions about the degree to which students should trust their institution to use learning analytics data and other artifacts (algorithms, predictive scores) with their interests in mind. We argue that higher education institutions are paradigms of information fiduciaries. As such, colleges and universities have a special responsibility to their students. In this article, we use the information fiduciary concept to analyze cases when learning analytics violate an institution’s responsibility to its students. (shrink)

This article expands on the concept of aura, within the frame of art ontology, and based on neurophilosophy, the stages of human thought, and peak experiences. Aura, generally signifying the subjective value of a work of art, is in this work associated with peak experiences and neurobiological impacts. In this context, the concept of aura involves an effort to understand the effects that a work of art has on the viewer and how these effects form a peak (...) experience. This study investigates how aura and peak experiences have changed and evolved in different cultural and historical contexts, considering the stages of human thought. In the end, the thesis presents a broader definition of the concept of aura; stating that aura shows variability according to conditions, periods, and spaces, and it is a concept that enables the subject to reach peak experiences. (shrink)

Extensive scientific, philosophical and artistic activities were carried out in the Islamic World’s various science and civilization centers during the early Middle Ages. In these centers, noteworthy works of mathematics, astronomy, geography, medicine, pharmacology, optics, botany, chemistry and other fields of science, which would later determine improvement paths for these fields, were created. Abu al-Izz Ismail ibn al-Razzaz al-Jazari (12th-13th centuries), was a magnificent Muslim scientist known for his work named The Book of Knowledge of Ingenious Mechanical Devices (Kitab (...) fi ma‘rifati’l-hiyal al-handasiyya) and he was born in geography where many scientists were trained. He contributed to the development of science and civilization, the joint legacy of humanity and demonstrated his true capability and success in the field of ilm al-hiyal (the scientific field which addresses the information and practices regarding mechanical technology and engineering in Islamic science history). From this perspective, it is evident that al-Jazari had a wide field of interest, made his mark in the age he lived in with his brave and innovative ideas, and was a wise engineer. al-Jazari’s detailed descriptions and explanations of water clocks, oil lamp clocks and water pumping machines, as well as their construction, were astounding. In addition, al-Jazari’s studies on metal casting techniques, cone valves, wheel balance and the real-world use of aspiration tubes are important in contemporary engineering studies. When all these are considered, it becomes clear that his designation as the “Leonardo da Vinci of the Islamic World” is not a coincidence. Many studies on al-Jazari’s scientific legacy have been conducted in various parts of the world. There are various manuscripts of his aforementioned book. Based on these manuscripts, the work has been -fully or partially- translated into many languages, including Turkish. The German and English translations served as a basis for studies on al-Jazari in other languages. In recent years, studies conducted on al-Jazari in Türkiye (books, articles, domestic and international symposiums, congresses etc.) have demonstrated his brilliance and competence as a scientist. Furthermore, studies on al-Jazari are still ongoing in Türkiye. As for Russia, the scientific legacy of the scientists raised in the Islamic World such as Avicenna, al-Farabi, Abu Bakr al-Razi, Abu Rayhan al-Biruni, Abu al-Qasim al-Zahrawi, Muhammad ibn Musa al-Khwarizmi, al-Battani, al-Kashi, Abd al-Rahman al-Khazini, Nasir al-Din al-Tusi was researched within the scope of a special plan and program. Depending on the relevant studies, al-Jazari and his work drew attention as well. A small portion of the aforementioned Russian studies is known in Türkiye. It is safe to assume that al-Jazari studies in Russia are virtually unknown in Türkiye. The present study primarily aims to contribute to the literature on the scientific legacy of al-Jazari, a Middle Age Islamic scientist best known for his famous work in the mechanical field. More specifically, the present study aims to: 1) to identify the studies on al-Jazari in Russia, and in the former USSR countries, where academic studies are still in Russian after the Soviet Union period, to create a chronological biography and to set forth their compilation; in other words, to create a bibliography which includes Russian studies on al-Jazari; 2) to provide information on the structure and content of the studies in question, to detect the methodological issues encountered in these works, and make solution recommendations to solve these issues; 3) to contribute to continuing and future studies in Türkiye on al-Jazari in terms of source and material index. In conclusion, it should be stated that comparative reading was conducted centered on The Book of Knowledge of Ingenious Mechanical Devices (Kitab fi ma‘rifati’l-hiyal al-handasiyya). It should also be noted that Russian popular internet publications (which are not based on academic research and are created/reproduced for commercial and personal purposes) were excluded from the assessment. (shrink)