A work of Vietnamese art crossed a million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity from the Vietnamese art amidst the many existing problems. Even though the Vietnamese media has discussed the issues enthusiastically, there is a lack of literature from the Vietnamese academics examining the subject, and even rarer in from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art (...) market, and hesitantly the Vietnamese art as well, through the lens of fake, forgery and copy artworks. 35 cases of fake, forgery and copy paintings were found on the news and from the experts' wisdom. Through the examples, we argue that the Vietnamese art market is a temporary reaction to the immaturely rising of the Vietnamese art and the economy. Therefore, the art market is unable to function healthily unless the Vietnamese art and the economy developed. (shrink)

Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form of formalism, (...) this "night" is also closely allied with forms of intellection that come to reside in art as pure visual agency or material knowledge while invoking moral agency, a function of art more or less bracketed in modern art for ethical and/or political agency. Not a theory of meta-painting, Art as "Night" restores coordinates arguably lost in painting since the separation of natural and moral philosophy in the Baroque era. It is with Velázquez that we see a turning point, an emphasis on the specific resources of painting as a form of speculative intellect, while it is with contemporary works by Gerhard Richter and Anselm Kiefer that we see the return of the same after the collapse of modernism, and after subsequent postmodern maneuvers to make art discursive yet without the austerities of the formal means present in Art as Art. Art as "Night" argues for a nondiscursive form of intellection fully embodied in the work of art – and, foremost, painting. A synoptic and intentionally elusive and allusive survey of painting, through the collapse of the art market in late 2007, Art as "Night" suggests by way of this critique of an elective "night" crossing painting that the art world is an endlessly deferred version of pleroma , a fully synthetic world given to an exploration and appropriation of the given through classical mimesis and epistemology and its complete incorporation and transfiguration in a theory of knowledge and art as pure speculative agency. In effect, Art as "Night" is an incarnational theory of art as absolute knowledge. (shrink)

Dr. Seyed Mohammad Mohajer, author of this book, for the first time, on the subject of SEM (Student Experience Management) and TEM :(Teacher Experience Management), Expresses and writes In today’s competitive world in which men are looking for acquiring a better place for themselves and their properties, indeed it can be said that people who compete on a full scale in marketing and branding by learning knowledge and experience, are more successful. Apart from people, countries, cities, businesses, historical and religious (...) sites, companies, products, services, and even government agencies are endeavoring and competing to possess a better place and more profitability. In the meantime, universities, higher education institutions, and specialized schools such as Business Schools, Language Schools, Art Schools, etc are not exceptions. Contest in the digital and traditional area, simultaneously, and with a proper strategy and developing systematic advertising campaigns can make a university or higher education institutions a brand. Since the branding process, as its name implies, has a -ing (continuous), the process must be continual and running continuously. One of the most significant tools in higher education institutions branding is CEM (Client Experience Management) which includes SEM (Student Experience Management) and TEM (Teacher Experience Management). Valuing the main audiences, which are students and professors, and creating a distinctive and excellent experience in the educational environment either in a digital or in a traditional area, can lead to receive excellent feedback from these audiences and direct them to the brand layers that are Awareness, Knowledge, Attitude, Engagement, Satisfaction, Loyalty and the highest level that is Passion, which the same matter make the sense of constancy and belonging and conversion Trademark (Servicemark) a higher education institution to a Lovemark. But how this distinctive experience and feeling can be infused with the audiences? Undoubtedly, many solutions are recommended in this field, such as the use of sensory branding methods, but the important point here is who can create and improve this experience? Certainly, the University Staff has a key and very effective role in the mentioned process. However, the significant point is which employees can make this experience? The answer is very simple but key: Employees who first receive a good sense of working in a scientific and educational environment. Therefore, we are facing a phenomenon called SEM (Staff Experience Management), that is, university administrators and heads, before engaging in Client Experience Management, should seek to create a sense of satisfaction, belonging, and loyalty in the educational environment and grow their educational brand set, which its tools are certainly Employer Branding and Human Capital Management. By mentioning all the foregoing keywords, each of which is a deep concept in BRAND Building and Branding of higher education institutions discussion, we begin our main discussion, namely marketing and branding in higher education institutions. I hope you will be with us by the end of the book and experience a different studying the book, dear reader. Dr. Mohajer writes in his introduction: Be the best version of yourself I daresay all brand and branding concepts and definitions can be observed in the above sentence. whereof the brand, like a human, experiences all the before birth, birth, growth, maturity, wane and death processes, and since a real human being is always looking for growth and ascendancy, and this continuous process to reach the endpoint Life, thus the grown man is always looking to reach a higher point of his present and past. The most important tool in a human ascendancy or a brand is certainly an education. Either for a human or a brand, becoming a distinct brand goes through practical training. The above sentences are a summary of my little experience as Seyed Mohammad Mohajer in education and especially training in the brand management field. Certainly, the brand and education and the combination of these two words are the main and vital tools for the development of any country and human being. Now that I am the President of Tarjoman Oloom Higher Education Institute and the BrandAfarin international group, I consider it necessary as my social mission to start first from myself and with a better understanding of myself, then the great God and comprehending the universe; I announce to the cultured society that we seek to identify brilliant talents in the three areas of education, research and management consulting, and we warmly welcome intellectuals, professionals and individuals seeking individual and organizational growth. Also, by creating skill training courses in four specialized fields of management in the Business School, foreign languages ​​in the Language School of Art and Media in the Art School, and new technologies in the i4.0 School for people who can not afford to pay for the training tuition, We have created the chance to study at Tarjoman Oloom Higher Education Institute for free and then go to the business market. It would be my honor to contact me for more information and direct communication through my website www.mohajer.tvLinks to an external site. and my email info(at)mohajer.tv. Book Details: ISBN-13 : 979-8574963845 Paperback : 272 pages Language: : English ASIN : B08PJPQSK9 Paperback : 272 pages Author: Seyed Mohammad Mohajer, PhD. (President of Tarjoman Oloom Higher Education Institute) For more information on Marketing and Branding in Higher Education Institute, visit: https://www.amazon.com/dp/B08PJPQSK9Links to an external site. (shrink)

Arts Entrepreneurship is a comparatively new concept in arts management however, it is inevitable for the arts, especially classical music to adapt the concept for its survival. This article investigates how arts entrepreneurship is executed through strategic collaboration in three different cases of classical music organizations in Seoul, Korea: Yellow Lounge Seoul, Ensemble Ditto and The New Baroque Company. By providing vivid examples of how to apply arts entrepreneurship in classical music products, it will better help to understand the concept. (...) The study conducted a focused group interview (FGI) with concert with classical music marketing specialists and their strategic collaborators. The framework of entrepreneurial orientation (EO) was applied to analyze identify arts entrepreneurship in each organization. The entrepreneurial approaches of these organizations are identified by how their entrepreneurial orientation (EO) is executed in their innovativeness, risk-taking, and proactiveness. The results of this empirical study are demonstrated in three aspects: 1) Strategic collaboration with an unconventional partner resulted in realization of entrepreneurial orientation. 2) Entrepreneurship through strategic collaboration resulted in reducing production costs, sourcing new funds, increasing the audience base and performance opportunities 3) Arts entrepreneurship was designed to maintain the core value that the quality of music would not be compromised or altered. (shrink)

Using Australia to illustrate the case, in this paper it is argued that the transformation of universities into businesses and the undermining of the liberal arts is motivated by either contempt for or outright hostility to democracy. This is associated with a global managerial revolution that is enslaving nations and people to the global market and the corporations that dominate it. The struggle within universities is the site of a struggle to reverse the gains of the Radical Enlightenment, the (...) tradition of Enlightenment that, committed to upholding and developing the civic humanism of the Renaissance, strove for liberty, understood as democratic self-governance. The central place the liberal arts had in upholding this liberty is shown. Inspired by the Ancient Greek notion of paideia, the liberal arts, which originated in republican Rome, was the form of education required designed for free people, in opposition to the specialist education appropriate for slaves, to inspire them to maintain their liberty and enable them to govern themselves. While not always upholding this ideal, it is argued in this paper that the liberal arts always kept alive this quest for liberty, bequeathing this quest to the Renaissance philosophers and to the proponents of the Radical Enlightenment. With managerialism and the undermining of democracy, such education and the questioning, creative people it produced, are now seen as a threat to the new global corporatocracy who, to achieve cultural hegemony, have coöpted university managers and academics to impose their agenda to cripple the liberal arts. Their goal, never fully articulated as such but successfully prosecuted, is a dumbed-down population. (shrink)

Diagrams by Connor Camburn -/- The relationship between axiomatization, mechanization, creative individuation, and virtual/physical individuation presents a fascinating interplay of concepts that have significantly influenced various fields, including mathematics, physics, philosophy, and art. This essay explores these relationships by drawing insights from André Weil's "From Metaphysics to Mathematics," Gilles Châtelet's works, and Schmid's discussion on Gnostic Futurism. -/- Axiomatization: Weil and Grothendieck -/- Axiomatization, as discussed in André Weil's "From Metaphysics to Mathematics," represents the transformation of metaphysical concepts into formal (...) mathematical structures. Weil's document highlights the progression from vague metaphysical ideas to concrete mathematical theories. This process is evident in the works of mathematicians like Lagrange and Galois, where initial metaphysical notions eventually crystallized into the formal structures of modern algebra. Similarly, Alexander Grothendieck's work in algebraic geometry involved the creation of an abstract framework that could unify various mathematical concepts, demonstrating the power of axiomatization in providing a foundational structure for complex ideas. -/- Mechanization: Oppenheimer, Watson-Crick, and Von Neumann -/- Mechanization, in the context of scientific development, refers to the application of mechanical principles to solve problems and the automation of processes. Figures like Oppenheimer in physics, Watson and Crick in biology, and Von Neumann in computing and mathematics, represent the pinnacle of mechanization in their respective fields. Their work exemplifies how mechanization has enabled the simplification and automation of complex processes, leading to alienating discoveries such as the atomic bomb, the structure of DNA, and the development of modern computers. -/- Creative Individuation: Gnostic Futurism -/- Eric Schmid's discussion on Gnostic Futurism, as found in his document, offers a perspective on creative individuation. Gnostic Futurism, rooted in Kantian-Hegelian transcendental universalism, represents a departure from conventional realism, emphasizing a transcendental nature and integration of mythopoeia. This movement in art and philosophy underscores the role of creativity and individual expression in transcending traditional forms and norms. It embodies the idea of creative individuation, where individual creativity leads to the formation of new, often revolutionary, artistic and philosophical expressions. -/- Virtual/Physical Individuation: Châtelet's Perspective -/- Gilles Châtelet's works, particularly "Figuring Space: Philosophy, Mathematics, and Physics," delve into the concept of virtual/physical individuation. Châtelet discusses the configuration of space in mathematics and physics, emphasizing the role of diagrams in scientific discovery. This exploration of space, both virtual (as in mathematical abstractions) and physical (as in tangible representations), reflects the process of individuation in both realms. Châtelet's perspective highlights how mathematical and physical representations are not just tools for understanding the world but are also expressions of individual and collective intellectual endeavors. -/- Interconnections and Synthesis -/- The synthesis of these concepts reveals a complex tapestry of intellectual development across disciplines. Axiomatization provides a foundational structure that enables the mechanization of processes, as seen in the works of Oppenheimer, Watson-Crick, and Von Neumann. This mechanization, in turn, paves the way for creative individuation, where individuals can transcend established norms and frameworks, as exemplified in Gnostic Futurism. Finally, the concept of virtual/physical individuation, as explored by Châtelet, represents the culmination of these ideas, where the abstract and the tangible intersect, leading to new forms of understanding and expression. -/- In conclusion, the relationship between axiomatization, mechanization, creative individuation, and virtual/physical individuation is a testament to the dynamic and interconnected nature of intellectual progress. From the formal structures of mathematics to the revolutionary changes in art and philosophy, these concepts demonstrate how human thought and creativity continue to evolve, challenging existing paradigms and forging new paths of understanding and expression. (shrink)

“Else-where” is a synoptic survey of the representational values given to art, architecture, and cultural production from 2002 through 2011. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the real Real . While architecture nominally addresses an environmental ethos, it also famously negotiates its own representational values by way of its putative autonomy ; its main repression (...) in this regard is “landscape,” figure of the Other and figure of the Real. Engaging forms of spectrality, and not necessarily speculative intelligence per se, architecture is also “conscious” of its own complicity in capitalist orders, a complicity that in part underwrites its avant-garde forms of agitation since the onset of modern architecture. As a result, and over the course of the twentieth century, architectural vanguards have successively been depleted such that they return only as reified half-measures in the late-modern production of difference. As such, the essay “Actually Existing Ground” examines the failed promise of Landscape Urbanism. Since the 1960s, as with the allied arts, architecture has evacuated many of the utopian gestures given to modernism and embraced a form of ultra-contingency in a direct alliance with the post-modern and post-Marxist concession to markets and to cultural production as principal means of establishing formal hegemony. This recourse or surrender to the economic-determinist ethos of post-modernity, regardless of attempts to problematize it and/or critique it through types of what Manfredo Tafuri has called “operative criticism” , has, arguably, all but failed, and with the suggestive return circa 2011 of new forms of resistance an exit from the accommodating spirit of the times is indicative of the expectation of strenuous, yet highly formal and non-discursive operations within artistic and architectural production. The essays collected in “Else-where” cross various disciplines, inclusive of landscape architecture, architecture, and visual art, to develop a nuanced critique of an emergent formal regard in the arts that is also an invocation of the highest coordinates given to the arts – formal ontology as speculative intelligence itself – or the return of the universal as utopian thought “here-and-now.”. (shrink)

Ambient assisted living technologies are increasingly presented and sold as essential smart additions to daily life and home environments that will radically transform the healthcare and wellness markets of the future. An ethical approach and a thorough understanding of all ethics in surveillance/monitoring architectures are therefore pressing. AAL poses many ethical challenges raising questions that will affect immediate acceptance and long-term usage. Furthermore, ethical issues emerge from social inequalities and their potential exacerbation by AAL, accentuating the existing access gap between (...) high-income countries and low and middle-income countries. Legal aspects mainly refer to the adherence to existing legal frameworks and cover issues related to product safety, data protection, cybersecurity, intellectual property, and access to data by public, private, and government bodies. Successful privacy-friendly AAL applications are needed, as the pressure to bring Internet of Things devices and ones equipped with artificial intelligence quickly to market cannot overlook the fact that the environments in which AAL will operate are mostly private. The social issues focus on the impact of AAL technologies before and after their adoption. Future AAL technologies need to consider all aspects of equality such as gender, race, age and social disadvantages and avoid increasing loneliness and isolation among, e.g. older and frail people. Finally, the current power asymmetries between the target and general populations should not be underestimated nor should the discrepant needs and motivations of the target group and those developing and deploying AAL systems. Whilst AAL technologies provide promising solutions for the health and social care challenges, they are not exempt from ethical, legal and social issues. A set of ELSI guidelines is needed to integrate these factors at the research and development stage. (shrink)

Does trust play a significant role in the appreciation of art? If so, how does it operate? We argue that it does, and that the mechanics of trust operate both at a general and a particular level. After outlining the general notion of ‘art-trust’—the notion sketched is consistent with most notions of trust on the market—and considering certain objections to the model proposed, we consider specific examples to show in some detail that the experience of works of art, and (...) the attribution of art-relevant properties or characterisations to works of art, very often involves the notion of trust; in such cases—perhaps most or even, implicitly, all—the question ‘Do I trust the artist (or art-maker)?’, is inescapable. (shrink)

A work of Vietnamese art crossed the million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity for Vietnamese art amidst many problems. Even though the media in Vietnam has discussed the problems enthusiastically, there is a lack of literature from Vietnamese academics on the subject, especially from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art market through the lens of (...) art frauds. Thirty-five cases of fraudulent paintings were found on the news and in stories told by art connoisseurs. The qualitative analysis of the cases has shown that the economic value of Vietnamese paintings remains high despite the controversial claims about their authenticity. Here, the Vietnamese authority seems indifferent to the problem of art frauds, which make the artists more powerless. While the involvement of foreign actors in the trading of Vietnamese art does not reduce the intensity of the problem, it seems to continue to drive the price higher. The results have implications on the system of art in Vietnam, the current state of art theft in Vietnam, and the perception of Vietnamese people on art. (shrink)

The article describes the story of painting Nana (1881) by Marcel Suchorowsky known as the most expensive painting sold by a painter in the Russian Empire. But the art piece differs a lot from the general line of the local art market situation, which was defined by special institutions, such as the Imperial Academy of Arts in Saint Petersburg. The main aspects are taken into consideration, such as: critical analysis of the painting, the story of the plot, which refers (...) to Émile Zola’s novel Nana, the painter’s individual and innovative exposition strategy, etc. The history of Nana and its special exhibitions in Europe and the USA through the period of 1981–2012 are described. Reports in the USA periodics serve as a special source of analysis, as long as they allow tracing Nana’s movements and public interest. It was exhibited in the “panorama” style using special lightning and additional objects to imitate the three-dimension space and thus became a popular entertainment. Painting Nana is a very interesting cultural phenomenon as long as it obtained notorious glory due to its provocative plot and an excellent academic technique. It is not only the surprising price, but public reaction that is the most important. (shrink)

Detailed review of the 2018 film. This article is concerned to define contemporary art such that the machinations of the current art market - as portrayed in the film - make sense. The central idea is that the best of contemporary art is narrative rather than merely aesthetic; and a failure to understand this leads to the confusion that currently characterizes judgements about modern artworks.

In Art Incorporated, you seek to debunk the myth of the artworld as autonomous of the market forces of global capitalism. Instead, you argue, works of art have become yet another commodity. However, one could say that works of art have always been commodities as well as objects of aesthetic appreciation. What makes the problem pertinent now, in the age of artists like Takashi Murakami, Jeff Koons and Damien Hirst?

Critical theory has long resisted the notion that an “invisible hand” can operate within the real social dynamics of a free market. But despite the most radical desires of the socially critical imagination, the optimization of that “spontaneous order” or depersonalized way of ordering things known as “the economy” has become the dominant playing field and decisive electoral issue of modern politics. Within this broad contemporary context, Michel Foucault made a strange theoretical intervention that, to this day, continues to (...) baffle readers. During a lecture, he argued that Adam Smith’s invisible hand was, after all, truly and purposively, that is, for technical rather than ideological reasons, “invisible.” This article argues that there is a counter-positivism or tactical irony contained within the logic of such a controversial thesis; namely, that when one acknowledges that the principle of economic competition encourages an efficient self-organizing effect at all times, regardless of context, one is also immediately in a position to appreciate why the art of government should always maintain its political primacy over the spontaneous order of the market. (shrink)

The global ecological crisis is the greatest challenge humanity has ever had to confront, and humanity is failing. The triumph of the neo-liberal agenda, together with a debauched ‘scientism’, has reduced nature and people to nothing but raw materials, instruments and consumers to be efficiently managed in a global market dominated by corporate managers, media moguls and technocrats. The arts and the humanities have been devalued, genuine science has been crippled, and the quest for autonomy and democracy undermined. The (...) resultant trajectory towards global ecological destruction appears inexorable, and neither governments nor environmental movements have significantly altered this, or indeed, seem able to. The Philosophical Foundations of Ecological Civilization is a wide-ranging and scholarly analysis of this failure. This book reframes the dynamics of the debate beyond the discourses of economics, politics and techno-science. Reviving natural philosophy to align science with the humanities, it offers the categories required to reform our modes of existence and our institutions so that we augment, rather than undermine, the life of the ecosystems of which we are part. From this philosophical foundation, the author puts forth a manifesto for transforming our culture into one which could provide an effective global environmental movement and provide the foundations for a global ecological civilization. (shrink)

In philosophy of mind, zombies are imaginary creatures that are exact physical duplicates of conscious subjects but for whom there is no first-personal experience. Zombies are meant to show that physicalism—the theory that the universe is made up entirely out of physical components—is false. In this paper, I apply the zombie thought experiment to the realm of morality to assess whether moral agency is something independent from sentience. Algorithms, I argue, are a kind of functional moral zombie, such that thinking (...) about the latter can help us better understand and regulate the former. I contend that the main reason why algorithms can be neither autonomous nor accountable is that they lack sentience. Moral zombies and algorithms are incoherent as moral agents because they lack the necessary moral understanding to be morally responsible. To understand what it means to inflict pain on someone, it is necessary to have experiential knowledge of pain. At most, for an algorithm that feels nothing, ‘values’ will be items on a list, possibly prioritised in a certain way according to a number that represents weightiness. But entities that do not feel cannot value, and beings that do not value cannot act for moral reasons. (shrink)

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

Inspired by the text entitled The Collapse of the Fact/Value Dichotomy and Other Essays (2004) of Hilary Putnam, the volume focuses on the theory and practice of knowledge, but one can legitimately extend it to other fields, most especially in aesthetics. Certain observable features in the fields of aesthetics, practice and artistic creation show that old evaluation criteria may now be obsolete. This is because upon further consideration, the definition of value remains opaque : should the artwork be judged according (...) to its moral value, its market value, or its formal value ? To side with or against the concept of value in art and aesthetics does not preclude a certain number of differences concerning the very nature of what is meant by value. If traditionally the ‘fact’ was the work, taken in all its tangibility, currently the materiality of the object no longer seems to play such a major role. Art is increasingly populated by so-called ‘immaterial’ or ‘ephemeral’ works and is therefore rarely, or badly, quantifiable according to old aesthetic and economic evaluation criteria. The progressively pragmatic contextualization of works within the social space puts forward a new definition of aesthetic value, no longer eternal and ideal, but rather anchored in the sensible and the politico-economic issues of a culturally specific situation. The current changes too support the idea that the question of ‘value’ and its confrontation with the concept of ‘fact’ is urgent. What role do artistic practices and aesthetic theories play ? A role of emancipation, of liberation, escape, or transformation ? Or on the contrary, could art become another means to subject individuals to the status quo ? As can easily be noticed, the question of maintaining or rejecting the dichotomy of facts and values is at the heart of the most pressing issues. (shrink)

Citation:Christodoulou, Marina. “Technopolis as the Technologised Kingdom of God. Fun as Technology, Technology as Religion in the 21st Century. God sive Fun.” Cahiers d'études germaniques N° 74, 2018. La religion au XXIe siècle - Perpectives et enjeux de la discussion autour d'une société post-séculière. Études reunites par Sébastian Hüsch et Max Marcuzzi, 119-132. -/- -------- -/- Neil Postman starts his book Technopoly: The Surrender of Culture to Technology (1993)1 with a quote from Paul Goodman’s New Reformation: “Whether or not it (...) draws on new scientific research, technology is a branch of moral philosophy, not of science.” (Postman 1993: motto; Goodman 2010: 40). I would extend Postman’s Technopoly to Technopolis, to give it more of a presence in time and space. Hence, I will use the term Technopoly when I am referring to Postman; the term Technopolis is my own. -/- In his book From Faith to Fun: The Secularisation of Humour, Russel Heddendorf argues that humour is a technology (Heddendorf 2009: 32-34), as it is understood and theorized by Neil Postman in Technopoly. Russel Heddendorf also argues that “Technopoly” is a term correlated with Wittgenstein’s use of the term “worldview” (Weltanschauung) (Heddendorf 2009: 11). -/- I would like to draw on these thoughts to propose that Technopoly (or Technopolis) could be the secularized Kingdom of God, namely that Technology is the Religion of the 21st century, and that Fun is a paradigm of such a Technology / Technique. God is yet another technique or Technology of and in Technopoly. -/- The godless individual in the 21st century, I will argue, is as much a believer as the faithful in the Sacred Religion (term used in opposition to Secular or rather Technological or Technologized Religion, which is Fun). He believes in Fun (as a post-modern form of pleasure), as much as the believer believes, or more accurately, believed in God. In the 21st century, the faithful in Sacred Religion believes in a fun God, as opposed to the serious God of the past. Fun is turning into the Technologized Religion for all; for the faithful in Godly / Sacred Religion, as well for as the unfaithful. Fun (pleasure, humour) is the definitive qualia of 21st century pleasure. The mechanics of Fun make it absolutely functional for controlling people; as Aldous Huxley wrote in Brave New World, people “are controlled by inflicting pleasure” (cited in Heddendorf 2009: 158). Now, indulging in pleasure is having Fun. In the 21st century, nobody is unfaithful, nobody disputes God, because God has been manufactured into Fun. We are living in the most religious century of all. -/- The commodity of God, now inextricably blended into work and leisure ethics and culture, is as unavoidable as survival. You don’t work, you don’t survive, you don’t exist. You work, you are entitled to leisure, or free time – the time (“busy-time”) when you are busy is work. The free time of leisure (“fun-time”) is a time for fun (pleasure). The time dedicated to Fun is culturally (capitalistically) pre-defined; no moment is actually free, each moment that is sold as free is to be bought with Work Time tokens –which is money. Believe is Enjoy. Happiness, achieved through pleasure, and pleasure through Fun, and Life as Play, is the recipe for Teleology in the 21st century. -/- The Technological God (Fun), as the Sacred God before him, is sovereignty’s technique or a social “mode of release”: demonstrations, marches, petitions, freedom of speech, citizen and human rights vindications, are “modes of release”, so that the next day, feeling relieved and released that you are working for a better life and a better world, you can wake up cheerfully to walk to your workplace, feeling it will change because of your marching, or your petition, or your speech, or the mass you attended, or the prayer you said yesterday. Thus life continues unchanging, through postponing hope; the tension of the tragedy is always released (lysis) in catharsis: refreshment for the next day of work. Art, especially cinema, (namely, simulated life) follows the same cathartic principles as real life. Thus, you can keep coping, and hoping in the meantime is of much help. Religion, Art, Science, Therapy, and Technology are all technologies used to market life, sell it or lend it, and humans are buying it back. Fun is free to produce, and expensive to buy. (shrink)

This special issue introduces the study of financial technologies and finance to the field of philosophy of technology, bringing together two different fields that have not traditionally been in dialogue. The included articles are: Digital Art as ‘Monetised Graphics’: Enforcing Intellectual Property on the Blockchain, by Martin Zeilinger; Fundamentals of Algorithmic Markets: Liquidity, Contingency, and the Incomputability of Exchange, by Laura Lotti; ‘Crises of Modernity’ Discourses and the Rise of Financial Technologies in a Contested Mechanized World, by Marinus Ossewaarde; Two (...) Technical Images: Blockchain and High-Frequency Trading, by Diego Viana; and The Blockchain as a Narrative Technology: Investigating the Social Ontology and Normative Configurations of Cryptocurrencies, by Wessel Reijers and Mark Coeckelbergh. (shrink)

My essay aims to demonstrate that Neoliberalism exercises its art of government on forms of life turning their potentiality into adaptability. According with one of most influential reference thinker of Neoliberalism, Friedrich von Hayek, the spontaneous order of the market requests the constant adaptation of individuals to circumstances of which no one can be aware and can master. However, such adaptability – that could come from a certain negative philosophical anthropology – is the reverse side of the same potentiality (...) theorized by authors of Italian Thought like Agamben, Esposito and exponents of Post-Operaism. The paper aims to focus the condition for which such conversion of potentiality into adaptability is prevented. (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)

A -/- abortion and infanticide/ academic freedom/ academics/ action/ act-omission doctrine/ addiction and dependence/ adoption/ advertising/ affirmative action/ age of consent/ age of criminal responsibility/ age of majority/ agent/ aggression/ agriculture/ aid, foreign/ AIDS/ air/ akrasia/ allies/ altruism/ American Civil War (1861-1865)/ American exceptionalism/ American War of Independence (1775–1783)/ anarchic social order/ anarcho-capitalism/ anarchy/ animal rights/ animal welfare/ apartheid/ apathy/ appeasement/ apriorism/ aristocracy/ arms trade/ arms race/ artificial intelligence/ arts and sciences/ assassination/ asset stripping/ asylum seekers/ atomism, social/ Austrian School (...) of economics/ authoritarianism/ authority/ autonomy, intellectual/ axis/ -/- B -/- balance of trade/ balance of power (international)/ banking/ bankruptcy, insolvency, and limited liability/ barriers to entry/ begging/ belief/ betting/ big business/ bigotry/ biodiversity/ bioethics/ black market/ blackmail/ blasphemy/ booms and slumps/ borders, political/ boxing and dangerous sports/ boycott/ bribery/ British Broadcasting Corporation (BBC)/ BSE (Bovine Spongiform Encephalopathy)/ bureaucracy/ business cycles/ . (shrink)

The notion of computation has changed the world more than any previous expressions of knowledge. However, as know-how in its particular algorithmic embodiment, computation is closed to meaning. Therefore, computer-based data processing can only mimic life’s creative aspects, without being creative itself. AI’s current record of accomplishments shows that it automates tasks associated with intelligence, without being intelligent itself. Mistaking the abstract for the concrete has led to the religion of “everything is an output of computation”—even the humankind that conceived (...) the computer. The hypostatized role of computers explains the increased dependence on them. The convergence machine called deep learning is only the most recent form through which the deterministic theology of the machine claims more than what it actually is: extremely effective data processing. A proper understanding of complexity, as well as the need to distinguish between the reactive nature of the artificial and the anticipatory nature of the living are suggested as practical responses to the challenges posed by machine theology. (shrink)

Semiotics has been making progressively inroads into marketing research over the past thirty years. Despite the amply demonstrated conceptual appeal and empirical pertinence of semiotic perspectives in various marketing research streams, spanning consumer research, brand communications, branding and consumer cultural studies, there has been a marked deficit in terms of consolidating semiotic brand-related research under a coherent disciplinary umbrella with identifiable boundaries and research agenda. -/- The Handbook of Brand Semiotics furnishes a compass for the perplexed, a set of anchors (...) for the inquisitive and a solid corpus for scholars, while highlighting the conceptual richness and methodological diversity of semiotic perspectives. -/- Written by a team of expert scholars in various semiotics and branding related fields, such as John A. Bateman, David Machin, Xavier Ruiz Collantes, Kay L. O’Halloran, Dario Mangano, George Rossolatos, Merce Oliva, Per Ledin, Gianfranco Marrone, Francesco Mangiapane, Jennie Mazur, Carlos Scolari, Ilaria Ventura, and edited by George Rossolatos, Chief Editor of the International Journal of Marketing Semiotics, the Handbook is intended as a point of reference for researchers who wish to enter the ‘House of Brand Semiotics’ and explore its marvels. -/- The Handbook of Brand Semiotics, actively geared towards an inter-disciplinary dialogue between perspectives from marketing and semiotics, features the state-of-the-art, but also offers directions for future research in key streams, such as: -/- · Analyzing and designing brand language across media · Brand image, brand symbols, brand icons vs. iconicity · The contribution of semiotics to transmedia storytelling · Narrativity and rhetorical approaches to branding · Semiotic roadmap for designing brand identity · Semiotic roadmap for designing logos and packaging · Sociosemiotic accounts of building brand identity online · Multimodality and Multimodal critical discourse analysis · Challenging the omnipotence of cognitivism in brand- related research · Semiotics and (inter)cultural branding · Brand equity semiotics Comparative readings of structuralist, Peircean and sociosemiotic approaches to brandcomms . (shrink)

There is a history of thinking that photographs provide a special kind of access to the objects depicted in them, beyond the access that would be provided by a painting or drawing. What is included in the photograph does not depend on the photographer’s beliefs about what is in front of the camera. This feature leads Kendall Walton to argue that photographs literally allow us to see the objects which appear in them. Current generative algorithms produce images in response to (...) users’ text prompts. Depending on the parameters, the output can resemble specific people or things which are named in the prompt. This resemblance does not depend on the user’s beliefs, so generated images are in this sense like photographs. Given this parallel, how should we think about AI-generated images? (shrink)

E-waste, also known as waste from electrical and electronic equipment, is a solid waste that accumulates quickly due to high demand driven by the market for replacing newer electrical and electronic products. The global e-waste generation is estimated to be between 53.6 million tons, and it is increasing by 3–5% per year. Metals make-up approximately 30% of e-waste, which contains precious elements Au, Ag, Cu, Pt, and other high-value elements, valued at USD 57 billion, which is driving the e-waste (...) recycling industry. It is noteworthy that the recycling of precious elements from e-waste has emerged as a profitable enterprise in several parts of developing nations. E-waste contains 50–100 times higher levels of precious metals compared to natural ores, making it suitable for mining. E-waste recycling in developing nations, mostly occurs through the informal sector comprising manual collection, crushing, segregation and selling of precious elements, such as Au, Ag, Cu, Pb, Pt, and other rare elements (Nd, In, and Ga). The organized sector, on the other hand, mostly employs mechano-chemical methods, such as pyrometallurgy, hydrometallurgy, and bio-hydrometallurgy, which have serious environmental consequences. Both the informal and formal sectors of e-waste processing lead to the leaching of toxic elements into groundwater and soils. Owing to the lesser efficiency of greener technologies, such as phytoremediation and bioremediation, their use in precious metal extraction is very limited. However, this review explores several hyper-accumulating and tolerant plants viz. Brassica juncea and Berkheya coddii, which holds great potential in phytomining of precious metal from e-waste. Thus, the state of the art in precious metal extraction from e-waste as well as the advantages and disadvantages of different metal extraction technologies has been reviewed. (shrink)

Critics of commercial societies complain that the free-market system of property rights and freedom of contract tends to commodify relationships and erode the bonds of personal and civic friendship. I argue that this thesis rests on a misunderstanding of both markets and friendship. As voluntary, reciprocal relationships, market relationships and friendship share important properties. So-called market norms, such as instrumentality and fungibility, come in varying degrees and characterize not only market, but also non-market, relationships, including (...) friendship. Further, although market relationships are primarily instrumental, the individuals involved are not. Both the virtues of markets and their vices have their counterparts in friendship. Like all relations and activities that exercise important human capacities and play an important role in a meaningful life, market relations and activities are essentially structured and supported by ethical norms and, in turn, support these norms. For these and other reasons, market societies are not only not inimical to friendship, they create a more secure matrix for civic and personal friendship, as well as for other important values like art, science, or philosophy, than any other developed form of society. (shrink)

The article reflects on where AI is headed and the world along with it, considering trust, ethics and safety. Implicit in artificial thinking and doomsday appraisals is the engineered divorce from reality of sublime human embodiment. Jeffrey White, Dietrich Brandt, Jan Soeffner, and Larry Stapleton, four scholars associated with AI & Society, address these issues, and more, in the following exchange.

This paper proposes that existing computational modeling research programs may be combined into platforms for the information of public policy. The main idea is that computational models at select levels of organization may be integrated in natural terms describing biological cognition, thereby normalizing a platform for predictive simulations able to account for both human and environmental costs associated with different action plans and institutional arrangements over short and long time spans while minimizing computational requirements. Building from established research programs, the (...) proposal aims to take advantage of current momentum in the direction of the integration of the cognitive with social and natural sciences, reduce start-up costs and increase speed of development. These are all important upshots given rising unease over the potential for AI and related technologies to shape the world going forward. (shrink)

One of the moral questions concerning autonomous vehicles (henceforth AVs) is the choice between types that differ in their built-in algorithms for dealing with rare situations of unavoidable lethal collision. It does not appear to be possible to avoid questions about how these algorithms should be designed. We present the results of our study of moral preferences (N = 2769) with respect to three types of AVs: (1) selfish, which protects the lives of passenger(s) over any number of bystanders; (2) (...) altruistic, which minimizes the number of casualties, even if this leads to death of passenger(s); and (3) conservative, which abstains from interfering in such situations. We differentiate between scenarios in which participants are to make their decisions privately or publicly, and for themselves or for their offspring. We aim to answer two research questions: (1) whether the public visibility of the choice of an AV type choice make this choice more altruistic and (2) which type of situation makes it more difficult to choose altruistically: when choosing for society as a whole, when choosing only for oneself, or when choosing only for one’s offspring. Our results show that respondents exhibit a preference for an altruistic strategy for AVs and that it is reinforced when signaled to others. The altruistic preference is strongest when applies to everybody else, weaker when it reflects a solely personal choice, and weakest when choosing for one’s own child. We conclude that a public choice is considerably more likely to pressure consumers into accepting a more socially beneficial solution. (shrink)

O PRINCÍPIO DE RECIPROCIDADE: CONCEITO, EXEMPLOS, PRINCÍPIOS E COMO EVITÁ-LO -/- THE RECIPROCITY PRINCIPLE: CONCEPT, EXAMPLES, PRINCIPLES AND HOW TO AVOID IT -/- Emanuel Isaque Cordeiro da Silva - CAP-UFPE/IFPE-BJ/UFRPE. [email protected] ou [email protected] WhatsApp: (82)98143-8399 -/- PREMISSA -/- Desde a infância, somos ensinados a sermos gratos e devolver os favores que eles nos fizeram. Nós temos essa regra tão internalizada que funciona em muitos casos automaticamente. O problema é que existem pessoas, empresas e associações que usam essa regra contra nós, (...) sem que percebamos. -/- Os princípios da reciprocidade nos dizem que isso deve sempre partir da autenticidade, da espontaneidade e da bondade humana. É um "você me dá eu te dou" porque eu quero e me desculpe, nada me obriga, mas vou corresponder por sua vez a tudo que você faz por mim. -/- Um dos princípios da reciprocidade sugere que as pessoas têm um sexto sentido. Um onde ser capaz de discriminar o altruísmo do egoísmo, e especialmente, aqueles que fazem coisas por nós por mero interesse, e não por afeição ou respeito. Porque a autêntica reciprocidade , lembre-se, deve sempre partir da bondade e da espontaneidade. -/- Este é um tópico tão interessante quanto complexo. Sabemos, por exemplo, que o campo da espiritualidade sempre esteve ligado a essa dimensão que se destaca, a mais nobre do ser humano. -/- 1. Conceituação do Princípio da Reciprocidade -/- O princípio da reciprocidade é um dos princípios de influência que nos obrigam a retribuir os favores que nos foram feitos, mesmo nos casos em que não os solicitamos. -/- O princípio da reciprocidade é um dos 6 princípios de influência enunciados por Robert Cialdini em seu livro Influence: Science and practice (1984). -/- Uma das normas básicas da sociedade humana é baseada na correspondência de favores. Nós todos sabemos o ditado: -/- “É de bem-nascido, ser agradecido” - Anônimo. -/- De fato, ter a reputação de ingrato ou "gorrón" é um dos piores estigmas que podem ocorrer em uma sociedade. Poderíamos dizer que o princípio da reciprocidade ajuda a tornar a sociedade mais “justa”. -/- O problema surge quando alguns indivíduos ou grupos se aproveitam do princípio da reciprocidade para submeter a vontade de outra pessoa sem que sua decisão os beneficie. -/- 1.1 Conceituação quanto ao Estado -/- Este princípio implica que os estados vão assumir direitos e deveres com base no tratamento recíproco. Não é apenas um reconhecimento formal, mas exige que seja seguido por um comportamento e que, com base nesse comportamento, os direitos de outro Estado sejam reconhecidos por reciprocidade. -/- Este princípio foi elaborado pela doutrina do século XVII, através do gentium comitas, para responder às limitações que o reconhecimento do princípio da territorialidade impunha ao incipiente e intenso tráfego internacional. -/- A concepção territorial do exercício dos poderes soberanos implica que os Estados poderão exercer com exclusividade esses poderes, de modo que o princípio da reciprocidade proporcionará aos Estados a possibilidade de realizar seus direitos no território de outro Estado com base em um comportamento recíproco. Esse tratamento recíproco pode ou não ter sua origem convencional, embora cada vez mais ele seja incorporado a certos tipos de tratados internacionais, como, por exemplo, os que se referem à extradição; aqueles cujo propósito é o reconhecimento de benefícios fiscais aos nacionais de seus respectivos Estados no território de outro Estado Parte; aqueles que reconhecem os direitos dos nacionais de outro Estado Parte, bem como aqueles que reconhecem seus próprios nacionais, quando dizem que os estrangeiros estão em seu território; ou, por exemplo, aqueles que reconhecem decisões judiciais tomadas por órgãos jurisdicionais de outro Estado. -/- Quando não há obrigação convencional de seguir um determinado comportamento de um Estado em relação a outro Estado, esse princípio adquire maior importância, se possível, em questões de cooperação internacional. Em qualquer caso, a aplicação deste princípio nunca deve implicar uma descompensação de esforços entre os Estados envolvidos, de modo que um dos Estados obtém um benefício claramente em detrimento do outro. O tratamento recíproco também deve implicar tratamento recíproco justo. -/- 2. Exemplos do Princípio da Reciprocidade -/- O método de obtenção de esmolas do Hare Krishna é um dos melhores exemplos de como o princípio da reciprocidade influencia nossas decisões. Em vez de simplesmente pedir doações para financiar sua causa aos transeuntes, eles criaram um sistema muito mais eficaz. O que eles estavam fazendo era dar uma flor para cada pessoa e se recusar a devolvê-la. Depois de receberem o "presente", eles foram solicitados a fazer uma doação para sua organização. Desta forma, as receitas da organização aumentaram. -/- O princípio de reciprocidade é também eficaz através de uma concessão, tal como realizar a menos do que um pedido inicial . Em outras palavras, outra pessoa é mais propensa a aceitar seu pedido se você fizer um pedido muito maior do que a petição, porque o princípio da reciprocidade fará com que ele se sinta "endividado" com você, mesmo que você não tenha feito nenhum favor a ele. -/- Vale salientar, também, que a reciprocidade é um termo muito estudado e analisado por disciplinas como marketing e publicidade . -/- Um exemplo: nas empresas, como as empresas de telefonia, é comum criar programas de fidelidade. De acordo com essa abordagem, o que a marca procura é criar uma aliança emocional com seu cliente e, para isso, recorre a oferecer-lhe certos presentes ou benefícios . Às vezes, eles podem ser megabytes gratuitos e outras vezes você pode renovar um celular sem nenhum custo. -/- A ideia de que eles estão recebendo um "presente apenas porque sim" sempre cria uma marca positiva na pessoa. Um onde o relacionamento de lealdade acaba aparecendo, favorecendo a disposição do cliente em continuar com aquele operador específico e não com outro. Portanto, embora seja impressionante, a reciprocidade permeia grande parte de nossos cenários sociais . -/- Agora, onde realmente queremos entender a anatomia da reciprocidade está no campo das relações humanas. Portanto, vamos analisar suas principais características. -/- 3. Os Princípios do Princípio da Reciprocidade -/- Um dos maiores especialistas nos princípios da reciprocidade é Robert Cialdini. Em seu livro Influence: Science and practice ele detalha quais são as chaves para a sociedade humana, aquelas que de certa forma nos enobrecem e destacam o melhor de nós mesmos. -/- O capítulo mais interessante é, sem dúvida, aquele dedicado à reciprocidade, onde nos lembramos de algo importante: sempre haverá aqueles que fazem uso dessa dimensão para nos manipular. Ou seja, que uma pessoa ou uma entidade (por exemplo, uma empresa de telefonia móvel) têm concessões conosco não significa que está tendo esse gesto altruísta apenas porque é. Às vezes, há um interesse camuflado . Portanto, é importante que compreendamos os princípios da autêntica reciprocidade, aquilo que parte da bondade e da consideração. -/- “Ingrato é aquele que nega o benefício recebido; ingrato é aquele que o esconde, o mais ingrato é aquele que não o devolve, e muito mais ingrato que esquece”. - Lucio Anneo Seneca- -/- 3.1 Atos Espontâneos com Intencionalidade -/- O Código de Hamurabi, aquele conjunto de leis babilônicas da antiga Mesopotâmia, também continha certos princípios de moralidade, onde se entendia que, se alguém nos fizesse um favor, deveria ser devolvido. De alguma forma, poderíamos traduzir essa definição como a mais antiga que temos até agora sobre o que é a reciprocidade. -/- No entanto, deve-se notar que este termo vai muito além do simples escambo de "eu te dou porque você me deu". Na verdade, integra os seguintes conceitos: -/- ➢ Espontaneidade: Quando alguém (conhecido ou desconhecido) escolhe fazer alguma coisa por nós, eles o fazem voluntariamente e espontaneamente. É uma ação nascida da bondade . -/- ➢ Intencionalidade: Essa ação espontânea sempre tem um fim, e esse objetivo sempre gera um benefício real para a outra pessoa configurar um dos mais importantes princípios de reciprocidade. -/- 3.2 O Poder da Impressão Emocional: devolvemos o favor porque nos sentimos gratos e inspirados -/- Apontamos no início que, em média, as pessoas têm um sexto sentido com o qual intuir quem faz algo por nós de maneira interessada ou altruísta . Esta bússola moral é o que ativa o princípio da reciprocidade em muitos casos. -/- Por exemplo, imagine que hoje em dia nossas complicações surgem e não temos escolha a não ser ficar mais uma hora. De repente, um parceiro com quem nunca falamos, escolhe nos ajudar nessa situação . Ele fica conosco e graças a ele resolvemos o problema. -/- Esse ato deixa uma marca emocional em nós. Sabemos que essa ação foi voluntária e nobre. Portanto, o segundo dos princípios da reciprocidade nos diz que quanto mais profunda é essa marca emocional, mais motivados nos sentimos para retribuir o favor. E faremos isso do coração e sem qualquer obrigação. -/- 3.3 Princípios de Reciprocidade: não medir o que você recebe para ajustar o que você oferece -/- Outro dos princípios mais relevantes de reciprocidade é o seguinte: não meça o que eles lhe dão para calcular o que você deve oferecer . Admita, vivemos em um mundo onde, em média, olhamos com lupa o que eles nos oferecem para não ter que dar mais do que deveríamos. -/- Além disso, às vezes até caímos em estados de grande indignação quando vemos que os outros não se comportam conosco como fazemos com eles.Esperamos que os que nos rodeiam, pelo menos, sejam os mesmos que oferecemos. E se isso não acontecer, nós sofremos. -/- Essa abordagem é um grande erro e é uma enorme fonte de arrependimentos. Porque a reciprocidade não está sofrendo. Também não é medir com lupa ou pesar com equilíbrio tudo o que eles nos dão ou que damos para esperar o mesmo dos outros. Fazê-lo desbota todos os princípios da reciprocidade, pois nesse caso estaremos fazendo uso do egoísmo. Vamos pensar sobre isso. -/- 4. Como Evitar o Princípio da Reciprocidade -/- Para evitar tomar decisões erradas por causa do princípio da reciprocidade, o essencial é saber dizer não . Por exemplo, quando alguém lhe oferece algo que realmente não lhe interessa, é melhor que você se recuse, já que essa pessoa pode fingir obter algum tipo de favor sua no futuro, mesmo que seja inconsciente. Em outras palavras, devemos apenas aceitar favores que sejam úteis para nós e que sejam realizados de "boa fé". -/- No caso de nos fazerem um favor que não pedimos para influenciar nosso comportamento, devemos estar cientes de que, se nos pedem algo que não faríamos se não fosse pelo favor anterior, devemos nos recusar a fazê-lo. Ou seja, devemos agir como se não tivessem nos feito nenhum favor , uma vez que tem sido apenas um truque para influenciar nossas decisões futuras. -/- Estimule a criatividade. Respeite o direito autoral. -/- Recife - PE, 2019 Todos os direitos reservados para Emanuel Isaque. Qualquer reprodução sem a autorização do autor confere infração do Art. 184 do Código Penal e da Lei 9610/98, e estarão sujeitos à privação da liberdade. (shrink)

This essay investigates the tensions between traditional music and its modern codification as intellectual property. It will begin by considering the myths concerning the divine source of music. In traditional music and in folk music, music is closely connected to religious ritual. In these rituals the source of the music is recognized and attributed to certain deities. For instance, in Thai traditional music, the Wai Khru ceremony venerates the Duriyathep or devatas drawn from Indian mythology: Phra Visawakarm, Phra Panjasinghkorn, and (...) Phra Parakhonthap (Narot). Much of modern and contemporary music has long been disengaged from ritual and its traditional forms of transmission. Especially since the nineteenth century with the growth of popularity of music printing, it has been subject to copyright law. With these restrictions in transmission, the more fluid routes of transmission have become broken and the ritualistic and religious identifications have been transferred to the cult of performers, to legal codification, to the control of corporations, and the construction of new mythologies through marketing. This essay will use Walter Benjamin’s reflections on the loss of “aura” in the reproduced work of art to try to understand the consequences of this transition in the function of music. And it will consider the situation in Thailand where traditional music and mythology stands side by side with marketed music, and traditional performance stands side by side with commercial performance. It will demonstrate that these conflicts cannot be resolved. But it is precisely in the appreciation and preservation of these conflicts, that traditional culture can itself be recognized and preserved. (shrink)

Comment en arrive-t-on à proposer comme oeuvre d’art une relation sexuelle tarifée avec un collectionneur? En 2003, l’artiste en art conceptuel et performeuse américaine, Andrea Fraser, commettra l’impensable de « coucher » avec un collectionneur afin de critiquer le milieu et surtout le marché de l’art contemporain. L’article qui suit propose une analyse thématique de l’aspect sexuel et éthique de cette oeuvre intitulée Untitled. Il sera d’abord question des significations possibles de cette performance et ses questionnements artistiques plus autoréférentiels. Je (...) compte ensuite aborder plus précisément la position trouble de la subjectivité de l’artiste qui oscille entre une posture d’objet sexuel et d’artiste. De même, le texte fera état de la position novatrice que l’oeuvre présente sur les enjeux éthiques du travail du sexe en déconstruisant les arguments paternalistes généralement invoqués pour criminaliser le travail du sexe. Et finalement, j’aborderai la question de savoir comment la nature sexuelle de l’oeuvre vient désacraliser à la fois l’art et la sexualité, et par le fait même critiquer l’idée que la sexualité soit le siège de la subjectivité. En désacralisant ainsi la sexualité, je postule qu’Untitled offre la possibilité de concevoir le travail du sexe de manière plus neutre.How can a sexual act in exchange of money with an art collector be offered as a work of art? In 2003, performer and conceptual artist Andrea Fraser committed the unthinkable of sleeping with an art collector in order to critique the contemporary art milieu and market. The following article proposes a thematic analysis of sexual and ethical components of this work of art entitled Untitled. I will first discuss possible meanings of such a performance and its artistic considerations. I will then address more precisely the troubled position of the artist’s subjectivity, which vacillates between a sexual object and an artist. Moreover, the article will highlight the innovative position presented by this work of art on ethical issues regarding sex work by deconstructing paternalistic claims generally used to support the criminalization of sex work. Finally, I will discuss how the sexual nature of this work of art comes to desecrate art, along with sexuality, thereby criticizing the idea that sexuality is the main site of subjectivity. Through this desecration of sexuality, I argue that Untitled offers the possibility to apprehend sex work in a more neutral way. (shrink)

First, the book does not have an original thesis. The thesisthe author wants to argue is that Smith is different from his current caricature, a legacy of his nineteenth-century image, according to which he would argue that: i) man is a maximizer of utility; ii) man is ordinarily moved by a narrow selfish interest, or at least is indifferent to the interests of others; iii) human beings are social atoms; iv) a perfectly competitive market is morally a free zone (...) (pp. 4-5). The author recognizes that these interpretations "are being questioned by many scholars". contemporary", however, reiterates his conviction that these interpretations are still prevalent, and cites in this regard the abuse of the name of Smith by the Chicago school (p.6). If the author's aim is to challenge a caricature, still common among non-experts but no longer shared by Smith's scholars, one may wonder whether this justifies a new book. Secondly, the author does not demonstrate mastery of the state of the art. She wants to demonstrate the non-existence of Adam Smith Problem, not only without any direct knowledge of German literature but ignoring an important article by Heilbroner from 1981 and a fundamental essay by Dickey from 1986 that explicitly advocate an exhumation of the "Adam Smith problem" in a new form. Thirdly, the author lacks the ability to understand concepts and problems in contextual terms: where she mentions Adam Smith's 'Newtonianism' she does not prove to be familiar with the literature on the subject, citing Lindgren as the only authority and ignoring, among others, Moscovici, Skinner, Hetherington and Freudenthal, but also seems to understand by Newtonianism an equivalent of deterministic and materialistic mechanicism (pp. 48-51). Besides, every time she uses the term utilitarianism he confuses it with the terms hedonism, economicism, selfishness (p. 155). (shrink)

If complexity is a necessary but not sufficient premise for the existence and expression of the living, anticipation is the distinguishing characteristic of what is alive. Anticipation is at work even at levels of existence where we cannot refer to intelligence. The prospect of artificially generating aesthetic artifacts and ethical constructs of relevance to a world in which the natural and the artificial are coexistent cannot be subsumed as yet another product of scientific and technological advancement. Beyond the artificial, the (...) synthetic conjures the understanding of aesthetics and ethics no longer from the perspective of the How? type of question, but rather the Why? Given the current infatuation with synthetic biology (i.e., making life from non-life), there is a practical consequence to such considerations. Synthetic life, as any other form of life, implies the possibility of evolution. Anticipation, which is the underlying factor of evolution, is thus expected. At the level of human existence, anticipation is expressed, for instance (but not exclusively), in aesthetic forms and ethical values. This translates, in turn, into an argument for the role aesthetics and ethics play in the process. Consequently, to qualify as life, the synthesis of the physical and the living will have to efficiently handle ambiguity. Current computational facilities, regardless of their nature or performance, operate exclusively in the semiotic domain of the well defined non-ambiguous. (shrink)

Ethical debates about assisted dying typically assume that only medical professionals should be able to provide patients with assisted dying. This assumption partially rests on the unstated principle that assisted dying providers may not be motivated by pecuniary considerations. Here I outline and defend a mixed provider model of assisted dying provision that contests this principle. Under this model, medically competent non-physician professionals could receive fees for providing assisted dying under the same terms and conditions as physicians can in those (...) juris- dictions where medically assisted dying is lawful. The mixed provider model blunts objections to assisted dying rooted in supposed clashes with medical values. In addition to generating a market likely to expand access to assisted dying, the mixed provider model would not create markets that are unjust because they are “noxious” in Satz’ sense or because they raise “semiotic” concerns about the value of human life. (shrink)

The Market Failures Approach (MFA) is one of the leading theories in contemporary business ethics. It generates a list of ethical obligations for the managers of private firms that states that they should not create or exploit market failures because doing so reduces the efficiency of the economy. Recently the MFA has been criticised by Abraham Singer on the basis that it unjustifiably does not assign private managers obligations based on egalitarian values. Singer proposes an extension to the (...) MFA, the Justice Failures Approach (JFA), in which managers have duties to alleviate political, social, and distributive inequalities in addition to having obligations to not exploit market failures. In this paper I describe the MFA and JFA and situate them relative to each other. I then highlight a threefold distinction between different types of obligations that can be given to private managers in order to argue that a hybrid theory of business ethics, which I call the MFA +, can be generated by arguing that managers have obligations based on efficiency and duties based on equality to the extent that these latter obligations do not lead to efficiency losses. This argument suggests a novel theoretical option in business ethics, elucidates the issues that are at stake between the MFA and the JFA, and clarifies the costs and benefits of each theory. (shrink)

Efficient markets are alienating if they inhibit us from recognizably caring about one another in our productive activities. I argue that efficient market behaviour is both exclusionary and fetishistic. As exclusionary, the efficient marketeer cannot manifest care alongside their market behaviour. As fetishistic, the efficient marketeer cannot manifest care in their market behaviour. The conjunction entails that efficient market behavior inhibits care. It doesn’t follow that efficient market behavior is vicious: individuals might justifiably commit to (...) efficiency because doing so serves the common good. But efficient market systems nevertheless have significant opportunity costs. The discussion yields a range of desiderata for non-alienated economic organization. (shrink)

In a market economy, human work is offered and sought in the labor market. It is valued because of the level of demand for it and the rarity of the required qualifications. At the same time, because of the different contexts and conditions, there are many labor markets that are defined as the professional labor markets, local labor markets, dual labor markets, and black and gray labor markets.

It is intuitively plausible that art and imagination are intimately connected. This chapter explores attempts to explain that connection. We focus on three areas in which art and imagination might be linked: production, ontology, and appreciation. We examine views which treat imagination as a fundamental human faculty, and aim for comprehensive accounts of art and artistic practice: for example, those of Kant and Collingwood. We also discuss philosophers who argue that a specific kind of imagining may explain some particular element (...) of the artistic domain: for example, Walton's ideas about representational art, and Kivy’s about reading. (shrink)

Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they (...) obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts. (shrink)

Since the launch of applications such as DALL-E, Midjourney, and Stable Diffusion, generative artificial intelligence has been controversial as a tool for creating artwork. While some have presented longtermist worries about these technologies as harbingers of fully automated futures to come, more pressing is the impact of generative AI on creative labour in the present. Already, business leaders have begun replacing human artistic labour with AI-generated images. In response, the artistic community has launched a protest movement, which argues that AI (...) image generation is a kind of theft. This paper analyzes, substantiates, and critiques these arguments, concluding that AI image generators involve an unethical kind of labour theft. If correct, many other AI applications also rely upon theft. (shrink)

Historically, republicans were of different minds about markets: some, such as Rousseau, reviled them, while others, like Adam Smith, praised them. The recent republican resurgence has revived this issue. Classical liberals such as Gerald Gaus contend that neo-republicanism is inherently hostile to markets, while neo-republicans like Richard Dagger and Philip Pettit reject this characterization—though with less enthusiasm than one might expect. I argue here that the right republican attitude toward competitive markets is celebratory rather than acquiescent and that republicanism demands (...) such markets for the same reason it requires the rule of law: because both are essential institutions for protecting individuals from arbitrary interference. I reveal how competition restrains—and in the limit, even eradicates—market power and thereby helps us realize “market freedom,” i.e., freedom as non-domination in the context of economic exchange. Finally, I show that such freedom necessitates “Anglo-Nordic” economic policies. (shrink)

Many proponents of the Harm Principle seem to implicitly assume that the principle is compatible with permitting the free exchange of goods and services, even if such exchanges generate so-called market harms. I argue that, as a result, proponents of the Harm Principle face a dilemma: either the Harm Principle’s domain cannot include a large number of non-market harm cases or market harms must be treated on par with non-market harms. I then go on to discuss (...) three alternative arguments defending the status of market harms as exceptions to the Harm Principle and discuss why these arguments also fail. (shrink)

A critical note on Christopher Bartel and Jack M. C. Kwong, ‘Pluralism, Eliminativism, and the Definition of Art’, Estetika 58 (2021): 100–113. Art pluralism is the view that there is no single, correct account of what art is. Instead, art is understood through a plurality of art concepts and with considerations that are different for particular arts. Although avowed pluralists have retained the word ‘art’ in their discussions, it is natural to ask whether the considerations that motivate pluralism should lead (...) us to abandon art talk altogether; that is, should pluralism lead to eliminativism? This paper addresses arguments both for and against this move. We ultimately argue that pluralism allows one to retain the word ‘art’, if one wants it, but only in a loose, conversational sense. The upshot of pluralism is that talk of art in general cannot be asked to do theoretical and philosophical work. (shrink)

There is a libertarian argument for live donor organ markets, according to which live donor organ markets would be permitted if we simply refrained from imposing any substantive and controversial moral assumptions on people who reasonably disagree about morality and justice. I argue that, to the contrary, this endorsement of live donor organ markets depends upon the libertarians’ adoption of a substantive and deeply controversial conception of strong, extensive property rights. This is shown by the fact that these rights would (...) prevent states intervening in cases of preventable and intuitively impermissible wronging of others that can arise when free individuals engage in voluntary offers and exchanges. I outline two forms of such wronging: discrimination and disrespectful demands. I argue that although these types of acts are morally impermissible, the policy question of whether and how they should be regulated by states is non-trivial. I then argue that there is good reason to think that organ markets would rely on disrespectful demands. This may help explain the widespread moral repugnance people feel toward organ trading. It also provides a prima facie, though not decisive, case for states to prohibit such markets. (shrink)

Philosophy & Public Affairs, Volume 50, Issue 2, Page 202-238, Spring 2022.

In previous works, I defined ourselves as informational organisms, or inforgs for short, who forage for, produce, cultivate, curate, process, and consume information (Floridi 2013). Yet, we may also be understood as interfaces, who inhabit and interact with, an environment also made up of data and computational processes. By describing ourselves in such terms, this paper argues that we can better understand several crucial phenomena that characterise our digital age, including marketing and the “marketisation” of political communication. The article concludes (...) by discussing some of the implications for this in political theory. -/- . (shrink)

Politics, Philosophy & Economics, Volume 21, Issue 2, Page 165-189, May 2022. It is generally acknowledged that a certain amount of state intervention in health and health care is needed to address the significant market failures in these sectors; however, it is also thought that the primary rationale for state involvement in health must lie elsewhere, for example in an egalitarian commitment to equalizing access to health care for all citizens. This paper argues that a complete theory of justice (...) in health can be derived from a commitment to correcting market failure, or in other words promoting Pareto-efficiency, in the domain of health. This approach can address familiar problems around access to care, as well as problems related to resource allocation and rationing, the control of health care costs, and the foundations of public health. Egalitarian theories of justice in health cannot make sense of the depth and pervasiveness of state involvement in health and health care; only a theory rooted in the need to correct market failure can. (shrink)