Augmented Reality combines the virtual and the real. It brings the virtual to the real and the real to the virtual. It is a technology that overlays computer-generated visuals, sensory input such as sound, and interactive atmosphere over the existing environment in real time. In Augmented Reality, real and virtual are simultaneously intertwined. That's why Augmented Reality has a greater impact on art than other virtual fields. Art in Augmented Reality has a counterpart in both the (...) virtual and real world. While the contents in the virtual world can be augmented with real contents, the contents in the real world can also be augmented with virtual contents. Therefore, art created with Augmented Reality can be called augmented art. (shrink)

The article investigates how the use of extended reality technologies and interactive digital interfaces have affected the design of exhibition spaces. Its main objective is to shed light on how these technologies have influenced the ways in which immersive art installations are conceived and experienced. Particular emphasis is placed on the impact of interactive technologies on how visitors experience exhibition spaces. The article examines an ensemble of immersive art cases, paying special attention to the distinction between immersion and interactivity. Two (...) concepts that are pivotal for understanding the transformations concerning the subjectivity of the exhibition visitor those of the “imagineer” and the “ultra-technologist”, which are analysed in the article. The intention is to render explicit how extended reality technologies have contributed to the design of immersive experiences, significantly influencing the interrelations between the technical, aesthetic and institutional aspects concerning exhibition design and the methods of dissemination of art. (shrink)

In “How Art Teaches: A Lesson from Goodman”, Markus Lammenranta inquires if and how artworks can convey propositional knowledge about the world. Lammenranta argues that the cognitive role of art can be explained by revising Nelson Goodman’s theory of symbols. According to Lammenranta, the problem of Goodman’s theory is that, despite providing an account of art’s symbolic function, it denies art the possibility of mediating propositional knowledge. Lammenranta claims that Goodman’s theory can be augmented by enlarging it with an (...) account of direct reference developed by Bertrand Russell and contemporary philosophy of language. On this basis, an expanded version of Goodman’s theory can explain how artworks can express propositions even without being linguistic, representational, or non-fictive. Lammenranta explicates his theory by explaining how abstract paintings and literary fictions can mediate propositional claims about the actual, everyday world. (shrink)

This paper offers an overview of the prospects and ethics of using AI to achieve human enhancement, and more broadly what we call intellectual augmentation (IA). After explaining the central notions of human enhancement, IA, and AI, we discuss the state of the art in terms of the main technologies for IA, with or without brain-computer interfaces. Given this picture, we discuss potential ethical problems, namely inadequate performance, safety, coercion and manipulation, privacy, cognitive liberty, authenticity, and fairness in more detail. (...) We conclude that while there are very significant technical hurdles to real human enhancement through AI, and significant ethical problems, there are also significant benefits that may realistically be achieved in ways that are consonant with a rights-based ethics as well. We also highlight the specific concerns that apply particularly to applications of AI for "sheer" IA (more realistic in the near term), and to enhancement applications, respectively. (shrink)

Man has built tools to extend his visual experience in order to explore reality beyond his sensory capacity, for example microscopes, telescopes, high shutter speed and infrared cameras. However he has yet to build a tool to fully explore visual realms beyond his ordinary cognitive faculties. With the development of computing, comes the possibility of building a tool to explore the virtual forms/spaces of images that are ordinarily inaccessible to the mind. This article identifies how cognition is ordinarily limited and (...) posits a way of going beyond those limits, by defining a computational model of how those virtual forms/spaces might be created. This definition is based on brief but repeated empirical experiences of ‘higher order’ manifestations. (shrink)

The primary intention of this book is to elucidate the relations between sensory perception and art as a form of knowledge. This enables us to understand how different kinds of art are given their meaning not only from observation, resemblance and reason but also from an artist’s sensitivity to the inner form of sensory experience as it is realized in perception, reflection, memory and imagination. By assuming a number of different points of view, Part 1 shows how the physical object (...) and the act of sensory perception are logically interdependent, and I give my elaboration of this argument two kinds of emphasis. In the first place, it opposes all arguments that support a merging of the mental and physical, as in idealism, materialism, neutral monism and panpsychism. A conceptual distinction is observed because sensory perception gives the physical object its identity. This idea also implies that the physical object is only realized by sentient life - self-aware inner life and a world become possible simultaneously. The second emphasis concerns the mind-body problem, and towards the end of Part 1 I offer an argument which places this problem in a certain light by representing the brain not as a physical counterpart to inner experience but as essentially instrumental to perception and self-awareness, and related experience. The argument in Part 2 is distinguished by a sense of continuity between the nature of sensory perception and the formal resources of artists in both physical and literary media. Hence, in a discussion of Titian’s Assumption of the Virgin, I indicate ways in which the painter conveys the inner experience and character of the figures in the painting by means of compositional design, light and colour, and thereby uses these and other sensuous resources to portray human life and experience. This is followed by a discussion of two sonnets by Shakespeare, in which the same general aim is pursued by using the literary resources of figurative language. Finally, a discussion of Hamlet shows how, in this work, the augmentation of figurative language by dramatic form strengthens the view that art can provide a form of knowledge that is based as completely upon intuition about our sensory experience as it is upon reason and observation. Just as my (true) perception of a cup as a vessel for drinking tea or coffee arises immediately from past experience, so the dramatist can see immediately from his or her past experience how a character might perceive things and behave. -/- . (shrink)

Richard Shusterman suggested that Maurice Merleau-Ponty neglected “‘lived somaesthetic reflection,’ that is, concrete but representational and reflective body consciousness.” While unsure about this assessment of Merleau-Ponty, lived somaesthetic reflection, or what the late Sam Mallin called “body phenomenology”—understood as a meditation on the body reflecting on both itself and the world—is my starting point. Another is John Dewey’s bodily theory of perception, augmented somewhat by Merleau-Ponty. -/- With these starting points, I spent roughly 20 hours with St. Benedict Restores (...) Life to a Young Monk (c. 1360), a work of tempera and gold leaf on panel, by Giovanni Del Biondo, active in Italy from 1356 to 1398, on display in the Art Gallery of Ontario’s permanent collection. Following Dewey’s suggestion that “[t]he eye ... is only the channel through which a total response takes place,” meaning that motor, emotional, intellectual and non-visual perceptual capacities become active when we encounter paintings, I describe how the work engaged a range of bodily modalities; and how reflecting on these, in turn, supplied phenomenal articulations of life negating, preserving and enhancing forces important in the culture that produced it, and famously discussed by Friedrich Nietzsche. By virtue of the approach adopted, I also demonstrate Dewey’s belief that intimate engagement with art entails a total coordination of one’s capacities around the artwork, while simultaneously reinforcing Merleau-Ponty’s ideas about perception and how we can find phenomenal articulations of concepts such as the Nietzschean ones just mentioned. While focusing on Del Biondo’s painting, my main purpose is to engage in body phenomenology practices, and to show, in the words of Shusterman, how “[w]e might sharpen our appreciation of art through more attention to our somaesthetic feelings involved in perceiving art” and indeed the world. (shrink)

Defining Artificial Intelligence and Artificial General Intelligence remain controversial and disputed. They stem from a longer-standing controversy of what is the definition of consciousness, which if solved could possibly offer a solution to defining AI and AGI. Central to these problems is the paradox that appraising AI and Consciousness requires epistemological objectivity of domains that are ontologically subjective. I propose that applying the philosophy of art, which also aims to define art through a lens of epistemological objectivity where the domains (...) are ontologically subjective, can further elucidate this unsolved question. In this sense, Art and AI and ultimately consciousness are multifaceted domains where conventional complexity theory and current philosophical approaches may be augmented by aesthetic principles ranging from classical Aristotelian essentialism to Wittgensteinian anti-essentialism. This approach of AI as art may offer novel solutions to characterising and elucidating the ciphers of consciousness and AI. (shrink)

Willem Witteveen, a member of the Upper House for the Dutch Labour Party and professor at Tilburg University, was among the passengers on the MH17 aircraft that crashed in eastern Ukraine in July 2014. Prior to this tragic incident, he had submitted the manuscript of “De wet als kunstwerk [The Law as a Work of Art]”. The posthumous edition of the book has been augmented with a foreword by his son, Freek Witteveen, and a series of collages and miniatures. (...) Consequently, it serves as a tribute and memorial to a distinguished jurist and esteemed politician. In his book, Witteveen presents a measured critique of the neoliberal ideology that has predominated in Dutch society for numerous years and has been embraced by both conservative and progressive political factions. He posits that this ideology demonstrates limited regard for the law as an end in itself, instead primarily utilizing the law as a means for addressing social issues: 'As soon as someone discovers the possibility of establishing rules, whether or not enforced with power or carried by authority, the temptation arises to see the rule as a solution to a problem, as the instrument in the hands of the community to make the problem manageable.' (450) Witteveen problematizes this inclination by examining the central metaphor underlying it: the metaphor of the tool. In this context, the laws enacted by the legislature are analogous to the tools employed by a craftsman, such as a mechanic or carpenter. [in Dutch: Willem Witteveen, Eerste Kamerlid voor de PvdA en hoogleraar in Tilburg, was een van de inzittenden van het passagiersvliegtuig MH17 dat in juli 2014 neerstortte in Oost-Oekraïne. Vlak voor deze tragische vlucht had hij het manuscript van De wet als kunstwerk ingeleverd. De postume uitgave van het boek is uitgebreid met een voorwoord van zoon Freek Witteveen en een serie collages en miniaturen. Het functioneert zodoende als eerbetoon en nagedachtenis aan een begaafd jurist en een bevlogen politicus. In zijn boek verzet Witteveen zich op ingetogen wijze tegen de neoliberale ideologie die de Nederlandse samenleving al vele jaren domineert en die door zowel de rechter als de linkerflank van de politiek is omhelsd. Volgens hem heeft deze ideologie weinig oog voor de wet als een doel op zichzelf, maar gebruikt ze de wet vooral als middel voor het oplossen van maatschappelijke problemen: ‘Zodra iemand de mogelijkheid ontdekt om regels vast te stellen, al dan niet met macht gehandhaafd of door gezag gedragen, doet zich de verleiding voor om de regel als een oplossing van een probleem te zien, als het instrument dat de gemeenschap in handen heeft om het probleem hanteerbaar te maken.’ (450) Witteveen problematiseert deze impuls door te kijken naar de centrale metafoor die eraan ten grondslag ligt: de metafoor van het gereedschap. Hierin worden de wetten van de wetgever vergeleken met het gereedschap van een ambachtsman, zoals een monteur of timmerman.]. (shrink)

Position: (1) Partial solutions to machine intelligence can lead to systems which may be useful creating interesting and expressive musical works. (2) An appropriate general goal for this field is augmenting human expression. (3) The study of the aesthetics of human augmentation in musical performance is in its infancy. -/- CHI 2015 Workshop on Collaborating with Intelligent Machines: Interfaces for Creative Sound, April 18, 2015, Seoul, Republic of Korea.

La réalité ne suffit plus, il faut l’augmenter ! Tel un slogan qui sonnerait le glas de l’ennui, cette phrase s’inscrit au cœur du spectacle de la plasticienne américaine Claudia Hart, figure centrale des nouvelles expérimentations entre scène interactive, computer-art et performance aux États-Unis. Dans The Alices (Walking), un spectacle créé en collaboration avec le compositeur Edmond Campion et présenté pour la première fois en 2014 au Eyebeam Center for Art + Technology de New York, il s’agit de questionner les (...) mutations du visuel et de l’écrit dans un monde de plus en plus perçu à travers le filtre des technologies digitales. Dans ce spectacle aux allures de défilé de mode, ces mutations prennent la forme de costumes « site internet » (website dresses). Cinq acteurs défilent sur le plateau et circulent entre porte-manteaux vides et chaises momentanément occupées par des spectateurs invités à venir décrypter les codes incrustés dans la matière plastique des costumes. Les spectateurs se connectent à une application via leur téléphone ou tablette et scannent les costumes lorsque les acteurs défilent devant eux. Ces costumes sont de formes sculpturales diverses, à géométrie et couleurs variables, dans lesquelles des codes informatiques ont été incrustés. Ces codes détiennent du contenu visuel (textes et images en mouvement) qui n’est accessible qu’à travers un écran programmé pour déchiffrer en réseau les codes numériques de ces robes du futur. (shrink)

In this introduction to The Journal of Aesthetics and Art Criticism special issue on the aesthetics of creative activism, we canvas influential scholarship of political aesthetics to sculpt a broad typology of six interconnected mechanisms by which art might intervene in the world. We label these: Documentation, Disruption, Recognition, Participation, Imagination, and Beauty. Each has a compelling tradition of theory and application, augmented, extended, and sometimes challenged by the thirteen fresh and provocative contributions in the special issue. Yet, we (...) ask, if both politically minded artists and culturally minded activists are convinced of the power of art to provoke social change, and if we live a world that by almost all measures is now saturated with politically inclined, aesthetically informed practices, interfaces, objects, and texts, why does art not seem to be making a difference? Clearly, we need to think harder about the relationships between art and action, a task the articles assembled here call upon us to take seriously. (shrink)

This research project and exhibit, delves into the complex relationship between public exhibition, urban spaces, and socio-political norms in shaping urban thresholds within the two American and European metropolitan cities of Houston and Amsterdam. This study also investigates the transformative power of new media and emerging technologies in the production, circulation, and consumption of design, offering fresh perspectives on the influence of these technologies on urban design studies and digitally augmented physical spaces. By merging interdisciplinary research areas, including Design (...) Computation and Fabrication, Urban Communities, and Spatial Justice, this project provides an immersive exploration into the co-production of liminal spaces, focusing on the participation of diverse publics and the dynamics of inclusion, exclusion, and recognition in two cities of Houston and Amsterdam. The main emphasis of this paper is on the critical urban studies and the role of emerging technologies in advancing the theoretical and methodological frameworks of the presented immersive installation project. (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)

Clark and Chalmers (1998) defend the hypothesis of an ‘Extended Mind’, maintaining that beliefs and other paradigmatic mental states can be implemented outside the central nervous system or body. Aspects of the problem of ‘language acquisition’ are considered in the light of the extended mind hypothesis. Rather than ‘language’ as typically understood, the object of study is something called ‘utterance-activity’, a term of art intended to refer to the full range of kinetic and prosodic features of the on-line behaviour of (...) interacting humans. It is argued that utterance activity is plausibly regarded as jointly controlled by the embodied activity of interacting people, and that it contributes to the control of their behaviour. By means of specific examples it is suggested that this complex joint control facilitates easier learning of at least some features of language. This in turn suggests a striking form of the extended mind, in which infants’ cognitive powers are augmented by those of the people with whom they interact. (shrink)

Educated people everywhere now acknowledge that ecological destruction is threatening the future of civilization. While philosophers have concerned themselves with environmental problems, they appear to offer little to deal with this crisis. Despite this, I will argue that philosophy, and ethics, are absolutely crucial to overcoming this crisis. Philosophy has to recover its grand ambitions to achieve a comprehensive understanding of nature and the place of humanity within it, and ethics needs to be centrally concerned with the virtues required to (...) create and then sustain economic, social and political formations that augment the life of ecological communities. Achieving these ends will involve reviving speculative philosophy and its quest to forge a synthesis of natural philosophy, history and art to enable humanity to redefine its place in the world, both collectively and as individuals, in very practical ways. Such a synthesis is required to oppose the corrosion of democracy and to revive the virtues of citizenship and the sense of responsibility citizenship entails, but more fundamentally and intimately related to such citizenship, to oppose managerialism and the proletarianization of the workforce and to revive workmanship and professionalism as the foundations of not only economic life, but social and political life. (shrink)

Three recent ‘state of the art’ Frankfurt cases are responded to: Widerker’s Brain-Malfunction-W case and Pereboom’s Tax Evasion cases (2 & 3). These cases are intended by their authors to resurrect the neo-Frankfurt project of overturning the Principle of Alternative Possibilities (PAP) in the teeth of the widespread acceptance of some combination of the WKG (Widerker-Kane-Ginet) dilemma, the Flicker of Freedom strategy and the revised PAP response (‘Principle of Alternative Blame’, ‘Principle of Alternative Expectations’). The three neo-Frankfurt cases of Pereboom (...) and Widerker shown to be insufficient for their intended purpose. Of central importance to any account of responsibility is that this applies at the level of the Right and not the Good. Arguments of Carlos Moya are expanded and augmented by considerations from Chisholm, Lucas, Dummett and Lockie (2003) to show that a number of severe problems remain for anyone attempting to resurrect the Frankfurt project. (shrink)

Abstract: Classifying sea animals is an important problem in marine biology and ecology as it enables the accurate identification and monitoring of species populations, which is crucial for understanding and protecting marine ecosystems. This paper addresses the problem of classifying 19 different sea animals using convolutional neural networks (CNNs). The proposed solution is to use a pretrained MobileNetV2 model, which is a lightweight and efficient CNN architecture, and fine-tune it on a dataset of sea animals. The results of the study (...) show that the fine-tuned MobileNetV2 model is able to achieve an accuracy of 85% on the classification task, which is competitive with the state-of-the-art methods. Additionally, the study also found that data augmentation and regularization techniques such as dropout were important for preventing overfitting and improving the performance of the model. This study demonstrates the potential of using pretrained models and efficient CNN architectures for classifying sea animals, and it provides insights into the challenges and best practices for solving this important problem in marine biology and ecology. (shrink)

Prominent philosophical accounts of artistic forgery have neglected a central aspect of the aesthetic harm it perpetrates. To be properly understood, forgery must be seen in the context of our ongoing attempts to augment our aesthetic understanding in conditions of uncertainty. The bootstrapping necessary under these conditions requires a highly refined comprehension of historical context. By creating artificial associations among aesthetically relevant qualities and misrepresenting historical relationships, undetected forgeries stunt or distort aesthetic understanding. The effect of this may be quite (...) pervasive, and removing known forgeries from museum walls will be insufficient to eradicate it. Continued attention to forgeries, once exposed, can in fact serve us by increasing our understanding of how aesthetic understanding is formed and by helping us to repair the damage they have inflicted. (shrink)

ENG: The advancement of artificial intelligence (AI) presents a duality of opportunity and risk. On the one hand, there are potential dangers inherent in the development of AI. However, on the other hand, the advent of AI also offers humanity a multitude of possibilities for improvement and advancement. The aesthetic values and cultural expressions that artists encounter in their environment serve to redefine the aesthetic judgments they form, thus determining the paths they subsequently follow. The objective of this research is (...) to examine the impact of AI on the field of aesthetics and culture to identify the changes and transformations occurring within the world of art and design. In the conventional domain of aesthetics, emphasis is placed upon the finished object as a singular entity that will be interpreted as a completed work. In contrast, the emerging field of ‘new aesthetics’ prioritizes the atmosphere, directing our focus to the physical object, which is perceived as a spatial extension. Accordingly, the object is not defined by its intrinsic content, but rather its capacity to expand and occupy space. Thus, the domain of aesthetics has evolved to encompass a spatial dimension. Despite the growing interest in the aesthetic dimensions of AI, there has been little discussion to date about the relationship between atmosphere and the field of AI. This study aims to highlight the lack of attention given to this topic in academic discourse and to introduce a new approach to it. Several implications (regarding general propositions and constituents AI aesthetics) has been placed and finalized with layers of hallucination. The application of AI enables the augmentation of the hallucinatory capabilities of the imagination. However, a current challenge is the tendency of AI-powered digital assistants, such as ChatGPT, to hallucinate and present unreal information as if it were real. In this sense, the relationship between AI and hallucination is evolving in a manner that is perceived to be negative. This is justified given the problematic nature of this issue in scientific studies. However, when considered from the perspective of artistic production, there may be potential for new avenues of creativity and imaginative expression. A reappraisal of the role of atmospheric factors in space design is required. The introduction of a novel aesthetic layer to the atmosphere through the use of AI is a possibility, given the hallucinatory tendencies of AI. - TR: Yapay zekanın gelişimi, insanlık için önemli fırsatlar sunarken, aynı zamanda yeni zorluklar ve riskler de ortaya çıkarmaktadır. Ancak, doğru bir şekilde yönetildiğinde ve kullanıldığında, yapay zeka teknolojisi insan hayatını önemli ölçüde iyileştirebileceği ve birçok alanda yenilikler getirebileceği ön görülmektedir. Estetik değerler ve kültürel ifadeler, sanatçıların estetik yargılarını yeniden tarif etmekte ve izledikleri yolları belirlemektedir. Bu araştırma sanat ve tasarım dünyasındaki değişim ve dönüşümleri incelemek adına yapay zekanın estetik ve kültür alanına tesirini irdelemektedir. Konvansiyonel estetikte nesneye tamamlanmış bir çalışma olarak yorumlanacak bitmiş bir varlık olarak odaklanılmıştır. Ancak atmosferi merkeze alan yeni estetik, odak noktamızı mekandaki fiziksel bir uzantı olan nesneye yöneltmektedir. Dolayısıyla nesne 'içerdiği' şeyle değil, mekana yayılma şekliyle karakterize edilmektedir. Böylelikle estetik teori mekânsal katmanlar edinmiştir. Yapay zeka bağlamında estetik tartışmalarında bir ivme kazanılmış olsa da aynı hareketlilik atmosfer ile yapay zekanın ilişkisinde henüz kurulmamıştır. Bu çalışma literatürdeki bu eksikliğe işaret etmeyi ve bir giriş yapmayı hedeflemektedir. Tartışma önermeler olarak şu başlıklar altında toplanmıştır: Teknik arkaplandaki atmosfer tecrübesinin önemi; Deneyimi fazla olan aktörlerin hiyerarşisi; Kısmi telif hakkına yönelik ‘kısmi’ tanımlamalarının gerekliliği; Çizim becerisiden atmosfer üretme becerisine bir yolculuk; Kültürel ve bedensel referansların yorumlanabilmesi. Yapay zekanın estetiğine dair yapı taşları ise şu başlıklar altında toplanmıştır: Estetik akıntı; Yarı-geçirgen bir estetik; Yapay zekanın ara-fenomen olarak incelenmesi; Metaforik istemler; Halüsinatif katmanlar ve alternatif değerlendirmeler. Çalışmanın sonunda odaklanılan konu yapay zekanın gücü ile imgelemin halüsinatif katmanları artırılabilme potansiye olmuştur. Halüsinasyona dair şuan gündemde olan yegane konu ChatGPT gibi yapay zeka asistanlarının halüsinasyon görmeleri ve gerçek olmayan bilgilerin gerçekmiş gibi sunulmasıdır. Bu haliyle yapay zekanın halüsinasyon ile ilişkisi negatif bir tandansta ilerlemektedir. Bu bilimsel çalışmalarda bir problem olması sebebiyle haklı bir negativiteye sahiptir. Ancak sanatsal üretim tabanında bakıldığında imgelemde yeni kapılar açılabilir. Bu konu özellikle mekanın tasarımına gelindiğinde atmosferik etmenler yeniden değerlendirilmelidir. Atmosferin yapay zeka ile yeni bir estetik katman açması yapay zekanın halüsinasyon yatkınlıklarıyla gerçekleşebilir. (shrink)

This study examines problems related to the representation of music. It constructs the sender/message/perceiver/result model, a prototype broad enough to incorporate a large variety of music and other notation systems, including those having to do with computers. The work defines music notation itself, describes various models for studying the subject--including the binary types prescriptive/descriptive, and symbolic/iconic--and assesses music notation as a contemporary practice. It encompasses a review of the actions and intentions of composers, performers, and audiences, and a consideration of (...) the message and how it is affected by media , reference systems , and meanings. Finally, through an examination of the possibilities of the self acting as a notation system within models posited by feminist and queer theory, I attempt to demonstrate the power of notation to affect other systems and worlds, including the worlds of music, art, and politics. ;The consideration of these topics draws on theories from linguistics, semiotics, structuralism, post-structuralism, cybernetics, and music, as well as the philosophies of John Cage, Jean-Jacques Nattiez, Nelson Goodman, and others. The work examines various languages and applications used to program computers for musical purposes, though this examination does not incorporate programs dedicated exclusively to printing music. Nor does the study focus on non-Western notations, suggestions for reforms of notation, or encyclopedic lists of notation devices. ;The expository writing is augmented by excerpts from material I gathered in numerous interviews. There are separate sections containing interviews of Leonard Meyer, Allan Kaprow, John Cage, Earle Brown, Roger Reynolds, and Heidi von Gunden. There is also a large, partially-annotated bibliography. ;My hope is that an inclusive, interdisciplinary exploration of music notation will be useful in broadening the theoretical and creative boundaries of the field, as well as bridging gaps among musicians using various music technologies, and artists and theorists from diverse fields and perspectives. (shrink)

This dissertation explores the question of whether we bear moral responsibility for our beliefs and how this responsibility is possible. Since we cannot directly choose our convictions, some have argued that we have no obligations concerning what we believe. However, we frequently hold each other accountable for our beliefs. Philosophers have responded to the argument against ‘belief duties’ in various ways. One response is that we are responsible for how we influence our beliefs. Another argues that moral responsibility does not (...) require the ability to choose. A third response claims that we, in fact, do have the ability to choose our beliefs. A fourth suggests that whether we have the freedom to choose our beliefs depends on how ‘belief’ is defined. The central claim of this dissertation is that the first response is incomplete, the second is mistaken, and that the third and fourth are the most promising. This book investigates in depth what ‘belief’ entails. If we understand belief as placing trust in a possible truth in our practical reasoning, rather than having convictions, then we can have both doxastic voluntary control and belief-related obligations. What we believe is crucial to our actions, and therefore, the ethics of belief is deeply connected with the ethics of action. (shrink)

Augmented reality (AR) technologies function to ‘augment’ normal perception by superimposing virtual objects onto an agent’s visual field. The philosophy of augmented reality is a small but growing subfield within the philosophy of technology. Existing work in this subfield includes research on the phenomenology of augmented experiences, the metaphysics of virtual objects, and different ethical issues associated with AR systems, including (but not limited to) issues of privacy, property rights, ownership, trust, and informed consent. This paper addresses (...) some epistemological issues posed by AR systems. I focus on a near-future version of AR technology called the Real-World Web, which promises to radically transform the nature of our relationship to digital information by mixing the virtual with the physical. I argue that the Real-World Web (RWW) threatens to exacerbate three existing epistemic problems in the digital age: the problem of digital distraction, the problem of digital deception, and the problem of digital divergence. The RWW is poised to present new versions of these problems in the form of what I call the augmented attention economy, augmented skepticism, and the problem of other augmented minds. The paper draws on a range of empirical research on AR and offers a phenomenological analysis of virtual objects as perceptual affordances to help ground and guide the speculative nature of the discussion. It also considers a few policy-based and designed-based proposals to mitigate the epistemic threats posed by AR technology. (shrink)

Augmented Reality (AR), driven by Artificial Intelligence (AI), is transforming how we interact with the world. Recent technologies, like AI-powered smart glasses, are increasingly blending the physical and digital realms. While AR presents exciting new possibilities, it also raises deeper philosophical questions about what we consider reality.

Could a person ever transcend what it is like to be in the world as a human being? Could we ever know what it is like to be other creatures? Questions about the overcoming of a human perspective are not uncommon in the history of philosophy. In the last century, those very interrogatives were notably raised by American philosopher Thomas Nagel in the context of philosophy of mind. In his 1974 essay What is it Like to Be a Bat?, Nagel (...) offered reflections on human subjectivity and its constraints. Nagel’s insights were elaborated before the social diffusion of computers and could not anticipate the cultural impact of technological artefacts capable of materializing interactive simulated worlds as well as disclosing virtual alternatives to the “self.” In this sense, this article proposes an understanding of computers as epistemological and ontological instruments. The embracing of a phenomenological standpoint entails that philosophical issues are engaged and understood from a fundamentally practical perspective. In terms of philosophical praxis, or “applied philosophy,” I explored the relationship between human phenomenologies and digital mediation through the design and the development of experimental video games. For instance, I have conceptualized the first-person action-adventure video game Haerfest (Technically Finished 2009) as a digital re-formulation of the questions posed in Nagel’s famous essay. Experiencing a bat’s perceptual equipment in Haerfest practically corroborates Nagel’s conclusions: there is no way for humans to map, reproduce, or even experience the consciousness of an actual bat. Although unverifiable in its correspondence to that of bats, Haerfest still grants access to experiences and perceptions that, albeit still inescapably within the boundaries of human kinds of phenomenologies, were inaccessible to humans prior to the advent of computers. Phenomenological alterations and virtual experiences disclosed by interactive digital media cannot take place without a shift in human kinds of ontologies, a shift which this study recognizes as the fundamental ground for the development of a new humanism (I deem it necessary to specify that I am not utilizing the term “humanism” in its common connotation, that is to say the one that emerged from the encounter between the Roman civilization and the late Hellenistic culture. According to this conventional acceptation, humanism indicates the realization of the human essence through “scholarship and training in good conduct” (Heidegger 1998, p. 244). However, Heidegger observed that this understanding of humanism does not truly cater to the original essence of human beings, but rather “is determined with regard to an already established interpretation of nature, history, world, and […] beings as a whole.” (Heidegger 1998, p. 245) The German thinker found this way of embracing humanism reductive: a by-product of Western metaphysics. As Heidegger himself specified in his 1949 essay Letter on Humanism, his opposition to the traditional acceptation of the term humanism does not advocate for the “inhuman” or a return to the “barbaric” but stems instead from the belief that the humanism can only be properly understood and restored in culture as more original way of meditating and caring for humanity and understanding its relationship with Being.). Additionally, this study explicitly proposes and exemplifies the use of interactive digital technology as a medium for testing, developing and disseminating philosophical notions, problems and hypotheses in ways which are alternative to the traditional textual one. Presented as virtual experiences, philosophical concepts can be accessed without the filter of subjective imagination. In a persistent, interactive, simulated environment, I claim that the crafting and the mediation of thought takes a novel, projective (In Martin Heidegger’s 1927 Being and Time, the term “projectivity” indicates the way a Being opens to the world in terms of its possibilities of being (Heidegger 1962, pp. 184–185, BT 145). Inspired by Heidegger’s and Vilem Flusser’s work in the field of philosophy of technology as well as Helmuth Plessner’s anthropological position presented in his 1928 book Die Stufen des Organischen und der Mensch. Einleitung in die philosophische Anthropologie, this study understands the concept of projectivity as the innate openness of human beings to construct themselves and their world by means of technical artefacts. In this sense, this study proposes a fundamental understanding of technology as the materialization of mankind’s tendency to overcome its physical, perceptual and communicative limitations.) dimension which I propose to call “augmented ontology.”. (shrink)

Human augmentation is discussed in three axes: the technological means, the ability being augmented, and the social systems that will be affected. The technological augmentations considered range from exocortical information and communication systems, to pharmaceuticals, tissue and genetic engineering, and prosthetic limbs and organs, to eventually nanomedical robotics, brain-computer interfaces and cognitive prostheses. These technologies are mapped onto the capabilities which we are in the process of enabling and augmenting, which include extending longevity and physical, sensory and cognitive abilities, (...) and enabling control over emotions, moral behavior, and spiritual experience. The impacts of augmentation on the family, education, economy, politics and religion are considered individually, but their aggregate effects will be non-linear and drive complex adaptations in the living machine that is our co-evolved techno-social civilization. (shrink)

In this paper I describe a novel application of contemplative techniques to software engineering with the goal of augmenting the intellectual capabilities of knowledge workers within the field in four areas: flexibility, attention, creativity, and trust. The augmentation of software engineers’ intellectual capabilities is proposed as a third complement to the traditional focus of methodologies on the process and environmental factors of the software development endeavor. I argue that these capabilities have been shown to be open to improvement through the (...) practices traditionally used in spiritual traditions, but now used increasingly in other fields of knowledge work, such as in the medical profession and the education field. Historically, the intellectual capabilities of software engineers have been treated as a given within any particular software development effort. This is argued to be an aspect ripe for inclusion within software development methodologies. (shrink)

Recently in this journal, Jessica Morley and colleagues (AI & SOC 2023 38:411–423) review AI ethics and education, suggesting that a cultural shift is necessary in order to prepare students for their responsibilities in developing technology infrastructure that should shape ways of life for many generations. Current AI ethics guidelines are abstract and difficult to implement as practical moral concerns proliferate. They call for improvements in ethics course design, focusing on real-world cases and perspective-taking tools to immerse students in challenging (...) situations with relatable personal, social and environmental implications. The present paper considers the ACTWith model of moral cognition for use in such training contexts. Morley and colleagues' paper and contemporary literature are reviewed. Whistleblowing as a source for relatable case studies is discussed, and the purpose of ethics education considered. The ACTWith model is introduced, and correlations with contemporaries noted. The ACTWith model has been successfully employed in a broad range of technology ethics courses in the Netherlands and South Korea. Illustrations are offered. Correlations with contemporary efforts are drawn in the context of software engineering. Summary discussion considers strengths and limitations of the ACTWith program. Overall, the paper emphasizes training high-level moral reasoning through guided inquiry education informing lifetime professional practice, and indicates an outstanding need for teachers able to do the job. (shrink)

The integration of Augmented Reality (AR) and the Internet of Things (IoT) within smart homes represents a significant leap forward in home automation and user experience. This paper explores a comprehensive framework that combines these technologies to create an immersive, efficient, and user-friendly smart home environment. By utilizing AR, users can interact with and control IoT-enabled devices in real time through visual and intuitive interfaces. This integration not only simplifies the management of home systems but also enhances the overall (...) user experience by providing a seamless blend of the physical and digital worlds. (shrink)

It is hoped that modern sensory substitution and augmentation devices will be able to replace or expand our senses. But to what extent has this been achieved to date? To what extent are the experiences created by sensory substitution devices like the sensory experiences that we are trying to replace? To what extent can we augment people’s senses providing them with new information and new experiences? The first aim of this introduction is to delve deeply into this question to discover (...) the usefulness of these devices, to outline the different sorts of experience that might be created, and what the evidence tells us about these experiences. While there are some reasons to be hopeful about the powers of sensory substitution devices, there are also reasons to wonder whether they will ever really have the practical applications that we hope they might have. The second aim is to look to see whether the study of modern sensory substitution and augmentation devices can shed light on the nature of our senses and perception in general. Much of the philosophical, psychological, and neuroscientific work that takes place concerning sensory substitution and augmentation is keenly aware of the possibility that it might help our understanding and it seeks to comprehend many different aspects of perception. (shrink)

Heidegger, Art, and Postmodernity offers a radical new interpretation of Heidegger's later philosophy, developing his argument that art can help lead humanity beyond the nihilistic ontotheology of the modern age. Providing pathbreaking readings of Heidegger's 'The Origin of the Work of Art' and his notoriously difficult Contributions to Philosophy, this book explains precisely what postmodernity meant for Heidegger, the greatest philosophical critic of modernity, and what it could still mean for us today. Exploring these issues, Iain D. Thomson examines several (...) postmodern works of art, including music, literature, painting and even comic books, from a post-Heideggerian perspective. Clearly written and accessible, this book will help readers gain a deeper understanding of Heidegger and his relation to postmodern theory, popular culture and art. (shrink)

This unpublished article was written around 2009 for a journal special issue of a journal which never materialized. In 2018, the article was rewritten and published in the Oxford Handbook of Philosophy and Disability. It can be found on PhilPapers as Drayson and Clark (2018), 'Cognitive Disability and the Embodied, Extended Mind'.

This paper responds to recent developments in the field of sensory augmentation by analysing several technological devices that augment the sensory apparatus using the tactile sense. First, I will define the term sensory augmentation, as the use of technological modification to enhance the sensory apparatus, and elaborate on the preconditions for successful tactile sensory augmentation. These are the adaptability of the brain to unfamiliar sensory input and the specific qualities of the skin lending themselves to be used for the perception (...) of additional sensory information. Two devices, Moon Ribas’ Seismic Sense and David Eagleman’s vest, will then be discussed as potential facilitators of aesthetic experiences in virtue of the tactile sensory augmentation that these devices allow. I will connect the experiences afforded by these devices to the Kantian categories of the mathematical and the dynamical sublime, and to existing accounts of tactile sublimity. Essentially, the objects these devices make sensible, earthquakes for the Seismic Sense and digital information for the vest, produce pleasurable feelings of potential danger, awe, and respect. The subsequent acclimation to this new way of sensing and the aim to comprehend its sensed object are then discussed as possible objections to the interpretation of these experiences as sublime, and as aesthetic in general. To exemplify these issues and concretise my thesis of tactile sensory augmentation as a trigger of the sublime, I will outline an experiment to use the vest as an aid for faster decision making on the stock market. (shrink)

Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room for a nuanced (...) distinction between criticism that aims at universality and criticism that is resolutely personal. (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)

An object being non-art appears only trivially informative. Some non-art objects, however, could be saliently 'almost' art, and therefore objects for which being non-art is non-trivially informative. I call these kinds of non-art objects 'failed-art' objects—non-art objects aetiologically similar to art-objects, diverging only in virtue of some relevant failure. I take failed-art to be the right sort of thing, to result from the right sort of action, and to have the right sort of history required to be art, but to (...) be non-art by having failure where being art requires success. I assume that for something to be art that thing must be the product of intention-directed action. I then offer an account of attempts that captures the success conditions governing the relationship between intention-directed actions and their products. From this, I claim that to be failed-art is to be the product of a failed art-attempt, i.e., to be non-art as the result of the particular way in which that art-attempt failed. An art-attempt I take to be an attempt with success conditions, that, if satisfied, entail the satisfaction of the conditions for being art—whatever those may be. To be art, then, is to be the product of a successful art-attempt. As such, any art theory incompatible with my account of failed-art is an art theory for which the notions of success and failure do not matter, and therefore an art theory for which being art needn't be substantively intention-dependent. So, any theory of art unable to accommodate my account of failed-art is _ipso facto_ false. (shrink)

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...) central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts. (shrink)

In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...) institutions is due to their being perceived by their participants to perform some humanly valuable function. I then identify the functions to which the existence of art institutions is due. I then use these functions to provide a reductive institutional definition of art. Finally, in section seven, I examine the account’s consequences for the value of good art. (shrink)

A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the most (...) plausible model of which looks decidedly nominalist (what I call the relevant similarity model) and that as such, photographic artworks must be likewise construed, not as abstracta but as individual and distinct concreta. That is, the correct ontological account of photographic art must be one according to which photographic artworks are individual and distinct concrete artworks. In the end, I show that the ontology of photographic art resists the standard repeatable-work model because the putative repeatability of photographic artworks is upon closer inspection nothing more than the relevant similarity relation between individual and distinct photographic prints. (shrink)

Art historians and philosophers often talk about the interpretive significance of titles, but few have bothered with their historical origins. This omission has led to the assumption that an artwork's title is its proper name, since names and titles share the essential function of facilitating reference to their bearers. But a closer look at the development of our titling practices shows a significant point of divergence from standard analyses of proper names: the semantic content of a title is often crucial (...) to the identification, individuation, and interpretation of its associated artwork. This paper represents a first step towards an empirically centred study of our titling practices. I argue that, in order to accept titles as proper names, we must first recognize the social, rather than the referential, function of naming. (shrink)

Abstract. Recent developments, both in the cognitive sciences and in world events, bring special emphasis to the study of morality. The cognitive sci- ences, spanning neurology, psychology, and computational intelligence, offer substantial advances in understanding the origins and purposes of morality. Meanwhile, world events urge the timely synthesis of these insights with tra- ditional accounts that can be easily assimilated and practically employed to augment moral judgment, both to solve current problems and to direct future action. The object of the (...) following paper is to present such a synthesis in the form of a model of moral cognition, the ACTWith model of conscience. The purpose of the model is twofold. One, the ACTWith model is intended to shed light on personal moral dispositions, and to provide a tool for actual human moral agents in the refinement of their moral lives. As such, it re- lies on the power of personal introspection, bolstered by the careful study of moral exemplars available to all persons in all cultures in the form of literary or religious figures, if not in the form of contemporary peers and especially leadership. Two, the ACTWith model is intended as a minimum architec- ture for fully functional artificial morality. As such, it is essentially amodal, implementation non-specific and is developed in the form of an information processing control system. There are given as few hard points in this sys- tem as necessary for moral function, and these are themselves taken from review of actual human cognitive processes, thereby intentionally capturing as closely as possible what is expected of moral action and reaction by hu- man beings. Only in satisfying these untutored intuitions should an artificial agent ever be properly regarded as moral, at least in the general population of existing moral agents. Thus, the ACTWith model is intended as a guide both for individual moral development and for the development of artificial moral agents as future technology permits. (shrink)

Taylor Swift’s choice to re-record several of her early studio albums might seem purely commercial. But the depth and intensity of the project suggests that Taylor’s Versions are new artworks, not just financially motivated copies. The elements of appropriation, audience participation, and institutional critique tie Swift’s project to a tradition dating back more than a century: conceptual art. I will stop short of arguing outright that Taylor’s Versions is a conceptual art project: it is foremost a contribution to popular music. (...) But considering it in relation to conceptual art sheds light on its achievements and one notable limitation. In the realm of appropriation, the fact that the re-recordings exhibit both close resemblance to and subtle differences from the originals has prompted an intensity of close listening by audience members, with distinctive aesthetic experiences in the realm of the uncanny. In the realm of participation, Swift has creatively motivated her fans to abandon her beloved original albums, and the fans have in turn evolved a variety of strategies to shift their allegiance to the new versions and hold each other accountable. When it comes to institutional critique—the movement in conceptual art that highlights and challenges the power structures governing art institutions—Swift’s project has raised awareness of troubling and exploitative power dynamics in the music industry. However, consideration of historical precursors of Swift’s institutional critique may lead us to question some elements of her self-presentation as a victim of gendered exploitation. (shrink)

I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when (...) philosophical aesthetics tends toward insularity, we shouldn’t be surprised to find standard art-ontological categories incongruous with those standardly employed in contemporary metaphysics. Of course, when contemporary metaphysics tends to ignore aesthetic and art theoretic concerns, perhaps we likewise shouldn’t be surprised to find the climate of contemporary metaphysics inhospitable for a theory of art. While this may seem to suggest at least a prima facie tension between our basic art theoretic commitments considered from within philosophical aesthetics and our standard ontological commitments considered from without, I think any perceived tension or antagonism largely due to metaphysicians and aestheticians (at least implicitly) assuming there to be but two available methodological positions with respect to the relationship between contemporary metaphysics and philosophical aesthetics (in the relevant overlap areas). I call these two opposing views the Deference View and the Independence View. I argue that either view looks to lead to what I call the Paradox of Standards. (shrink)

Art-science, as its name suggests, combines art with science. The idea of combining art and science raises the question whether the outcome, art-scientific works, can succeed against a standard properly belonging to them. In other words: can there be such a thing as an art-scientific work, or do such works merely belong to either art or science while superficially seeming to belong to the other sphere as well? Surprisingly perhaps, these concerns overlap with a chief point of contention as regards (...) Adorno’s mature thinking, in particular his Aesthetic Theory ([1970] 2002): whether or not it is coherent to believe that knowledge can have an aesthetic form. This essay is motivated by the thought that Adorno’s reflections are useful for understanding contemporary art as well, and the burgeoning paradigm of art-science represents a welcome occasion to ask the reverse question: can art become theoretical? The first aim of this essay is, accordingly, to consider how Adorno’s negative dialectic of philosophy and art might illuminate the field of art-science, how its works might express sui generis truths. In turn, an examination of how the aestheticisation theme in Adorno might be appropriated for the business of art-science critique, might tell us something about the relationship between artistic content and philosophical interpretation, beauty and truth, in Adorno. (shrink)

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)

For Malraux, modernity in art is not only about modern art; it is also about the birth of what he aptly terms “the first universal world of art.” This event was a consequence of the process of metamorphosis which is central to Malraux’s account of the relationship between art and time. The article explains this event, noting also that modern aesthetics has not provided an explanation. (This is the English version of the final which will be in French.).

In this chapter I explore what painful art can tell us about the nature and importance of human welfare. My goal is not so much to defend a new solution to the paradox of tragedy, as it is to explore the implications of the kinds of solutions that I find attractive. Both nonhedonic compensatory theories and constitutive theories explain why people seek out painful art, but they have troublesome implications. On some narrow theories of well-being, they imply that painful art (...) is bad for us. Accordingly, we may rightly wonder if it rational for people to watch melodramas or to listen to love songs. One might think that we should generally avoid unpleasant works of art. This implication flirts with absurdity. I show how it can be avoided by making a distinction between well-being and worth. (shrink)

This insight to art came from chess composition concentrating art in a very dense form. To identify and mathematically assess the uniqueness is the key applicable to other areas eg. computer programming. Maximization of uniqueness is minimization of entropy that coincides as well as goes beyond Information Theory (Shannon, 1948). The reusage of logic as a universal principle to minimize entropy, requires simplified architecture and abstraction. Any structures (e.g. plugins) duplicating or dividing functionality increase entropy and so unreliability (eg. British (...) Airways IT system). The ideas here were verified by my chess compositions, art works and complex information system as an author of each co uk, and were presented at conferences in Santorini, Adelaide, Geneva, Daejon and virtually. (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)

Mind-body therapies have been shown to be effective in clinical treatment of disorders such as high blood pressure and stress. Significant differences in the effectiveness of mind–body therapies have been shown and a common link among the therapies has yet to be defined. This article overviews the role of slow rhythmic breathing in physiological as well as therapeutic effects of mind-body therapies. Slow deep breathing practice has important implications as it may underlie the basic mechanism that synchronizes the brain with (...) the autonomic response. This article reviews studies that include the effect of deep slow breathing with or without mind-body therapy exercises. In utero studies that monitor patterns of fetal breathing reveal sympathetic activation with irregular, shallow fast breathing movements compared to slow deep breathing. Recognition of respiratory mechanisms in mind-body therapies can lead to development of more effective relaxation exercises that may incorporate deep slow breathing in clinical applications. (shrink)