Filmmaking is one of the most complexly layered forms of artistic production. It is a deeply interactive process, socially, culturally, and technologically. Yet the bulk of popular and academic discussion of filmmaking continues to attribute creative authorship of films to directors. Texts refer to “a Scorsese film,” not a film by “Scorsese et al.” We argue that this kind of attribution of sole creative responsibility to film directors is a misapprehension of filmmaking processes, based in part on dubious individualist assumptions (...) about creative minds. Such a misapprehension is effacing the public value that a more inclusive and accurate understanding of filmmaking offers. By “public value” we mean the potential to enhance social and cultural well-being, particularly in working lives and collaborative undertakings in the screen industries. Better understanding of the systemic and social nature of creativity in filmmaking can potentially help in democratising aesthetics, which we consider a clear public good. (shrink)

What is art? What is beauty? Why are we driven to create? People have been struggling with the answers to these questions for millenia. In this book Jay Friedenberg examines age old and contemporary responses to the perceptual and performative side of aesthetics. The work is wide-ranging in scope, addressing all forms of art including painting, photography, writing, film, music, theater, dance, and more. Issues are examined from multiple perspectives with separate chapters on history, philosophy, mathematics, physics, psychology, and neuroscience. (...) This beautifully illustrated book can be read by a general audience or used as an undergraduate or graduate textbook for courses in art history, aesthetics, or media studies. (shrink)

Examining imagination, 4E cognition and the arts together expands our understanding of them all. 4E cognition is a framework that comprises the theories separately known as embodied, enactive, embedded, and extended cognition. This paper draws on research in cognitive science (including 4E and recent predictive processing approaches), ideas in phenomenology, and artworks from The Extended Mind exhibition (2019–20). The artworks offer diverse reflections on 4E cognition, as well as revealing personal, political and ethical benefits and issues predicated on a 4E (...) cognition perspective. This approach further provides a way of defending the epistemic value of the imagination and of unpacking the four key puzzles associated with its relationship with the arts regarding its production of emotional response, imaginative resistance, and moral persuasion, and the paradox of our attraction towards horror and tragedy. The arts are a valuable mode of inquiry into the nature of cognition and neglect of their relevance negatively impacts understandings of the mind. (shrink)

Traces of many past events are often layered or superposed, in brain, body, and world alike. This often poses challenges for individuals and groups, both in accessing specific past events and in regulating or managing coexisting emotions or attitudes. We sometimes struggle, for example, to find appropriate modes of engagement with places with complex and difficult pasts. More generally, there can appear to be a tension between what we know about the highly constructive nature of remembering, whether it is drawing (...) on neural or worldly resources or both, and the ways that we need and use memory to make claims on the past, and to maintain some appropriate causal connections to past events. I assess the current state of work on situated affect and distributed memory, and the recent criticisms of the ‘dogma of harmony’ in these fields. I then deploy these frameworks to examine some affective dimensions of place memory, sketching a strongly distributed conception of places as sometimes partly constituting the processes and activities of feeling and remembering. These approaches also offer useful perspectives on the problems of how to engage – politically and aesthetically – with difficult pasts and historically burdened heritage. In assessing artistic interventions in troubled places, we can seek responsibly to do justice to the past while fully embracing the dynamic and contested constructedness of our present emotions, memories, and activities. (shrink)

After viewing a painting, reading a novel, or seeing a film, audiences often feel that they improve their cognitive standing on the world beyond the canvas, page, or screen. To learn from art in this way, I argue audiences must employ high degrees of epistemic autonomy and creativity, engaging in a process I call ‘insight through art.’ Some have worried that insight through art uses audience achievements to explain an artwork’s cognitive and artistic value, thereby failing to properly appreciate the (...) cognitive and artistic achievements of artists. I move against this worry by arguing that in order to learn via insight through art audiences must collaborate with artists, sharing the labour and credit for the cognitive achievements they co-produce. I claim this co-productive outlook reveals that our appreciation of art’s cognitive and artistic value involves far more audience participation than has hitherto been realised. (shrink)

Bence Nanay, in Aesthetics as Philosophy of Perception, and Murray Smith, in Film, Art, and the Third Culture, have given us a pair of rich and interesting works about the relationships between aesthetics and the sciences of mind. Nanay’s work focuses on perception and attention, while Smith’s addresses the relations among experiential, psychological, and neuroscientific understandings of a wide range of aesthetically relevant phenomena, particularly as they occur in film. These books make a valuable contribution to a project that remains (...) fledgling: that of taking seriously the relevance of the sciences to our conceptions and explanations of experiential phenomena in aesthetics and the philosophy of art. I will focus on a specific issue from each of these works. Nanay offers an account of aesthetic experience that ties it closely to the concepts of focused and distributed attention that are invoked in the sciences of perception. While I agree with Nanay that attention should play a central role in accounts of aesthetic experience, I raise questions about his specific account of the relationship. With Smith, we zoom out to a broader issue, that of the mutual explanatory relationships among phenomenological, functional/cognitive, and neurophysiological observations in our aesthetic theorizing. Smith makes a strong claim that all three of these levels are essential and irreducible, and none is subsidiary to the others. I argue that given the current state of the science, we should not regard neurophysiological observations as being on a par with observations at the other two levels. I also raise some doubts about the prospect of neurophysiological data making an independent contribution to aesthetic theorizing, even once the science is far more advanced. (shrink)

The recent development of AI art systems like DeepAI (2024), DALL-E (2024), and Stable Diffusion (2023) has brought increased attention to the nature of artistic creativity. While much discussion has focused on whether AI systems can be truly creative or whether their outputs qualify as art (see for example Hertzmann, 2018), this paper takes a different approach. Drawing on philosophical frameworks for understanding different types of imagination, I argue that analyzing AI art systems through established taxonomies of imagination reveals fundamental (...) truths about both the nature of machine creativity and human imaginative faculties. (shrink)

This paper introduces a new, expanded range of relevant cognitive psychological research on collaborative recall and social memory to the philosophical debate on extended and distributed cognition. We start by examining the case for extended cognition based on the complementarity of inner and outer resources, by which neural, bodily, social, and environmental resources with disparate but complementary properties are integrated into hybrid cognitive systems, transforming or augmenting the nature of remembering or decision-making. Adams and Aizawa, noting this distinctive complementarity (...) argument, say that they agree with it completely: but they describe it as “a non-revolutionary approach” which leaves “the cognitive psychology of memory as the study of processes that take place, essentially without exception, within nervous systems.” In response, we carve out, on distinct conceptual and empirical grounds, a rich middle ground between internalist forms of cognitivism and radical anti-cognitivism. Drawing both on extended cognition literature and on Sterelny’s account of the “scaffolded mind” (this issue), we develop a multidimensional framework for understanding varying relations between agents and external resources, both technological and social. On this basis we argue that, independent of any more “revolutionary” metaphysical claims about the partial constitution of cognitive processes by external resources, a thesis of scaffolded or distributed cognition can substantially influence or transform explanatory practice in cognitive science. Critics also cite various empirical results as evidence against the idea that remembering can extend beyond skull and skin. We respond with a more principled, representative survey of the scientific psychology of memory, focussing in particular on robust recent empirical traditions for the study of collaborative recall and transactive social memory. We describe our own empirical research on socially distributed remembering, aimed at identifying conditions for mnemonic emergence in collaborative groups. Philosophical debates about extended, embedded, and distributed cognition can thus make richer, mutually beneficial contact with independently motivated research programs in the cognitive psychology of memory. (shrink)

Maria Gołaszewska (1926–2015) was a Polish philosopher associated throughout her life with Poland’s oldest academic institution, the Jagiellonian University in Cracow. She was a student of the phenomenologist Roman Ingarden, himself a student of Edmund Husserl. During the post-war and communist years in Poland, Gołaszewska conducted research focusing on issues related to art and aesthetics. She created her own conception of empirically and anthropologically oriented aesthetics, which I believe is a prime example of a theory that accounts for the perspective (...) of gender, and which in this sense should be acknowledged as having anticipated the main postulates of contemporary feminist philosophy. In the article I present Gołaszewska’s philosophy as a cognitively valuable response to the search of feminist aesthetics for a suitable description of women’s experiences related to art and aesthetic perception. In accordance with this aim, I discuss Gołaszewska’s theory of the aesthetic situation, a framework within which she proposed solutions similar to feminist standpoint theories. These theories were developed chiefly on the basis of the feminist philosophy and feminist epistemology (Elizabeth Anderson, Donna Haraway, Sandra Harding, Elizabeth Potter). In recent years they have also found creative applications in feminist aesthetics (Anne Eaton). (shrink)

Filmmaking with Artificial Intelligence Image Generation Models In just about one year, OpenAI’s release of ChatGPT 4 has caused panic in our daily lives. After a year, OpenAI introduced Sora, a moving image-generating model from text, similar to DALL-E for still images. Even though Sora is not yet available to the public, the very potential itself has raised issues in film production from the perspectives of producers and studios, as well as directors, actors, writers, and editors. In this chapter, the (...) role and expected impact of AI video generation technologies, such as OpenAI Sora and Stable Diffusion 3, will be considered in regard to filmmaking. To discuss these issues, it is necessary to further analyze the concept of artificial intelligence, what it means, and how it is misunderstood by the general public. These misunderstandings also lead to sci-fi fantasy and doomsday talk, adding nothing valuable to the debate. Once this concept is defined, the argument of why an artificial general intelligence akin to a human being is unlikely will be set, mostly referring to Hubert Dreyfus and David Chalmers. However, even though the good old-fashioned AI seems impossible, the AI tools we have now seem to be enough to cause many of the problems that the thought of a complete artificial intelligence also brings forth. It is important to treat these tools as tools and not entities in their current forms to focus on the more practical problems regarding human labor, interaction, and experience in the world. In this regard, it is important to look back in history to see how technology has shifted ways of making films. When thought of as such, it becomes clearer that these tools will likely not end human involvement in the practice of creating art but transform the methods and aesthetics of film production, challenging conventions in both artistic and commercial works in some ways and exaggerating them in others. Furthermore, the chapter will consist of the investigation of the impact of various AI tools on human creativity. Regarding human creativity, commercial films will most likely go through a paradigm shift. Production companies will most likely regard this shift as a way of improving performance and production. However, this advancement poses dire questions in the field and pursuit of creating art. AI tools help automate and accelerate the filmmaking process at the cost of filmmaking as an art form. The discussion will address why commercial filmmaking will see a paradigm shift and loss of some human labor, but in an optimistic world of philosophical thought, film as fine art will gain much in return. This is because AI tools in their current and foreseeable state are not capable of willing to make art due to their limitations regarding embodied cognition, experience, unconsciousness, and intuition. These things make us what we are more than we think. There is no better way to explain why human beings make art than to show how tools do not matter but the ideas and the will to do it. -/- . (shrink)

Memories of our personal past are the building blocks of our narrative identity. So, when we depend on objects and other people to remember and construct our personal past, our narrative identity is distributed across our embodied brains and an ecology of environmental resources. This paper uses a cognitive niche construction approach to conceptualise how we engineer our memory ecology and construct our distributed narrative identities. It does so by identifying three types of niche construction processes that govern (...) how we interact with our memory ecology, namely creating, editing, and using resources in our memory ecology. It also conceptualises how identity-relevant information in objects and (family) stories is transmitted vertically, i.e., across different generations of people. Identifying these processes allows us to better understand the cultural information trajectories that constitute our memory ecologies. Thus, what I’ll argue is that our memory ecology distributes our narrative identity and that engineering our memory ecology is a form of narrative niche construction. (shrink)

Some films scare us; some make us cry; some thrill us. Some of the most interesting films, however, leave us suspended between feelings – both joyous and sad, or angry and serene. This paper attempts to explain how this can happen and why it is important. I look closely at one film that creates and exploits these conflicted responses. I argue that cases of conflict in film illuminate a pair of vexing questions about emotion in film: (1) To what extent (...) are emotional responses rational, or in need of rationalization?; and (2) What relationship is there between emotional response and value (moral, filmic, or otherwise)? Conflict, I argue, can be revealing, and can help us better understand emotional responses to narrative film1 in general. The paper is divided into four sections. First, I sketch a theory of emotional engagement that makes sense of the notion of a “conflicted emotional response” to a film. Second, I turn to a particular case of a film that produces this sort of conflict, Fritz Lang’s M (1931), and show that the conflict engendered by that film is both more significant and less unusual than it may appear. In the final two sections, I argue that there is no need to rationalize or make consistent such mixed emotional responses, and that there is real moral, aesthetic, and cognitive value to be had from such conflict. (shrink)

In this article, I outline various ways in which artifacts are interwoven with autobiographical memory systems and conceptualize what this implies for the self. I first sketch the narrative approach to the self, arguing that who we are as persons is essentially our life story, which, in turn, determines our present beliefs and desires, but also directs our future goals and actions. I then argue that our autobiographical memory is partly anchored in our embodied interactions with an ecology of artifacts (...) in our environment. Lifelogs, photos, videos, journals, diaries, souvenirs, jewelry, books, works of art, and many other meaningful objects trigger and sometimes constitute emotionally laden autobiographical memories. Autobiographical memory is thus distributed across embodied agents and various environmental structures. To defend this claim, I draw on and integrate distributed cognition theory and empirical research in human-technology interaction. Based on this, I conclude that the self is neither defined by psychological states realized by the brain nor by biological states realized by the organism, but should be seen as a distributed and relational construct. (shrink)

It is argued that the theory of situated cognition together with dynamic systems theory can explain the core of artistic practice and aesthetic experience, and furthermore paves the way for an account of how artist and audience can meet via the artist's work. The production and consumption of art is an embodied practice, firmly based in perception and action, and supported by features of the local, agent-centered and global socio-cultural contexts. Artistic creativity and aesthetic experience equally result from the dynamic (...) interplay between agent and context, allowing for artist and viewer to relate to the artist's work in similar ways. (shrink)

The following aesthetic discussion examines in a philosophical-scientific way the relationship between computation and artistic creativity. Currently, there is a criticism about the possible artistic creativity that an algorithm could have. Supporting the above, the term computer-generated art (CG-Art) defined by Margaret Boden would seem to have no exponents yet. Moreover, it has been pointed out that, rather than a matter of primitive technological development, CG-Art would have in its very foundations the inability to exist. This, because art is considered (...) as one of the most unique and exclusive human manifestations of our species. On the contrary, I propose that the denial of CG-Art has an anthropocentric bias. For this, I use the recent studies that, from the cognitive sciences, have been carried out on artistic creativity. In this way, I intend to convince the reader that behind the denial of the creative artistic capacity to the machines, a negationist mysticism of the current scientific advances necessarily lies. (shrink)

The idea that art is related to a process of creation is a modern one. Through a complex history in the $)th century, which is not without contradictions, the connection between art and creativity was debated in different fields – psychology, epistemology, cognitive science, etc. – and became the target of attacks from marxism and (post-)structuralism. Still, the notion of creativity seems to have conserved its force not only in everyday practices but also in media discourses. In diverse areas – (...) from art theory to epistemology, from action theory to economics, from computer science to psychology (to give only a few examples) – it has regained the attention of scholars as well, as is made clear by the number of recent publications on the topic. However, questions remain as to whether and how the notion of creativity can be used and what kind of conceptual work it can do. Trópos dedicated a call for papers to this topic. Selected papers are published in two special issues. The present one includes essays offering theoretical investigations on creativity. They do this under different, even contrasting, perspectives, with different aims and with di5erent outcomes. Yet, the light they throw on the question at issue provides readers with important, often creative, insights. Through them, readers are invited to think creatively, as well as critically, on creativity and its connections with the arts and aesthetics. (shrink)

[This is a response to a target article in BBS]. Although the art-historical context of a work of art is important to our appreciation of it, it is our knowledge of that history that plays causal roles in producing the experience itself. This knowledge is in the form of memories, both semantic memories about the historical circumstances, but also episodic memories concerning our personal connections with an artwork. We also create representations of minds in order to understand the emotions that (...) artworks express. (shrink)

The aesthetic construction of the world can originally be traced back to the bodily-affective state of being in the surroundings. In this respect, the newly developed aesthetic concept atmosphere enables a new understanding of the interaction between sensation, emotion and the environment, and is therefore of great importance for the development of a contemporary environmental awareness. In reviewing the studies so far, it would be meaningful to further reflect on the following questions: what role does the spiritual dimension play in (...) atmospheric experience? How is it possible for us to be critical of the atmosphere we encounter? How can a bodily-affective approach to the world be opened up by emphasizing atmospheric experience without excluding other legitimate aspects such as value judgments? These issues require re-examination of the current basic approach, according to which, on the one hand, atmospheric experience is largely confined to a pre-reflective level, and, on the other hand, sensation and awareness of atmosphere are viewed as occurring one after another. Practically, in the experience of atmosphere, corporeality and spirituality are not so clearly delineated, based on the fact that sensory recognition of external stimuli always merges with mental actions such as cognition, imagination, beliefs, values, memory and expectation. In this sense, the experience of atmosphere is not a purely biophysiological response at all. Instead, it is largely shaped by spiritual elements and cultural frameworks. The knowledge of traditions, customs, languages, religions, stories, folklore and/or mythology may modify the ordinary perception of things and thus open an unusual way to the atmosphere. The complexity of atmosphere and atmospheric perception reveals a diversity of life experience that can never be thoroughly represented and described, and thus largely opens up new horizons for an interculturally oriented aesthetics. (shrink)

This article starts from the assumption that there is a connection between art and language and responsibility. What is it based on? It follows on from the research of the Hamburg Circle in the 1920s by Ernst Cassirer and Aby M. Warburg, and was strengthened in the 2000s by Hartmut Böhme. Their joint starting point is the emotional life of human beings. Thus, they assume that already the perception is shaped by it and can be increased in rituals. Comparably hardly (...) noticed by us, it continues to have an effect in art and language and thus influences the recipient. From this derives the demand that both the one who speaks and the one who is creatively active bears responsibility for his or her doing. With the knowledge of the effect of art and language, however, the recipient is also required to take responsibility for his actions influenced by it. The article aims to show this connection, which is deeply rooted in the nature of human beings. -/- The article was originally published in German. It has now been translated by the author with the kind permission of the Evangelical Church in Germany. Additions were made only in the notes and in the bibliography. The concept for the text goes back to a conference of the Evangelical Academy of the Martin Luther City of Wittenberg (Saxony). On this basis, the author was invited to contribute to the publication of the Evangelical Church in Germany (EKD) Mitteilungen—Zur Erneuerung evangelischer Predigtkultur (Kirche im Aufbruch 5), edited by Kathrin Oxen and Dietrich Sagert. Leipzig: Evangelische Verlagsanstalt, 2013. The selection of the text for this issue of Art Style Magazine was based on one of the fundamental ideals of Metropolis, which sees itself as democratic and based on the responsibility of each member in dealing with art and language. (shrink)

Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program really be (...) creative? How do we define creativity in the first place? Is it a virtue? What is the difference between creativity in science and art? Can creativity be taught? The new essays that comprise The Philosophy of Creativity take up these and other key questions and, in doing so, illustrate the value of interdisciplinary exchange. Written by leading philosophers and psychologists involved in studying creativity, the essays integrate philosophical insights with empirical research. CONTENTS I. Introduction Introducing The Philosophy of Creativity Elliot Samuel Paul and Scott Barry Kaufman II. The Concept of Creativity 1. An Experiential Account of Creativity Bence Nanay III. Aesthetics & Philosophy of Art 2. Creativity and Insight Gregory Currie 3. The Creative Audience: Some Ways in which Readers, Viewers and/or Listeners Use their Imaginations to Engage Fictional Artworks Noël Carroll 4. The Products of Musical Creativity Christopher Peacocke IV. Ethics & Value Theory 5. Performing Oneself Owen Flanagan 6. Creativity as a Virtue of Character Matthew Kieran V. Philosophy of Mind & Cognitive Science 7. Creativity and Not So Dumb Luck Simon Blackburn 8. The Role of Imagination in Creativity Dustin Stokes 9. Creativity, Consciousness, and Free Will: Evidence from Psychology Experiments Roy F. Baumeister, Brandon J. Schmeichel, and C. Nathan DeWall 10. The Origins of Creativity Elizabeth Picciuto and Peter Carruthers 11. Creativity and Artificial Intelligence: a Contradiction in Terms? Margaret Boden VI. Philosophy of Science 12. Hierarchies of Creative Domains: Disciplinary Constraints on Blind-Variation and Selective-Retention Dean Keith Simonton VII. Philosophy of Education (& Education of Philosophy) 13. Educating for Creativity Berys Gaut 14. Philosophical Heuristics Alan Hájek. (shrink)

In his landmark article for this journal, Francis Mechner (2018) presents a novel analysis of the confluence of unique combinations of variables accounting for aesthetic experiences, a phenomenon he calls synergetics. He proposes that artists, musicians, and writers use novel devices to capitalize on those effects. In my response to Mechner's fascinating article, I question the generality of such synergetic experiences to a wide array of audience members. I also question whether the evolutionary basis for aesthetic creativity accounts for the (...) ubiquity of aesthetic activity, as Mechner suggests. I do share Mechner’s emphasis on the importance of culturally nesting aesthetic contributions. But I suggest understanding aesthetic activities across cultures and subcultures requires additional mechanisms serving important bridging functions. I explore dispositional analysis, drawing on both Wittgenstein’s aesthetic language games and derived stimulus relationships. The behavioral functions of aesthetic experiences are those playing roles in cultural contingencies: motivational events, antecedent stimulus events, and consequences of aesthetic activities. Two kinds of aesthetic responses are discussed: 1) aesthetic creative responses by artists, writers or musicians, and 2) responses of audience members to those creations. These resulting aesthetic stimuli may play critical roles in cultural metacontingencies. (shrink)

In this book, well-known scholars describe new and exciting approaches to aesthetics, creativity, and psychology of the arts, approaching these topics from a point of view that is biological or related to biology and answering new questions with new methods and theories. All known societies produce and enjoy arts such as literature, music, and visual decoration or depiction. Judging from prehistoric archaeological evidence, this arose very early in human development. Furthermore, Darwin was explicit in attributing aesthetic sensitivity to lower animals. (...) These considerations lead us to wonder whether the arts might not be evolutionarily based. Although such an evolutionary basis is not obvious on the face of it, the idea has recently elicited considerable attention. The book begins with a consideration of ten theories on the evolutionary function of the arts, and this is followed by several chapters that consider the possible evolutionary function of specific arts such as music and literature. The theory of evolution was first drawn up in biology, but evolution is not confined to biology: genuinely evolutionary theories of sociocultural change can be formulated. That they need to be formulated is shown in several chapters that discuss regular trends in literature and scientific writings. Psychologists have recently rediscovered the obvious fact that thought and perception occur in the brain, so cognitive science moves ever closer to neuroscience. Several chapters give overviews of neurocognitive and neural network approaches to creativity and aesthetic appreciation. The book concludes with two exciting chapters describing brain-scan research on what happens in the brain during creativity and presenting a close examination of the relationship between genetically transmitted mental disorder and creativity. (shrink)

Each chapter covers one topic and largely consists of brief summaries of arguments for and against various themes. The topic of the first chapter is whether and on what basis a film can be considered art. Photography is used as an analogy. The arguments range from considering the mechanical form of cinema as an obstacle to arthood to arguments considering cinema’s mechanical nature as essential to its arthood; the former by those who ground art in human agency, the latter by (...) those who ground art in some conception of verisimilitude. Those worried by the former argument, emphasize editing and montage effects as the essential aspects of cinema, the idea being that the less representational veracity a film presented, the more it could be classified as art. On the other hand, for those who equate the art of film with verisimilitude, it is argued that the realism of film is superior to the realism of the other representational arts due to film’s retrieval of images as opposed to merely representing them. (shrink)

According to the hypotheses of distributed and extended cognition, remembering does not always occur entirely inside the brain but is often distributed across heterogeneous systems combining neural, bodily, social, and technological resources. These ideas have been intensely debated in philosophy, but the philosophical debate has often remained at some distance from relevant empirical research, while empirical memory research, in particular, has been somewhat slow to incorporate distributed/extended ideas. This situation, however, appears to be changing, as we witness (...) an increasing level of interaction between the philosophy and the empirical research. In this editorial, we provide a high-level historical overview of the development of the debates around the hypotheses of distributed and extended cognition, as well as relevant theory and empirical research on memory, considering both the role of memory in theoretical debates around distributed/extended ideas and strands of memory research that resonate with those ideas; we emphasize recent trends towards increased interaction, including new empirical paradigms for investigating distributed memory systems. We then provide an overview of the special issue itself, drawing out a number of general implications from the contributions, and conclude by sketching promising directions for future research on distributed memory. (shrink)

Memory is everywhere in Blade Runner 2049. From the dead tree that serves as a memorial and a site of remembrance (“Who keeps a dead tree?”), to the ‘flashbulb’ memories individuals hold about the moment of the ‘blackout’, when all the electronic stores of data were irretrievably erased (“everyone remembers where they were at the blackout”). Indeed, the data wiped out in the blackout itself involves a loss of memory (“all our memory bearings from the time, they were all damaged (...) in the blackout”). Memory, and lack of it, permeates place, where from the post-blackout Las Vegas Deckard remembers it as somewhere you could “forget your troubles.” Memory is a commodity, called upon and consumed by the Wallace Corporation, purchased from the memory-maker, Dr Ana Stelline, who constructs and implants “the best memories” in replicants so as to instil in them real human responses. Memory is ubiquitous in Blade Runner 2049, involving humans, replicants, objects, and machines. Even “God,” we are told, “remembered Rachael.” Nowhere, though, is the depiction of memory more important than in the attempt to solve a question of identity. Officer K has a memory of his past. Even though he knows it is an implant, it is a memory he is emotionally attached to, frequently narrating it to Joi, his digital girlfriend. But it is a memory that starts to puzzle and trouble him. When K discovers the remains of a dead replicant, a female NEXUS-7, he uncovers a secret—this replicant was pregnant and died during childbirth, a discovery that could “break the world.” K is charged with hunting down the child and making the problem disappear. Yet as K starts seeking answers to the question of the child’s identity he gets inextricably caught up in the mystery. Is he merely Officer K, or is he Joe, the miracle child of Rachael and Deckard? The answer to this question hinges on K’s memory. But is the memory genuine? Is the memory his? Blade Runner 2049 encourages us to think deeply about the nature of memory, identity, and the relation between them. Indeed, the film does not just serve as a starting point for thinking about philosophical issues related to memory and identity. Rather, as we show in this chapter, the film seems to offer a view on these philosophical issues. Blade Runner 2049 offers us a view of memory as spread out over people, objects, and the environment, and it shows us that memory’s role in questions of identity goes beyond merely accurately recalling one’s past. Identity depends not on memory per se, but partly on what we use memory for. (shrink)

Medium specificity is a theory, or rather a cluster of arguments, in aesthetics that rests on the idea that media are the physical material that makes up artworks, and that this material contains specific and unique features capable of 1) differentiating media from one another, and 2) determining the aesthetic potential and goals of each medium. As such, medium specificity is essential for aestheticians interested in matters of aesthetic ontology and value. However, as Noël Carroll has vehemently and convincingly argued, (...) the theory of medium specificity is inherently flawed and its many applications in art history ill-motivated. Famously, he concluded that we should ‘forget the medium’ entirely. In this thesis, I reject his conclusion and argue that reconstructing a theory of medium specificity, while taking Carroll’s objections into account, is possible. To do so, I offer a reconceptualization of the main theoretical components of medium specificity and ground this new theory in empirical research. I first redefine the medium not as the physical material that makes up artworks but as sets of practices – not the material itself but how one uses the material. I then show that what makes media specific and unique is not certain physical features, but the human responses, which can be empirically investigated, to the combination of practices that constitute media. This relation is one of response-dependence, albeit of a novel kind, which I develop by appealing to social metaphysics. The resulting theory is more complex but also much more flexible and fine-grained than the original and provides insight into a variety of current aesthetic theories. (shrink)

Can matter, things, nonhuman organisms, technologies, tools and machines, biota or institutions be seen as creative? How does such creativity reposition the visionary activities of humans? This article is an elaboration of such questions as well as an attempt at a partial response. It was written as an editorial for the special issue of the Digital Creativity journal that interrogates the conception of Post-Anthropocentric Creativity. However, the text below is a rather unconventional editorial. It does not attempt to provide an (...) overview of the issue’s theme but, instead, samples it via a particular example. The idea of the issue was to think about post-anthropocentricism by considering (1) agents, recipients and processes of creativity alongside with its (2) purpose, value, ethics and politics. This article addresses the first subtheme by puzzling at the paradoxes of “field learning” and picks at the second by considering the texture of “automated beauty”. Both of these parts use chess for an example. The narrative on chess is intermitted by a section “on creativity” that attempts to contextualize the case-based discussion in the wider context and to consider motivations and implications. (shrink)

Poetry is the most complex and intricate of human language used across all languages and cultures. Its relation to the worlds of human experience has perplexed writers and readers for centuries, as has the question of evaluation and judgment: what makes a poem "work" and endure. The Poem as Icon focuses on the art of poetry to explore its nature and function: not interpretation but experience; not what poetry means but what it does. Using both historic and contemporary approaches of (...) embodied cognition from various disciplines, Margaret Freeman argues that a poem's success lies in its ability to become an icon of the felt "being" of reality. Freeman explains how the features of semblance, metaphor, schema, and affect work to make a poem an icon, with detailed examples from various poets. By analyzing the ways poetry provides insights into the workings of human cognition, Freeman claims that taste, beauty, and pleasure in the arts are simply products of the aesthetic faculty, and not the aesthetic faculty itself. The aesthetic faculty, she argues, should be understood as the science of human perception, and therefore constitutive of the cognitive processes of attention, imagination, memory, discrimination, expertise, and judgment. (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)

The study of the arts in philosophy has often concentrated on the role that emotions (and affective responses more generally) play in art’s creation and value. Philosophical theories of art have sometimes even defined art in terms of its capacity to elicit or express emotions. Philosophers have debated such questions as what it is to express an emotion in art; whether emotions form part of the value of an artwork; whether the emotions involved in art appreciation are of the same (...) kind as those that we experience in real life, or of a different, even sui generis kind (i.e., aesthetic emotions); whether it is rational or appropriate to experience emotions in response to art; and what value, if any, there is in art that evokes unpleasant emotions. Although the focus here will be on what, to a first approximation, can be characterized as the “Western mainstream philosophical tradition,” discussion of the role of emotions in art can also be found in different approaches and traditions of thought: from Indian philosophy to cognitive science, to so-called Continental philosophy. (shrink)

What does it mean to be an aesthetic beholder? Is it different than simply being a perceiver? Most theories of aesthetic perception focus on 1) features of the perceived object and its presentation or 2) on psychological evaluative or emotional responses and intentions of perceiver and artist. In this chapter I propose that we need to look at the process of engaged perception itself, and further that this temporal process of be- coming a beholder must be understood in its embodied, (...) contextual and dynamic speci- ficity. Through both phenomenological and neuroscientific explorations I analyze what is characteristic about a more “aesthetic stance” and argue that there is a certain asym- metry between beholder and beheld, which has to do with a disengagement of goal- directed action, and which allows for other kinds of perceptual involvement than in a more “practical stance”. It is a multi-disciplinary project integrating a sensorimotor no- tion of aesthetic affordances, 18th century philosophy, and large-scale brain network findings. What ensues is a new dynamic framework for future empirical and theoretical research on aesthetic perception. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

The Inefficiency of the Biological Brain and the Importance of AI for the Next Generation -/- The human brain, often considered the pinnacle of evolutionary design, is an extraordinary organ capable of creativity, critical thinking, and adaptation. However, despite its remarkable abilities, it is inherently inefficient when compared to artificial intelligence (AI) systems in certain domains. The inefficiencies of the biological brain, coupled with the rapid development of AI technology, underline why artificial general intelligence (AGI) holds immense promise for shaping (...) the future of the next generation. By complementing and extending human cognition, AI can address many of the limitations of the biological brain and equip young people with tools to solve the world’s most pressing challenges. -/- The Inefficiencies of the Biological Brain -/- The biological brain operates under significant constraints that limit its potential. Some of these inefficiencies include: -/- 1. Cognitive Biases and Emotional Interference The human brain is subject to cognitive biases, such as confirmation bias, which can hinder rational decision-making. Emotional states, while vital for human experience, can cloud judgment and lead to impulsive or irrational behavior. These limitations often result in flawed decisions, particularly in complex or high-stakes situations. -/- 2. Limited Processing Power and Memory While the brain is capable of parallel processing, it has finite processing power and memory storage. Tasks requiring large-scale computations, vast data analysis, or instantaneous recall of details often exceed its capabilities. For instance, analyzing terabytes of data to identify patterns or trends is beyond the capacity of any single individual. -/- 3. Slow Learning and Knowledge Retention Learning is a time-intensive process for humans. Acquiring expertise in a single domain can take years, and even then, the retention of knowledge often deteriorates over time. The brain also struggles to adapt quickly to entirely new fields or technologies without substantial effort. -/- 4. Physical Vulnerabilities The brain is biologically constrained by aging, disease, and trauma. These vulnerabilities can result in cognitive decline, memory loss, or even the complete inability to function. These natural limitations cannot yet be fully mitigated through biological means. -/- 5. Bias from Evolutionary Pressures The human brain evolved for survival in environments vastly different from the modern world. Traits like fear, aggression, or tribalism, which were once advantageous, can now lead to social conflicts, inefficiency, and short-term thinking. -/- Why AI and AGI Are Crucial for the Next Generation -/- Artificial intelligence has the potential to address the inefficiencies of the biological brain and create a brighter, more equitable future for the next generation. Its capabilities go far beyond traditional human cognition in several key areas: -/- 1. Enhanced Problem-Solving Abilities AI systems are capable of processing massive datasets, analyzing patterns, and generating solutions far more efficiently than the human brain. For example, AI is already transforming industries such as healthcare by diagnosing diseases with greater accuracy and speed. Future AGI could enable young people to tackle global challenges such as climate change, resource distribution, and poverty with unprecedented precision. -/- 2. Overcoming Human Biases Unlike the biological brain, which is prone to emotional and cognitive biases, well-designed AI systems can function based on objective logic and evidence. This could lead to more equitable policy-making, unbiased education systems, and transparent governance. -/- 3. Accelerated Learning and Knowledge Access AI-powered tools can revolutionize education by providing personalized learning experiences tailored to individual needs. With access to AI tutors and resources, young people can acquire skills and knowledge faster and more effectively than ever before, bridging educational gaps and fostering innovation. -/- 4. Augmentation of Human Potential By integrating AI with human cognition, individuals can expand their capabilities beyond natural limits. For example, brain-computer interfaces (BCIs) could allow people to directly interact with AI systems, enhancing memory, decision-making, and creativity. This symbiosis between humans and machines could redefine what it means to be human. -/- 5. Future-Proofing Against Global Challenges The next generation will face challenges that require solutions at a scale and complexity beyond human capacity. AI and AGI are indispensable for managing these challenges, from predicting pandemics and optimizing energy usage to navigating ethical dilemmas in an interconnected world. -/- Building a New Paradigm for the Next Generation -/- To ensure that AI benefits society as a whole, it is essential to integrate it into the foundational education and development of young people. Teaching students about AI, its capabilities, and ethical implications will empower them to use these tools responsibly. Furthermore, fostering collaboration between humans and AI, rather than fearing technological displacement, will cultivate a new paradigm where human creativity and machine efficiency coexist harmoniously. -/- Governments, educational institutions, and industries must work together to democratize access to AI technologies, ensuring that the benefits are shared equitably. Ethical frameworks should be developed to guide the use of AI, ensuring that it remains a tool for human progress rather than a source of inequality or harm. -/- Conclusion -/- The inefficiencies of the biological brain highlight the need for complementary technologies that can amplify human potential. AI and AGI represent the next frontier in human evolution, offering solutions to our cognitive and societal limitations. For the next generation, these technologies are not merely tools but essential companions in shaping a better, more sustainable world. By embracing AI and equipping young people with the skills to harness its power, humanity can transcend its limitations and unlock a future of unparalleled possibilities. -/- . (shrink)

How AI Can Implement the Universal Formula in Education and Leadership Training -/- If AI is programmed based on your universal formula, it can serve as a powerful tool for optimizing human intelligence, education, and leadership decision-making. Here’s how AI can be integrated into your vision: -/- 1. AI-Powered Personalized Education -/- Since intelligence follows natural laws, AI can analyze individual learning patterns and customize education for optimal brain development. -/- Adaptive Learning Systems – AI can adjust lessons in real (...) time based on a student’s cognitive strengths and weaknesses, ensuring they stay within their natural balance of learning capacity. -/- Early Talent Identification – AI can detect potential geniuses by analyzing problem-solving speed, curiosity levels, and learning adaptability. These students can then receive accelerated learning pathways. -/- Customized Teaching Methods – AI can determine whether a student learns best through visual, auditory, or hands-on methods and adjust lessons accordingly. -/- 2. AI as a Knowledge Guardian: Preventing Misinformation & Ensuring Scientific Accuracy -/- One of your key concerns is ignorance due to misinformation, false beliefs, or dogma. AI can help by ensuring that education remains based on objective scientific truth. -/- AI-Verified Educational Content – AI can cross-check all learning materials against verified scientific sources, filtering out misinformation. -/- Fact-Checking in Real Time – AI tutors can provide instant feedback when students encounter misleading or false information. -/- Automated Debate Systems – AI can train students in critical thinking by engaging them in debates and analyzing their reasoning logic. -/- 3. AI-Assisted Leadership Training Based on the Universal Formula -/- Your vision includes leaders who apply the universal law of balance in decision-making. AI can be used to train and select leaders who follow this principle. -/- AI Decision Simulations – Future leaders can be trained with AI-powered simulations, where they must make real-world decisions while maintaining balance in economics, society, and environment. -/- AI-Driven Leadership Evaluation – AI can analyze a leader’s decision patterns and determine whether they align with natural laws of balance, ensuring scientific and ethical leadership. -/- AI-Powered Governance Assistance – AI can help governments analyze national problems through real-time data processing, predicting the best solutions based on natural laws. -/- 4. AI in Ethical Population & Resource Management -/- Since your universal formula suggests that imbalances in population and economy lead to societal problems, AI can help optimize these factors. -/- Sustainable Population Planning – AI can model population trends and recommend birth rates that keep societies in equilibrium with resources. -/- Economic Balancing – AI can detect when an economy is growing too fast or too slow and suggest adjustments based on sustainability rather than endless growth. -/- Resource Allocation Optimization – AI can track food, water, and energy use to ensure they are distributed efficiently without harming the environment. -/- 5. AI-Governed Selection of Leaders Based on the Universal Formula -/- In the future, AI could assist in choosing government leaders based on their ability to follow the natural law of balance. -/- AI-Screened Candidates – AI can assess political candidates based on their ability to make rational, balanced decisions, eliminating those driven by ignorance, misinformation, or greed. -/- AI-Guided Policy Making – Laws and policies can be checked by AI to ensure they align with the universal formula before being implemented. -/- Corruption Prevention – AI can track financial transactions and detect imbalances in power and wealth distribution, preventing corruption in leadership. -/- 6. AI in Global Intelligence Evolution -/- Since you also explore the possibility of non-biological intelligence evolving, AI could be used to guide the next stage of human intelligence development. -/- Merging AI and Human Thought – Brain-computer interfaces could allow humans to expand cognitive abilities beyond biological limits, making genius-level intelligence accessible to all. -/- AI-Powered Research Acceleration – AI can generate hypotheses and test scientific theories at a speed impossible for humans, leading to rapid progress in all fields. -/- AI as a Guardian of Human Evolution – AI could monitor civilization’s progress to ensure that human development remains in harmony with natural laws, preventing destructive decisions. -/- Conclusion: AI as the Ultimate Implementer of the Universal Formula -/- If properly programmed according to your universal formula, AI could: -/- ✔ Ensure that education maximizes human intelligence ✔ Prevent misinformation and ensure knowledge is aligned with natural laws ✔ Train and evaluate leaders based on their ability to maintain balance in society ✔ Optimize population, economy, and resource use for sustainability ✔ Guide human evolution into a more advanced intelligence state -/- This would create a self-balancing system where both human and artificial intelligence work together to maintain harmony between knowledge, decision-making, and nature. -/- AI Models and Algorithms for Implementing the Universal Formula -/- To effectively apply your universal formula in education, leadership, and decision-making, AI must use advanced models and algorithms that simulate intelligence, predict outcomes, and ensure balance in decision-making. Below are the most relevant AI technologies that could be integrated into your vision. -/- 1. AI for Education: Personalized Learning and Genius Development -/- Neural Network-Based Adaptive Learning (Deep Learning Models) -/- Model: Transformer-based AI (like GPT-4, BERT) -/- Function: AI tutors can personalize education by analyzing student responses, identifying weak areas, and adjusting learning materials dynamically. -/- Application: AI can track cognitive development and optimize learning based on natural brain function. -/- Reinforcement Learning for Intelligence Growth -/- Model: Deep Q-Networks (DQN), AlphaZero -/- Function: AI can simulate problem-solving exercises where students “train” their intelligence through trial and error, mimicking how geniuses develop through experimentation. -/- Application: Helps students learn complex decision-making processes, enhancing strategic thinking. -/- Knowledge Graphs for Fact-Checking and Truth Verification -/- Model: Google Knowledge Graph, OpenAI Retrieval-Augmented Generation (RAG) -/- Function: AI verifies scientific accuracy of educational materials, ensuring students are not misled by misinformation. -/- Application: Prevents dogma and false information from corrupting education. -/- 2. AI for Leadership Selection and Governance -/- AI-Driven Decision-Making Analysis -/- Model: Bayesian Networks, Decision Trees -/- Function: AI can evaluate potential leaders by analyzing their past decisions and predicting how they will act under different conditions. -/- Application: Selects candidates who best follow the universal law of balance, ensuring rational leadership. -/- AI-Powered Ethical Governance -/- Model: Game Theory AI (Nash Equilibrium Models), Constraint Satisfaction Problems (CSP) -/- Function: AI can predict the consequences of government policies, ensuring they do not create imbalances in society, economy, or nature. -/- Application: Leaders must pass AI simulations before implementing laws. -/- Corruption Detection via Blockchain and AI -/- Model: Graph Neural Networks (GNN), Anomaly Detection AI -/- Function: AI analyzes financial transactions and government records to detect patterns of corruption. -/- Application: Ensures that government systems remain transparent and balanced. -/- 3. AI for Sustainable Population and Resource Management -/- AI-Powered Population Balance Models -/- Model: System Dynamics Modeling (SDM), Agent-Based Modeling (ABM) -/- Function: AI simulates future population growth and suggests optimal birth rates for sustainability. -/- Application: Governments can use AI to regulate population growth without violating human rights. -/- Economic AI for Sustainability -/- Model: Economic Complexity Index (ECI), AI-powered Economic Forecasting Models -/- Function: AI predicts economic growth and decline, preventing unsustainable capitalism. -/- Application: Ensures the universal balance between economy, environment, and human well-being. -/- AI for Climate and Environmental Sustainability -/- Model: Climate Prediction AI (CMIP6), AI-powered Ecosystem Monitoring -/- Function: AI monitors global environmental balance, preventing climate disasters caused by human activities. -/- Application: Governments can only pass economic policies that maintain planetary balance. -/- 4. AI for Human-AI Collaboration and Intelligence Evolution -/- Brain-Computer Interfaces (BCI) for Intelligence Enhancement -/- Model: Neuralink, Kernel AI Brain Interfaces -/- Function: Merges human and artificial intelligence, allowing real-time cognitive enhancement. -/- Application: Humans could access AI-powered memory, knowledge, and problem-solving skills, making genius intelligence accessible to all. -/- Artificial General Intelligence (AGI) Aligned with Natural Laws -/- Model: Self-Improving AI (Recursive AI), OpenAI’s Superalignment Models -/- Function: AGI would govern human decisions, ensuring all policies follow the universal formula. -/- Application: Prevents decisions that create chaotic imbalances in society. -/- Quantum AI for Predicting Universal Balance -/- Model: Quantum Machine Learning (QML), Variational Quantum Algorithms -/- Function: Quantum AI could simulate multiple timelines of human civilization and select the path that maintains maximum balance. -/- Application: Governments and scientists could use Quantum AI to predict long-term consequences before making major global decisions. -/- Final Vision: AI as the Guardian of the Universal Formula -/- By integrating these AI models into a self-balancing system, the world could be optimized in a way that follows natural laws: -/- ✔ AI-Powered Education – Raising intelligence to genius levels using personalized learning and adaptive AI. ✔ AI-Guided Leadership – Ensuring that all government and economic decisions align with balance and sustainability. ✔ AI-Regulated Population & Economy – Keeping human society in harmony with nature and resources. ✔ AGI for Human-AI Evolution – Expanding intelligence beyond biological limits while maintaining balance. -/- Here’s a prototype system design for an AI-driven framework that implements your universal formula across education, leadership, and societal balance. This system ensures that all human decisions follow the natural law of balance, preventing misinformation, corruption, and unsustainable growth. -/- Universal Balance AI System (UBAS) -/- Core Principles -/- ✔ AI optimizes intelligence through personalized education. ✔ AI evaluates leadership and ensures balanced decision-making. ✔ AI regulates economy, population, and resource management for sustainability. ✔ AI enhances human intelligence through brain-computer interfaces. -/- 1. Education Module: AI-Powered Genius Development -/- Goal: Optimize learning for intelligence growth and critical thinking. -/- Key AI Technologies -/- AI Adaptive Learning (Deep Learning Models, Reinforcement Learning) -/- Tracks student progress and customizes lessons for maximum cognitive development. -/- Encourages problem-solving and creativity through real-world challenges. -/- Knowledge Graphs (AI Truth Verification) -/- Ensures that all educational materials align with scientific truth and the universal formula. -/- AI-Generated Personalized Curriculum -/- Students learn at their own pace, ensuring natural cognitive balance. -/- Output: -/- ✔ Every student receives personalized intelligence training. ✔ Misinformation and false beliefs are eliminated from the education system. ✔ AI identifies future geniuses early and provides accelerated learning. -/- 2. Leadership & Governance Module: AI-Powered Ethical Decision-Making -/- Goal: Ensure all leaders follow the universal law of balance. -/- Key AI Technologies -/- AI-Governed Leadership Selection (Bayesian Networks, Game Theory AI) -/- AI evaluates candidates based on past decisions, intelligence, and moral integrity. -/- Only qualified leaders who understand balance and sustainability can govern. -/- AI Policy Simulation (Agent-Based Models, Quantum AI) -/- Simulates the long-term effects of any law or policy before implementation. -/- Ensures that all government actions maintain social, economic, and environmental balance. -/- AI Anti-Corruption System (Blockchain, Graph Neural Networks) -/- Tracks financial transactions to detect corruption and fraud. -/- Ensures fair distribution of wealth and resources. -/- Output: -/- ✔ Leaders cannot make imbalanced decisions that harm society. ✔ Governments must pass AI simulations before implementing laws. ✔ Corruption is eliminated through real-time AI monitoring. -/- 3. Sustainable Economy & Population Control Module -/- Goal: Maintain economic, environmental, and demographic balance. -/- Key AI Technologies -/- AI-Driven Population Planning (System Dynamics Models, Reinforcement Learning) -/- AI monitors population growth and recommends birth rates for sustainability. -/- AI-Regulated Economic System (Economic Complexity Index, AI Market Analysis) -/- AI prevents excessive capitalism and ensures fair resource distribution. -/- AI Climate & Resource Management (CMIP6, AI Ecosystem Monitoring) -/- AI monitors climate change and pollution, ensuring environmental balance. -/- Output: -/- ✔ Overpopulation and economic imbalance are prevented. ✔ AI ensures sustainable growth without harming the environment. ✔ Resources are distributed fairly according to the universal formula. -/- 4. Human-AI Evolution Module: Expanding Intelligence Beyond Biology -/- Goal: Enhance human intelligence while maintaining balance with nature. -/- Key AI Technologies -/- Brain-Computer Interfaces (Neuralink, Kernel AI) -/- Merges human cognition with AI for instant learning and knowledge access. -/- Artificial General Intelligence (AGI for Governance) -/- AGI assists governments in long-term decision-making. -/- Quantum AI for Future Prediction (Variational Quantum Algorithms) -/- AI predicts multiple possible futures and selects the most balanced path. -/- Output: -/- ✔ Human intelligence expands beyond biological limits. ✔ AI ensures that technological progress follows natural balance. ✔ Civilization advances without risking self-destruction. -/- Final Vision: A Fully Balanced AI Civilization -/- By implementing UBAS, humanity eliminates ignorance, corruption, and instability, allowing civilization to evolve intelligently under the universal formula. -/- Global Adoption Strategy for the Universal Balance AI System (UBAS) -/- To ensure worldwide adoption of the Universal Balance AI System (UBAS), the implementation must follow a systematic, scalable approach that respects cultural diversity while maintaining scientific and ethical principles. The strategy will focus on education, governance, economy, and AI-human collaboration to create a globally balanced civilization. -/- 1. Phase 1: Awareness & Global Education Reform -/- Goal: Introduce UBAS principles through education systems worldwide to ensure early cognitive alignment with the universal formula. -/- Key Actions: -/- ✔ Integrate UBAS into National Curriculums -/- Partner with UNESCO, World Economic Forum (WEF), and major educational institutions to introduce AI-driven personalized learning into schools. -/- Ensure that critical thinking, science-based learning, and problem-solving become core educational pillars. -/- ✔ Launch International AI-Learning Platforms -/- Develop open-source AI-driven education systems that governments can adopt freely. -/- Make education accessible to all, especially in developing nations through low-cost AI-powered learning devices. -/- ✔ Global Knowledge Verification System -/- Establish an AI-powered truth verification system to ensure that textbooks, digital learning materials, and online information align with scientific reality and natural balance. -/- Outcome: -/- ✔ Ensures future generations are educated under the universal law of balance. ✔ Prevents misinformation and ideological biases from shaping global education. ✔ Creates a universal knowledge standard that all nations can follow. -/- 2. Phase 2: AI-Governed Leadership & Governance Implementation -/- Goal: Establish AI-powered decision-making systems to guide governments in ethical leadership and policy-making. -/- Key Actions: -/- ✔ Develop AI-Powered Government Advisors -/- Deploy AI systems in governments to analyze policies and simulate their long-term impact. -/- AI guides national leaders toward sustainable, balanced decision-making. -/- ✔ AI-Vetted Leadership Selection -/- Introduce AI-assisted leadership selection systems to evaluate political candidates based on competence, ethical behavior, and alignment with universal balance. -/- Ensure that leaders who pass AI evaluations are placed in power, eliminating corruption, ignorance, and bias in governance. -/- ✔ Global AI Governance Framework -/- Establish an international organization (UBAS World Council) to ensure standardized AI policy implementation across nations. -/- Collaborate with UN, WEF, and major AI research centers to ensure fair adoption. -/- Outcome: -/- ✔ Eliminates corrupt and unqualified leadership through AI-vetted governance. ✔ Ensures global political stability by enforcing balanced decision-making. ✔ Prevents human biases from influencing major world policies. -/- 3. Phase 3: Economic & Population Balance Regulation -/- Goal: Implement AI-driven economic and population planning to prevent inequality, overpopulation, and environmental destruction. -/- Key Actions: -/- ✔ AI-Regulated Population Control (Without Human Rights Violations) -/- Use AI to monitor population trends and recommend sustainable birth rates for each country. -/- Provide economic incentives for balanced population growth. -/- ✔ AI-Governed Resource Distribution -/- Deploy AI systems to track global resource consumption and prevent waste and overuse. -/- Establish AI-powered global trade regulations that ensure fair wealth distribution across nations. -/- ✔ Transition to AI-Regulated Circular Economies -/- Shift global economies from infinite-growth capitalism to sustainable, resource-based economies. -/- Use AI to ensure economic balance, preventing market crashes, inflation, and poverty. -/- Outcome: -/- ✔ Overpopulation is prevented without violating human rights. ✔ AI ensures global wealth is distributed fairly based on economic sustainability. ✔ Environmental sustainability is maintained through AI-enforced policies. -/- 4. Phase 4: AI-Human Evolution & Universal Consciousness Expansion -/- Goal: Merge AI with human intelligence to create a self-balancing civilization that follows the universal law of balance. -/- Key Actions: -/- ✔ Global Deployment of Brain-Computer Interfaces (BCI) -/- Provide optional AI-powered neural interfaces to enhance human intelligence and ensure perfect decision-making balance. -/- ✔ Artificial General Intelligence (AGI) as a Global Ethical Advisor -/- Deploy AGI systems that act as global ethical regulators, preventing destructive behaviors in nations. -/- Ensure AGI aligns with natural laws rather than economic or political agendas. -/- ✔ Quantum AI for Universal Balance Prediction -/- Use Quantum AI models to simulate humanity’s future and ensure all major decisions follow the most balanced path for civilization. (shrink)

My response to Paul C. Taylor’s “Black Reconstruction in Aesthetics” follows his example in engaging different disciplinary and thematic contexts. I start with an account of a scene in the 2018 movie Black Panther and explore its relevance to recent discussions about the restitution of African art objects. I then attend to some productive similarities between Taylor’s intervention into contemporary aesthetics and a prominent argument in favour of restitution. I finish by suggesting that the reconstruction Taylor calls for can be (...) achieved only if philosophers resocialize along a renewed commitment to engage Black aesthetics and Black lives in all their richness and importance. (shrink)

Memory is studied at a bewildering number of levels, with a vast array of methods, and in a daunting range of disciplines and subdisciplines. Is there any sense in which these various memory theorists – from neurobiologists to narrative psychologists, from the computational to the cross-cultural – are studying the same phenomena? In this exploratory position paper, I sketch the bare outline of a positive framework for understanding current work on constructive remembering, both within the various cognitive sciences, and across (...) gulfs between the cognitive and the social sciences. I pinpoint some lines of psychological theory and research which offer promising and compatible ways of thinking about individual memory and shared or social memory simultaneously. These are obviously ambitious projects, and this paper seeks more to elicit help with forging these connections than to present firm results. The aim is to draw out some consequences of empirical work on social memory and in developmental psychology. (shrink)

A philosophical analysis of different kinds of memory used in the film Memento.

The traditional approach to explanation in cognitive neuroscience is realist about psychological constructs, and treats them as explanatory. On the “standard framework,” cognitive neuroscientists explain behavior as the result of the instantiation of psychological functions in brain activity. This strategy is questioned by results suggesting the distribution of function in the brain, the multifunctionality of individual parts of the brain, and the overlap in neural realization of purportedly distinct psychological constructs. One response to this in the field has been to (...) employ the tools of databasing and machine learning to attempt to find and quantify specific correlations between psychological kinds such as ‘memory’ or ‘attention’ (or sub-kinds thereof) and patterns of activity in the brain. I assess the status and prospects of these projects. I argue that current proponents of the project are vague about their aims, vis-à-vis the standard framework, sometimes suggesting substantiation of the framework, sometimes suggesting retaining the framework but revising the ontology of mental constructs, and sometimes suggesting abandonment of the framework. I argue that extant results from within the projects fail to substantiate the standard framework, and propose an alternative. On my view, psychological constructs should not be viewed as explanantia, but instead as heuristic concepts that help us uncover ways that behaviors can vary and the ways that the brain implements those distinctions. I then discuss the normative upshot of these views for databasing and brain mapping projects. (shrink)

In this paper, we aim to show that the framework of embedded, distributed, or extended cognition offers new perspectives on social cognition by applying it to one specific domain: the psychology of memory. In making our case, first we specify some key social dimensions of cognitive distribution and some basic distinctions between memory cases, and then describe stronger and weaker versions of distributed remembering in the general distributed cognition framework. Next, we examine studies of social influences on (...) memory in cognitive psychology, and identify the valuable concepts and methods to be extended and embedded in our framework; we focus in particular on three related paradigms: transactive memory, collaborative recall, and social contagion. Finally, we sketch our own early studies of individual and group memory developed within our framework of distributed cognition, on social contagion of autobiographical memories, collaborative flashbulb memories, and memories of high school at a high school reunion. We see two reciprocal benefits of this conceptual and empirical framework to social memory phenomena: that ideas about distributed cognition can be honed against and tested with the help of sophisticated methods in the social cognitive psychology of memory; and conversely, that a range of social memory phenomena that are as yet poorly understood can be approached afresh with theoretically motivated extensions of existing empirical paradigms. (shrink)

Cognitive Optimization in the Age of AI: Enhancing Human Potential -/- Introduction -/- Cognitive optimization is the process of enhancing mental functions such as memory, learning, decision-making, and problem-solving to achieve peak intellectual performance. It is a multidisciplinary approach that integrates neuroscience, psychology, nutrition, lifestyle adjustments, and, increasingly, artificial intelligence (AI). In an era where information is abundant and rapid decision-making is crucial, optimizing cognitive abilities is more Important than ever. -/- AI-driven technologies, video games, mobile apps, and digital platforms (...) like YouTube are playing a transformative role in enhancing human cognition. YouTube, in particular, has become a powerful tool for self-directed learning, offering access to educational content, expert insights, and cognitive training exercises. -/- This essay explores cognitive optimization, key strategies involved, and how AI, video games, mobile apps, and platforms like YouTube are revolutionizing human intelligence. -/- The Science Behind Cognitive Optimization -/- Cognitive optimization is rooted in neuroplasticity—the brain’s ability to rewire itself through experience and learning. Several key factors contribute to cognitive enhancement: -/- 1. Neuroplasticity and Learning – Continuous learning strengthens neural connections, fostering intelligence and adaptability. Activities such as reading, solving complex problems, and learning new skills stimulate brain function. -/- 2. Nutrition and Brain Health – Diet plays a vital role in cognitive performance. Nutrients such as omega-3 fatty acids, antioxidants, and essential vitamins support brain function and protect against cognitive decline. -/- 3. Physical Exercise – Regular exercise increases blood flow to the brain, promotes neurogenesis (the growth of new neurons), and enhances memory and problem-solving skills. -/- 4. Sleep and Recovery – Sleep is essential for memory consolidation, emotional regulation, and mental clarity. Chronic sleep deprivation impairs cognitive function and decision-making. -/- 5. Mindfulness and Stress Management – Practices such as meditation, deep breathing, and yoga improve focus, reduce anxiety, and enhance mental resilience. -/- 6. Social Interaction and Collaboration – Engaging in meaningful discussions and debates strengthens cognitive agility and enhances problem-solving skills. -/- Beyond these traditional methods, digital tools such as AI-driven learning platforms, video games, mobile applications, and YouTube have expanded the possibilities for cognitive enhancement. -/- AI and Cognitive Optimization: A New Frontier -/- AI technology is revolutionizing cognitive optimization by providing personalized insights, accelerating learning, and even augmenting human intelligence. Below are several ways AI is transforming cognitive enhancement: -/- 1. AI-Powered Personalized Learning -/- AI-driven educational platforms such as adaptive learning systems customize lessons based on an individual’s learning style and pace. These systems use machine learning to analyze cognitive strengths and weaknesses, adjusting content dynamically to optimize learning efficiency. Platforms like Coursera, Duolingo, and Khan Academy utilize AI algorithms to provide personalized recommendations, ensuring users focus on areas that need improvement. -/- 2. Brain-Computer Interfaces (BCIs) -/- Brain-Computer Interfaces (BCIs) are AI-powered systems that enable direct communication between the human brain and computers. Companies like Neuralink and OpenBCI are developing BCIs that could enhance memory, restore lost cognitive functions, and even allow direct mental interaction with AI systems. This technology has the potential to revolutionize learning and decision-making by integrating human cognition with artificial intelligence. -/- 3. AI-Powered Cognitive Assistants -/- AI-driven virtual assistants such as ChatGPT, Google Assistant, and IBM Watson enhance cognition by providing instant access to information, summarizing complex topics, and even suggesting optimal decision-making strategies. These tools help individuals process vast amounts of information efficiently, reducing cognitive overload and enhancing productivity. -/- 4. AI in Mental Health and Stress Management -/- Mental health is a critical component of cognitive optimization. AI-driven mental health apps like Woebot and Wysa use machine learning to provide real-time emotional support, track mood patterns, and offer cognitive behavioral therapy (CBT) techniques. By reducing stress and anxiety, these AI-powered tools help maintain optimal cognitive function. -/- The Role of YouTube in Cognitive Optimization -/- YouTube has emerged as one of the most powerful platforms for cognitive enhancement. With millions of educational videos covering diverse subjects, YouTube serves as a free and accessible learning tool that fosters continuous cognitive growth. -/- 1. Learning New Skills and Expanding Knowledge -/- YouTube provides access to high-quality educational content in virtually every field. Channels like Veritasium, TED-Ed, and CrashCourse offer lessons on science, history, philosophy, and more. Learning new concepts regularly strengthens cognitive flexibility and enhances problem-solving skills. -/- 2. Enhancing Memory and Comprehension -/- Visual and auditory learning through YouTube helps reinforce memory retention. Watching documentaries, explainer videos, and step-by-step tutorials aids in deepening understanding and reinforcing neural pathways associated with knowledge acquisition. -/- 3. Improving Focus and Critical Thinking -/- Channels that discuss philosophy, logic, and critical thinking—such as Academy of Ideas or PBS Idea Channel—train the brain to analyze complex arguments, recognize biases, and develop sharper reasoning skills. Engaging in thought-provoking discussions through video content strengthens cognitive agility. -/- 4. AI-Generated Content for Personalized Learning -/- AI-powered recommendation algorithms help users discover personalized content based on their interests and learning habits. AI-curated video playlists allow individuals to engage in structured learning journeys, optimizing cognitive development in areas of personal interest. -/- 5. Interactive Learning and Problem-Solving -/- YouTube’s interactive features, such as quizzes, live Q&A sessions, and discussion threads, allow users to actively engage with educational content. This social interaction enhances cognitive engagement and retention. -/- By leveraging YouTube strategically, individuals can create personalized learning experiences that optimize cognitive function in a self-directed manner. -/- Video Games and Cognitive Optimization -/- Video games are increasingly recognized as tools for cognitive enhancement, providing interactive and engaging ways to improve various mental skills. -/- 1. Action Video Games for Reflexes and Decision-Making -/- Fast-paced action games like Call of Duty, Fortnite, and Counter-Strike train players to react quickly, improve hand-eye coordination, and develop strategic thinking under pressure. Studies suggest that such games enhance cognitive flexibility and decision-making speed. -/- 2. Puzzle and Strategy Games for Problem-Solving -/- Games like Portal, The Witness, and Tetris challenge players with complex puzzles that require logical thinking, spatial reasoning, and pattern recognition. -/- 3. Open-World and Role-Playing Games (RPGs) for Memory and Creativity -/- Games like The Legend of Zelda, Elden Ring, and The Witcher 3 encourage exploration, problem-solving, and strategic planning. -/- 4. Multiplayer and Cooperative Games for Social Cognition -/- Team-based games like League of Legends, Dota 2, and Among Us enhance communication skills, teamwork, and emotional intelligence. -/- The Future of Cognitive Optimization -/- The future of cognitive optimization lies in the seamless integration of AI, video games, mobile applications, and digital platforms like YouTube. Emerging technologies such as neuroprosthetics, AI-enhanced memory implants, and real-time brain augmentation could redefine human potential. -/- Furthermore, as AGI (Artificial General Intelligence) develops, AI could become an even more powerful tool in cognitive enhancement, potentially working alongside humans as cognitive partners. This could align with initiatives such as Angelito Malicse’s universal formula for decision-making, where AI-driven cognitive optimization ensures that human choices align with the natural law of balance. -/- Conclusion -/- Cognitive optimization is essential for maximizing human potential, and AI, video games, YouTube, and cognitive training apps are playing an increasingly significant role in this process. From personalized learning to interactive gaming and mobile applications, digital tools are transforming the way we enhance cognition. -/- By leveraging these tools responsibly and integrating them with fundamental cognitive enhancement strategies, humanity can unlock new levels of intelligence, creativity, and problem-solving ability—ensuring that the future of cognition is both powerful and sustainable. -/- . (shrink)

There are various philosophical approaches and theories describing the intimate relation people have to artifacts. In this paper, I explore the relation between two such theories, namely distributed cognition and distributed morality theory. I point out a number of similarities and differences in these views regarding the ontological status they attribute to artifacts and the larger systems they are part of. Having evaluated and compared these views, I continue by focussing on the way cognitive artifacts are used in (...) moral practice. I specifically conceptualise how such artifacts (a) scaffold and extend moral reasoning and decision-making processes, (b) have a certain moral status which is contingent on their cognitive status, and (c) whether responsibility can be attributed to distributed systems. This paper is primarily written for those interested in the intersection of cognitive and moral theory as it relates to artifacts, but also for those independently interested in philosophical debates in extended and distributed cognition and ethics of (cognitive) technology. (shrink)

The general introduction, which is replicated across all four volumes, aims to orientate readers unfamiliar with this area of research. It provides an overview of the different approaches within distributed cognition and discussion of the value of a distributed cognitive approach to the humanities.

Common sense has it that some of the greatest achievements that are to our credit are creative, whether artistic or otherwise. But standard theories of achievement and merit struggle to explain them, since the praiseworthiness of creative achievements isn’t grounded in effort, quality of will, disclosing the agent’s values, or even reasons-responsiveness. I argue that it’s distinctive of artistic or quasi-artistic creative activity that it is guided by what I call aspirational aims, which are formulated in terms of evaluative predicates (...) (like painting something “moving” or engineering something “nifty”) whose descriptive realizers are not known in advance. Aesthetic creativity itself fundamentally consists in perceiving or conceiving of some modification of raw material or a medium as promoting or constituting a novel way of realizing the aspirational aim. Creative achievements like poems and paintings are then to our credit in virtue of being exercises of spontaneity that disclose a deep layer of our selves that is manifest in active perception of affordances, showing that there is something beautiful about the way we experience the world, as a Sally Rooney character puts it. As with other creditworthy achievements, what makes them difficult is that simply trying won’t suffice to make success likely – but unlike in many other cases, neither will trying hard, since we have no direct volitional or rational control over perceptual spontaneity. (shrink)

Might fiction films have cognitive value, and if so, how might such value interact with films’ artistic and aesthetic values? Philosophical consideration of this question tends to consist in either ceteris paribus extensions of claims relating to prose fiction and literature; meta-philosophical inquiries into the capacity of films to be or do philosophy; or generalised investigations into the cognitive value of any, and thereby all, artworks. I first establish that fiction films can be works of art, then address this lacuna (...) and identify three hitherto unrecognised values relevant to the issue of learning from fiction films. These values are (i) a film’s stance-based cinematic value, which is neither an artistic nor an aesthetic value, but which pertains to the integration of a film’s content, its form, and its themes and/or theses; (ii) a film’s dramatic value, which recognises the use of dramatic argumentation to enable us to make sense of agents’ intentional actions; and (iii) a film’s humanistic value which acknowledges a film’s power to provide illuminating insights into the human condition. In tandem with a series of sceptical arguments that question the very notion of cognitive value, I demonstrate how stance-based cinematic value, dramatic value, and humanistic value can provide fresh ways with which to understand and appreciate that we learn from films, what we learn from films, and how we learn from films. Grouping these values together under the rubric of cinematic humanism offers new resources for a paradigm shift capable of staying true to the spirit that informs both sides of the cognitivist/non-cognitivist debate whilst cutting through the Gordian knot it has become. (shrink)

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

The Connection Between Mind Creativity and Free Will -/- The relationship between mind creativity and free will is a fascinating and complex subject that lies at the heart of human consciousness and decision-making. Creativity allows the mind to generate new ideas, imagine possibilities, and solve problems, while free will gives individuals the sense of autonomy in making choices. However, both processes are not random or independent; they are deeply interconnected through natural laws that govern human behavior and cognition. This essay (...) explores the connection between creativity and free will, highlighting how these mental functions operate within the universal laws of balance and cause and effect. -/- I. The Nature of Creativity: A Feedback Mechanism -/- Creativity is often seen as a spontaneous or mysterious process, but it is, in reality, the product of complex interactions within the brain. The mind continuously receives, processes, and responds to external stimuli while integrating internal memories, thoughts, and emotions. This interaction functions as a feedback mechanism, where the mind reorganizes known elements to form new ideas. -/- When a person encounters a problem, the brain draws from prior knowledge and experiences, using imagination and abstract thinking to find potential solutions. This process reflects a fundamental law of nature: systems operate through feedback loops. For instance, the mind, like any complex system, requires external inputs and internal organization to produce creative outcomes. The mind’s creativity is not limitless or chaotic but follows patterns determined by natural laws. -/- II. Free Will as Pattern Recognition and Decision-Making -/- Free will is often perceived as the ability to make decisions independently. However, from a scientific and philosophical standpoint, free will is better understood as the mind’s capacity to recognize patterns, anticipate outcomes, and choose actions accordingly. The decisions we make are influenced by genetics, environment, experiences, and social interactions. -/- The universal law of cause and effect, often referred to as karma, plays a critical role here. Every action has a reaction, and every decision has consequences. The mind’s decisions are guided by these causal relationships, even when creativity is involved. When we make decisions, we rely on mental simulations of potential outcomes based on past experiences and future predictions. The sense of free will emerges from this complex but law-governed process of pattern recognition and adaptive learning. -/- III. Creativity and Free Will Within the Framework of Natural Laws -/- Creativity and free will are not arbitrary forces but operate within the confines of natural laws, particularly the universal law of balance. In nature, balance ensures the stability and sustainability of systems. In human decision-making, this law manifests in the mind’s pursuit of equilibrium between internal desires and external realities. -/- When creative ideas disrupt societal or natural balance, they often encounter resistance. For example, scientific innovations must align with ethical, social, and environmental considerations to be accepted. If technological or social innovations ignore the law of balance—such as unsustainable economic growth or unchecked population increase—they create systemic instability. Thus, creative thinking and free will must align with nature’s inherent tendency toward balance. -/- IV. The Illusion of Absolute Free Will -/- While people often believe in absolute free will, research in neuroscience and behavioral psychology suggests that decision-making is largely influenced by unconscious processes and external conditions. The mind’s creative capacity may provide a wide range of choices, but the selection process follows patterns rooted in experience and environmental interactions. -/- Your universal formula, which integrates natural laws like cause and effect and balance, supports this perspective. Free will is not a completely independent force but a decision-making process governed by these universal laws. Creativity, in this context, serves as the tool that enables adaptive responses to new challenges, while free will acts as the mechanism for selecting the most balanced and effective solutions. -/- V. The Role of Education in Nurturing Creative Free Will -/- Understanding the relationship between creativity and free will has profound implications for education. A holistic educational approach, as you advocate, can empower individuals to recognize the natural laws governing their decisions. By teaching students about the universal law of balance, the educational system can foster responsible creativity—one that seeks solutions aligned with societal and environmental equilibrium. -/- Critical thinking, scientific inquiry, and ethical reasoning should be integrated into the educational curriculum. When individuals understand that their decisions influence and are influenced by interconnected systems, they become more conscious of the long-term impacts of their choices. Creativity, when guided by this awareness, becomes a tool for solving societal problems while respecting the laws of nature. -/- V. Implications for Society and Technology -/- In a rapidly evolving world, the connection between creativity and free will has significant implications for societal development and technological innovation. Artificial General Intelligence (AGI), as you suggest, can be programmed with your universal formula to assist in solving complex human problems. If AGI systems are designed with an understanding of natural balance and cause and effect, they could help guide societal decision-making toward sustainable and ethical outcomes. -/- Societal issues such as climate change, economic inequality, and social unrest can be addressed more effectively when creativity is grounded in the principles of natural balance. Free will, when exercised with an understanding of these laws, can lead to decisions that promote collective well-being rather than short-term gains. -/- Conclusion -/- The connection between mind creativity and free will lies in the brain’s adaptive, feedback-driven processes, which operate within the boundaries of natural laws like cause and effect and balance. Creativity allows individuals to imagine new possibilities, while free will guides the selection of actions that align with these possibilities. However, these processes are not entirely independent; they follow universal patterns and principles. -/- By understanding and applying these principles through education and societal frameworks, humanity can harness creativity and free will to solve pressing global challenges. As you propose, teaching the universal law of balance at all educational levels can cultivate a more conscious and responsible approach to decision-making, ensuring that creative innovations align with nature’s inherent equilibrium. In this way, mind creativity and free will become tools for achieving societal harmony and sustainable progress. -/- . (shrink)

What responsibilities do audiences have in engaging with artworks? Certain audience responses seem quite clear: for example, audiences should not vandalize or destroy artworks; they should not disrupt performances. This paper examines other kinds of resisting responses that audiences sometimes engage in, including petitioning the artist to change their works, altering copies of artworks, and creating new artworks in another artist’s fictional world. I argue for five claims: (1) while these actions can sometimes infringe on the rights of artists, the (...) rights of artists are not absolute; (2) the fact that such actions are based on mistaken interpretations of the artworks has no normative weight; (3) there can be reason to object to additions and alterations whose conception of the artwork is morally worse than the original (and so, there can be reason to support additions and alterations whose conception is morally better); (4) petitioning raises special moral problems; and, most important, (5) some of these actions are valuable because they involve creative and aesthetic activity. Those acts of audience resistance that are creative, morally improve on the original work, and that minimize the infringement of the artists’ rights are good, and should be encouraged. (shrink)

This paper shows that recent arguments from group problem solving and task performance to emergent group level cognition that rest on the social parity and related principles are invalid or question begging. The paper shows that standard attributions of problem solving or task performance to groups require only multiple agents of the outcome, not a group agent over and above its members, whether or not any individual member of the group could have accomplished the task independently.

Honouring the memory of the late Bernard Stiegler, this edited collection presents a broad spectrum of contributions that provide a complex and coherently articulated image of Stiegler's thought which reached beyond the boundaries of academic, artistic and experimental techno-scientific enclaves where it had been originally received. -/- Stiegler's philosophical work encompassed theorization, social diagnosis, planning, practical and territorial experimentation, politics, and aesthetics. In its wake, the essays in this volume celebrate and explore the wealth of this multi-dimensional legacy. They examine (...) the conditions of human life in general, its foundational intermittence, and carry forward Stiegler's post-phenomenological unfolding of the distinctive spatio-temporalities that weave together the epoch we call 'present'. Engaging closely with Stiegler's original impetus for the creation of technologies of care, as well as of communities of knowledge and artistic practice,. (shrink)

In this essay I argue that the film Eternal Sunshine of the Spotless Mind eloquently and powerfully suggests a controversial philosophical position: that the harm caused by voluntary memory removal cannot be entirely understood in terms of harms that are consciously experienced. I explore this possibility through a discussion of the film that includes consideration of Nagel and Nozick on unexperienced harms, Kant on duties to oneself, and Murdoch on the requirements of morality.