Nelson Goodman's distinction between autographic and allographic arts is appealing, we suggest, because it promises to resolve several prima facie puzzles. We consider and rebut a recent argument that alleges that digital images explode the autographic/allographic distinction. Regardless, there is another familiar problem with the distinction, especially as Goodman formulates it: it seems to entirely ignore an important sense in which all artworks are historical. We note in reply that some artworks can be considered both as historical products and (...) as formal structures. Talk about such works is ambiguous between the two conceptions. This allows us to recover Goodman's distinction: art forms that are ambiguous in this way are allographic. With that formulation settled, we argue that digital images are allographic. We conclude by considering the objection that digital photographs, unlike other digital images, would count as autographic by our criterion; we reply that this points to the vexed nature of photography rather than any problem with the distinction. (shrink)

This article addresses the definition of cinema by focusing on the related ontological question of which basic category circumscribes cinematic works. According to Noël Carroll, the definition of cinema consists both of ontological conditions that treat the moving image as a type and of other conditions that treat it as a display. But following Carroll’s ontological conditions, the digital encoding of a moving image enigmatically ends up being both a type and a token. Solving such a puzzle by clarifying (...) the relation between the cinematic type and the digital type leads us to define the moving image in general as a type that specifies a spatiotemporal distribution of pixels. (shrink)

New technological developments have fundamentally transformed human life. Throughout this process, fundamental questions about human beings have once again been posed. The paper examines how technological change affects understandings of human beings and their bodies, thereby requiring new approaches to anthropology. First, Section 2 illustrates how the use of technology has changed the understanding of human beings and their bodies. A new connection between the human being or the body and technology has emerged. Section 3 then moves onto considering the (...) increasing blurring of the boundaries between organisms and machines, showing how the understanding of humans and bodies is constantly being renegotiated in relation to machines. Based on this, Section 4 explores how the understanding of the human being and the body can be redesigned in the context of modern technology. To this end, approaches for a contemporary anthropology can be derived from critical posthumanism. Section 5 addresses concrete practice and examines the construction of identity in social media platforms such as Instagram. The paper argues that technological processes and social media are places where theology is constructed and appeals for a responsible theological co-creation of these places. It advocates that technology offers the opportunity to question traditional anthropological concepts and to renegotiate understandings of the human being and the body. -- Puzio, Anna: Digital and Technological Identities – In Whose Image? A philosophical-theological approach to identity construction in social media and technology. In: Cursor (2021). (shrink)

Considering the propositions of the virtual universe with its short history, there are digital twins and various economic investments. While the Metaverse points out a novel universe, it is able to promise much more than producing a copy of the self and imitation of conventional economic interactions. To reveal these potentials, it is necessary to determine the areas that must be meticulously focused on. Although Metaverse has permeated daily life dialogues, studies in the academic field are limited. Likewise, research (...) about its architecture and space needs to be developed in this area. No matter how far the new universe propositions go, they still stick with the quantitative values of the physical world. This issue obstructs the creation of its own reality. However, the universe's own digitalized digitalised structure does not require that the imagination of the spaces stuck with a quantitative basis. To avoid quantitative and reductive attitudes, focusing on the atmosphere of this universe may be a solution. The study aims to collide the possibilities of the Metaverse and the architectural atmosphere discussions to make an alternative reading of the Metaverse. Developing theories about the atmosphere of spaces and conducting atmospheric studies about Metaverse allow us to develop meta-experiences of the Metaverse. Focusing on the architectural atmosphere, immediate appreciation, ecstatic being and hallucinatory image will deepen the definition of Metaverse and provide a multi-layered experience. The image of the atmosphere and ecstatic being is associated with a ‘hallucinatory image'. The hallucinatory image has a structure that does not narrow down its references to the physical world. With this aspect, it may provide forms of alternative perceptions specific to the Metaverse. The hallucinatory image, parallel with the sensation of an ecstatic being, stimulates us to sense the atmosphere produced by the Metaverse. (shrink)

Abstract: The purpose of this article is to highlight the aesthetic layout created by the digital device in the ontological autonomy of the digital representation. As a result, in the digital screen, as a simulated immersive area, the object is alienated through the hyper-representation of a hyper-reproduction: a hyper-reproduction which causes the data and its image to be the monadic support that multiplies it in always livable creases by interactivity. A digitally-represented world would become the ultimate alienation (...) of the modern representational area in terms of excess of closeness. Thus, this question would cause the simulacral strategy of post-modernity through its digitization. -/- Resumen: Este artículo se propone evidenciar, en la autonomía ontológica de la representación digital, la disposición estética abierta por el dispositivo digital. Como consecuencia, en la pantalla digital, en cuanto super cie inmersiva simu- lacral, se logra enajenar el objeto por medio de la hiper-representación de una hiper-reproductibilidad. Una hiper-reproductibilidad que hace del data y su «ima- gen» el sustento monádico que lo multiplica en pliegues siempre habitables por la interactividad. El mundo representado digitalmente se haría «espectáculo» de la enajenación de nitiva de la super cie representacional moderna en cuanto exceso de cercanía. Cuestión que provocaría la estrategia simulacral de la modernidad en lo postmoderno por medio de su digitalización. (shrink)

In contemporary healthcare, medical image categorization is essential for illness prediction, diagnosis, and therapy planning. The emergence of digital imaging technology has led to a significant increase in research into the use of machine learning (ML) techniques for the categorization of images in medical data. We provide a thorough summary of recent developments in this area in this review, using knowledge from the most recent research and cutting-edge methods.We begin by discussing the unique challenges and opportunities associated with (...) medical image classification, including the complexity of anatomical structures, variability in imaging modalities, and the need for interpretability and reliability in clinical settings. Subsequently, we survey a wide range of ML algorithms and techniques employed for medical image classification, including traditional methods such as support vector machines and k-nearest neighbors, as well as deep learning approaches like convolutional neural networks (CNNs) and recurrent neural networks (RNNs). Furthermore, we examine key considerations in dataset preparation, feature extraction, and model evaluation specific to medical image classification tasks. We highlight the importance of large, annotated datasets, transfer learning, and data augmentation techniques in enhancing model performance and generalization. (shrink)

In this article I investigate online misinformation from a media philosophy perspective. I, thus move away from the debate focused on the semantic content, concerned with what is true or not about misinformation. I argue rather that online misinformation is the effect of an informational climate promoted by user micro-behaviours such as liking, sharing, and posting. Misinformation online is explained as the effect of an informational environment saturated with and shaped by techno-images in which most users act automatically under the (...) constant assault of stirred emotions, a state resembling what media philosopher Vilém Flusser has called techno-magical consciousness. I describe three ways in which images function on social media to induce this distinctive, uncritical mode of consciousness, and complement Flusser’s explanation with insights from the phenomenology of emotions. (shrink)

Although digital breast tomosynthesis has higher sensitivity than digital mammography and at least as high specificity, digital mammography remains the most common method for conducting mammographic screening. At the same time, mammography systems are now delivered “DBT-ready” and can be used for either digital mammography or digital breast tomosynthesis. In this paper, we ask whether it is ethically permissible to use such equipment for digital mammography, given its lower sensitivity. We argue it is not, (...) and that clinics are ethically required to use their DBTready equipment to screen with digital breast tomosynthesis whenever this is practically possible. Our argument relies on a comparison between digital breast tomosynthesis and a hypothesized improvement in the image quality of digital mammography. (shrink)

Image captioning has seen remarkable advancements with the integration of deep learning techniques, notably Convolutional Neural Networks (CNNs) and Long Short-Term Memory (LSTM) networks, for generating descriptive captions for images. Despite these improvements, capturing intricate details and context remains a challenge. This project introduces an enhanced image captioning model that integrates transformers with an attention mechanism to address these limitations. By leveraging CNNs for feature extraction and LSTMs for sequence generation, while utilizing transformers to apply sophisticated attention to significant image (...) regions, the proposed model aims to generate more contextually rich and coherent captions. Experimental results indicate that incorporating transformers with attention mechanisms leads to a significant enhancement in caption accuracy and descriptiveness, surpassing traditional CNN-LSTM models. This advancement is particularly beneficial in various applications, including assistive technologies for the visually impaired, content-based image retrieval systems, automatic image annotation for digital asset management, and improved human-computer interaction. This approach represents a substantial step forward in achieving more precise and detailed image captioning, with potential impacts across numerous fields. (shrink)

Nowadays, many false images are spreading in digital media. The detection of these false images is inevitable for the unveiling of image-based cybercrimes. Forging images and identifying such images are promising research areas in this digital era. Altered images are detected using a neural network that also recognizes the regions of the image that have been manipulated and reveals the segments of the image. This original can be implemented on the Android platform and therefore made available to ordinary (...) users. The compression ratio of foreign content in a false image is different from that of the original image and is detected using an error level analysis. The another function used with compression ratio is image metadata. Although it is possible to modify the metadata content, which makes it unreliable, here it is used as a support parameter for an analysis of the decision error level. (shrink)

With the concept of the technical image, Flusser indicates a historical shift in the structure of Western society.1 Technical images, as found in photographs, films, videos, computer terminals, and television screens, designate images produced by an apparatus designed to create programmed information. Contrary to traditional images which carry significance through representation as seen in paintings, technical images are surfaces that operate according to “inverted vectors of meaning.”2 The meaning of a technical image is not found in what the image signifies (...) but in what it projects. In other words, technical images are less about the representation of the world and more about modeling the subject’s relation to and vision of reality. As such, technical images are “instructional programs” designed to inculcate significance, shape behavior, and direct subjects on how to make sense of the world.3 The surfaces of technical images move away from a mimetic representation of the real to inscribe concepts as connotative, as opposed to denotative, forms of signification. However, traditional images and technical images are not entirely disconnected from one another. Together they shape the posthistorical phase of humanity, a phase in which humans’ relationship to reality is increasingly conditioned and modulated by embedded codification. This codification is produced by apparatuses that calculate probability. These apparatuses are opaque because they no longer require the knowledge of their operation by the subject that handles them. In other words: traditional images are “observations of objects,” while technical images are “computation of concepts.”4. (shrink)

In this paper, I consider how digital technologies have changed the conceptual landscape by forcing us to reconsider three core concepts at the heart of the category of child pornography: (i) what it means to be an image; (ii) what it means to be an image of a child; and (iii) what it means to be a sexual image of a child. I demonstrate that we might need to radically reconceive these concepts and I point to some policy implications (...) of doing so. (shrink)

Some photographs show determinate features of a scene because the photographed scene had those features. This dependency relation is, rightly, a consensus in philosophy of photography. I seek to refute many long-established theories of photography by arguing that they are incompatible with this commitment. In Section II, I classify accounts of photography as either single-stage or multi-stage. In Section III, I analyze the historical basis for single-stage accounts. In Section IV, I explain why the single-stage view led scientists to postulate (...) “latent” photographic images as a technical phenomenon in early chemical photography. In Section V, I discredit the notion of an invisible latent image in chemical photography and, in Section VI, extend this objection to the legacy of the latent image in digital photography. In Section VII, I appeal to the dependency relation to explain why the notion of a latent image makes the single-stage account untenable. Finally, I use the multi-stage account to advance debate about “new” versus “orthodox” theories of photography. (shrink)

The unfolding of the panorama of images of US prisoner abuse of Iraqis and the quest to pin responsibility on the soldiers and higher US military and political authorities is one of the most intense media spectacles of contemporary journalism. Evoking universal disgust and repugnance, the images of young American soldiers humiliating Iraqis circulated with satellite-driven speed through broadcasting channels, the Internet, and print media and may stand as some of the most influential images of all time.

Philosophy of science is expanding via the introduction of new digital data and tools for their analysis. The data comprise digitized published books and journal articles, as well as heretofore unpublished material such as images, archival text, notebooks, meeting notes, and programs. The growth in available data is matched by the extensive development of automated analysis tools. The variety of data sources and tools can be overwhelming. In this article, we survey the state of digital work in the (...) philosophy of science, showing what kinds of questions can be answered and how one can go about answering them. (shrink)

Twenty two years since the arrival of the first consumer digital camera (Tatsuno 36) Western culture is now characterised by ubiquitous photography. The disappearance of the camera inside the mobile phone has ensured that even the most banal moments of the day can become a point of photographic reverie, potentially shared instantly. Supported by the increased affordability of computers, digital storage and access to broadband, consumers are provided with new opportunities for the capture and transmission of images, particularly (...) online where snapshot photography is being transformed from an individual to a communal activity. As the digital image proliferates online and becomes increasingly delivered via networks, numerous practices emerge surrounding the image’s transmission, encoding, ordering and reception. Informing these practices is a growing cultural shift towards a conception of the Internet as a platform for sharing and collaboration, supported by a mosaic of technologies termed Web 2.0. (shrink)

This work focuses on enhancing security for transmitted e-documents, such as e-stamp papers, within wireless environments through dynamic authentication using variable circular concealment of multiple invisible signature images. This method is driven by encrypted secret keys and session-based random numbers, alongside a region-specific bit casting strategy and dynamic bit sequencing for multiple signatures to bolster security and robustness. Multi-copy signature marking on non-overlapping document areas, coupled with varied bit encoding strategies for each modified pixel byte coefficient in cover image sub-blocks, (...) further enhances protection and resilience against attacks. The reverse transformation of bit-coded pixel byte components in spatial domain ranges is preserved, allowing threshold-based bit creation to perform effectively even under attack scenarios. With secret information and random numbers transmitted to the receiver, the securely embedded signature bits can be reliably identified in their original sequence from the forward-transformed sub-block pixel elements. Experimental results validate that this approach significantly improves authentication and confidentiality, surpassing prior methods in terms of security and reliability. (shrink)

Deepfakes are audio, video, or still-image digital artifacts created by the use of artificial intelligence technology, as opposed to traditional means of recording. Because deepfakes can look and sound much like genuine digital recordings, they have entered the popular imagination as sources of serious epistemic problems for us, as we attempt to navigate the increasingly treacherous digital information environment of the internet. In this paper, I attempt to clarify what epistemic problems deepfakes pose and why they pose (...) these problems, by drawing parallels between recordings and our own senses as sources of evidence. I show that deepfakes threaten to undermine the status of digital recordings as evidence. The existence of deepfakes thus encourages a kind of skepticism about digital recordings that bears important similarities to classic philosophical skepticism concerning the senses. However, the skepticism concerning digital recordings that deepfakes motivate is also importantly different from classical skepticism concerning the senses, and I argue that these differences illuminate some possible strategies for solving the epistemic problems posed by deepfakes. (shrink)

2019 Applied Technology Award for the Media and the Moving Image Awards at University of Houston. -/- The Google algorithm, as a ranking and ordering structure, cannot be “objective” as long as the page-ranking mechanism produces social effects and always inadvertently and inescapably affects social priorities. Imitable units of information (memes) on the internet change according to the laws of exponential growth, like other social phenomena, which include Google rankings. Mathematically and graphically represented, the effects of mimetic inflation on Google (...) rankings and other site-specific information can be proposed and projected. Current algorithmic policies may actually preserve and exaggerate the social priorities of the status quo in spite of “objective” intentions. These considerations in mind, the concept of “monology”, “the monopoly on information”, might be implemented to further analyze network effects online. Algorithmic regulation could be used to enforce artificial inequalities, to permit natural inequalities, or to enforce artificial equalities: each option has implications for the justice and fairness of online and offline environments. (shrink)

The Czech-Brazilian philosopher Vilém Flusser (1920–1991) has been recognized as a decisive past master in the emergence of contemporary media theory and media archeology. His work engages and also rethinks several mythologies of modernity, devising new methodologies, experimental literary practices, and expanded hermeneutics that trouble traditional practices of literary/literate knowledge, shared experience, reception, and communication. -/- Working within an expanded concept of modernism, Flusser presciently noted the power inherent in algorithmic information apparatuses to reshape our fundamental conceptions of culture and (...) history. In an increasingly technological world, Flusser's form of experimental theory-fiction pits philosophy against cybernetics as it forces the category of “the human” to confront the inhuman world of animals and machines. -/- The contributors to Understanding Flusser, Understanding Modernism engage with the multiplicity of Flusser's thought as they provide a general analysis of his work, engage in comparative readings with other philosophers, and offer expanded conceptualizations of modernism. The final section of the volume includes an extended glossary clarifying the playful terminology used by Flusser, which will be a valuable resource for experts and students alike. -/- . (shrink)

The article entitled “Post-COVID-19: Education and Thai Society in Digital Era” has two objectives: 1) to study digital technology 2) to study the living life in Thailand in the digital era after COVID-19 pandemics. According to the study, it was found that the new digitized service is a service process on digital platforms such as ordering food, hailing a taxi, and online trading. It is a service called via smartphone. The information is used digitally. Public relations, (...) digital marketing, and living in cyberspace play an increasingly digital role. People have communication skills, use Line, Facebook, social media, have tools to search for knowledge, learn and improve themselves. People in the new era of life have a new way of life therefore there is social life in the cyber world. There should be ethics, attitudes, values, and click-on images that are linked to digital use. For a good time life, It is important to have digital intelligence (Digital Quotient) to live after post-COVID19, the digital era. (shrink)

This study aims to explain the expectations parents have in sending their children to study in international schools in Nonthaburi, Thailand, in terms of teaching and learning courses, management reputation, the building location, and the schools' adaptation to the digital age. A qualitative approach was employed as a research strategy. Purposive sampling was used in in-depth interviews. The data were analysed using content analysis. The results showed that parents have expectations in sending children to study in international schools in (...) the digital age, in Nonthaburi, Thailand, in four aspects. For teaching and learning courses, parents expect that these courses will teach students to be creative and assertive. For the management reputation, parents expect that the school will have a good reputation with a quality of teaching that is reliable. They expect a good image of effective and clear management policies. For the building location, parents expect to have a safe building with sufficient facilities. For the adaptation to the digital age, parents expect that there will be lessons on how to use electronic devices and various online media. Children should be taught how to avoid dangers from using them. Children will get the opportunity to use modern technological equipment. This study may be beneficial to education business groups and international schools, which can use data from the research in planning, improving, or formulating business strategies, as well as developing the education system to adjust to improvements in technology and beyond. (shrink)

The processes of computation and automation that produce digitized objects have displaced the concept of an image once conceived through optical devices such as a photographic plate or a camera mirror that were invented to accommodate the human eye. Computational images exist as information within networks mediated by machines. They are increasingly less about what art history understands as representation or photography considers indexing and more an operational product of data processing. Through genealogical, theoretical, and practice-based investigation, this dissertation project (...) traces a lineage of computation through images from early cybernetics to contemporary machine learning under algorithmic capitalist conditions of political economy. Objects include mundane examples such as smartphone cameras to sublime examples such as the imaging of black holes. It articulates new conditions and forms of perception and surveillance that result from contemporary technological development in computation. The project builds on theorists of computational media such as Friedrich Kittler, Wendy Hui Kyong Chun, Jussi Parikka, Shane Denson, and Alexander Galloway to examine the interplay between perception, computation, and epistemology. Further theoretical contribution builds on the work of Luciana Parisi and Jacques Ranciére’s articulation of aesthetics, and Michel Foucault’s gesture towards a heterotopia. Finally, it draws from Donna Haraway’s metaphors of the cyborg and sympoiesis to frame the capacity of art to transfigure the limitations of digital network culture into new possibilities for being. Here, it curates practices by Danielle Brathwaite-Shirley, Harun Farocki, Morehshin Allahyari, and Pierre Huyghe. (shrink)

Conventional visual secret sharing (VSS) schemes hide secret images in shares that are either printed on transparencies or are encoded and stored in a digital form. The shares can appear as noise-like pixels or as meaningful images; but it will arouse suspicion and increase interception risk during transmission of the shares. Hence, VSS schemes suffer from a transmission risk problem for the secret itself and for the participants who are involved in the VSS scheme. To address this problem, we (...) proposed a novel technique for steganography using a texture and also a natural-image-based VSS scheme (NVSS scheme) that shares secret images via various carrier media to protect the secret and the participants during the transmission phase. We contrive the texture synthesis process into steganography to hide secret messages. In comparison to using an existing cover image to hide messages, our algorithm hides the source texture image and embeds secret messages through the process of stenography. The natural shares can be photos or hand-painted pictures in digital form or in printed form. We also propose possible ways to hide the secret to reduce the transmission risk problem for the share. Experimental results indicate that the proposed approach is an excellent solution for solving the transmission risk problem for the VSS schemes. (shrink)

For the last ten years, within molecular life sciences, the reproducibility crisis discourse has been embodied as a crisis of trust in scientific images. Beyond the contentious perception of “questionable research practices” associated with a digital turn in the production of images, this paper highlights the transformations of gel electrophoresis as a family of experimental techniques. Our aim is to analyze the evolving epistemic status of generated images and its connection with a crisis of trust in images within that (...) field.From the 1980s to the 2000s, we identify two key innovations (precast gels and gel docs) leading to a “two‐tiered” gel electrophoresis with different standardization procedures, different epistemic statuses of the produced images and different ways of generating (dis)trust in images. The first tier, exemplified by differential gel electrophoresis (DIGE), is characterized by specialized devices processing images as quantitative data. The second tier, exemplified by polyacrylamide gel electrophoresis (PAGE), is described as a routine technique making use of image as qualitative “virtual witnessing.” The difference between these two tiers is particularly apparent in the ways images are processed, even though both tiers involve image digitization. Our account thus highlights different views on reproducibility within the two tiers. Comparability of images is insisted upon in the first tier while traceability is expected in the second tier. It is striking that these differences occur not only within the same scientific field, but even within the same family of experimental techniques. In the second tier, digitization entails distrust, whereas it implies a collective sentiment of trust in the first tier. (shrink)

In August 2022, only a few months before ChatGPT was released, Barry Smith, well-known contemporary philosopher, together with Jobst Landgrebe, artificial intelligence entrepreneur, published a book entitled Why Machines will Never Rule the World: Artificial Intelligence without Fear (Landgrebe and Smith 2022). In this important, dense and far-reaching work, Landgrebe and Smith argue from the mathematical theory of complex systems, and a sophisticated analysis of the capabilities of human intelligence, that AGI— at the level of human intelligence—will never be possible. (...) In broad outline, Landgrebe and Smith claim that intelligent human behaviour is a facility that develops from a complex world and for a complex world; that the complexities of the real world and our behaviour in it can never be fully specified or simulated mathematically; that digital systems can only execute what can be simulated mathematically; and that therefore human-level intelligence will never be manifested by a digital system. The present collection of articles is in response to and inspired by Landgrebe and Smith. It provides reflections from a variety of perspectives and disciplines on the possibility of AGI, as well as on the transformations that AI technology is already bringing even in its current incarnation. (shrink)

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

Marcello Vitali-Rosati, in the essay “The Writer is the Architect” complimented by other works, provides a two-part thesis. The first argues that space is a chiasmic structure (as inside-outside); and the second argues that this structure reveals the productive role of the subject in constructing digital space (as architect). The essay here seeks to elucidate this logic and to expose it to a Lacanian critique: that it is a hysterical discourse unable in principle to emancipate digital spaces because (...) it entails a purely immanent subject—in short, a subject which is solely product, not producer, of digital space. (shrink)

As soon as you believe an imagination to be nonfictional, this imagination becomes your ontological theory of the reality. Your ontological theory (of the reality) can describe a system as the reality. However, actually this system is only a theory/conceptual-space/imagination/visual-imagery of yours, not the actual reality (i.e., the thing-in-itself). An ontological theory (of the reality) actually only describes your (subjective/mental) imagination/visual-imagery/conceptual-space. An ontological theory of the reality, is being described as a situation model (SM). There is no way to prove/disprove (...) that there is only one reality, or there are two realities (i.e., “subjective reality” and “objective reality”). So, every ontology talk/theory/imagination about the two realities is only a talk/theory/imagination – we will never know whether it is true or not. The conventionally-called “physical/objective reality/world” around my conventionally-called “physical/objective body” is actually a geometric mathematical model (being generated/mathematically-modeled by my brain) – it's actually a subset/component/part/element of my brain’s mind/consciousness/manifest-image. Our cosmos is an autonomous objective parallel computing automaton (aka state machine) which evolves by itself automatically/unintentionally – wave-particle duality and Heisenberg’s uncertainty principle can be explained under this SM of my brain. Each elementary particle (as a building block of our cosmos) is an autonomous mathematical entity itself (i.e., a thing in itself). Our cosmos has the same nature as a Game of Life system – both are autonomous objective parallel-computing automata. Cosmos (as a state machine) is indistinguishable from a digital simulation – my consciousness (as something nonphysical) is not cosmos (as a state machine). If we are happy to accept randomness/stochasticity, then it is obviously possible that all other worlds in the many-worlds interpretation (MWI) actually do not exist (objectively). As one metaphysical option, we can treat all other worlds as subjective only (even if they are actually objective). Under the context of this metaphysical option, we are only living in one world (i.e., the world we are currently living in; this world) – we are not living in many worlds at the same time parallelly. Under the context of this metaphysical option, there is only one possible future. The relationship among any number of elementary particles, is governed/described by Schrodinger equation. If (in theory) Schrodinger equation can’t be used to reliably forecast whether I will go to McDonald for dinner in this world (based on the current state of all elementary particles of the cosmos), then what can Schrodinger equation do? The conventionally-called “space” does not exist objectively. “Time” and “matter” are not physical. Consciousness is the subjective-form (aka quale) of the mathematical models (of the objective cosmos) which are intracorporeally/subjectively used by the control logic of a Turing machine’s program fatedly. A Turing machine’s mind/consciousness/manifest-image or deliberate decisions/choices should not be able to actually/objectively change/control/drive the (autonomous or fated) worldline of any elementary particle within this world (i.e., the world we are currently living in, under the context of MWI). Besides the Schrodinger equation (or another mathematical equation/function which is yet to be discovered) which is a valid/correct/factual causality of our cosmos/state-machine, every other causality (of our cosmos/state-machine) is either invalid/incorrect/counterfactual or can be proved by deductive inference based on the Schrodinger equation (or the aforementioned yet-to-be-discovered mathematical equation/function) only. Closed causality entails no causality. Consciousness plays no causal role (“epiphenomenalism”), or in other words, any cognitive/behavioural activity can in principle be carried out without consciousness (“conscious inessentialism”). If the “loop quantum gravity” theory is correct, then time/space does not actually/objectively exist in the objective-evolution of the objective cosmos, or in other words, we should not use the subjective/mental concept of “time”, “state” or “space” to describe/imagine the objective-evolution of our cosmos. (shrink)

How do we find what is clinically significant in the swarms of data being generated by today’s diagnostic technologies? As electronic records become ever more prevalent – and digital imaging and genomic, proteomic, salivaomics, metabalomics, pharmacogenomics, phenomics and transcriptomics techniques become commonplace – fdifferent clinical and biological disciplines are facing up to the need to put their data houses in order to avoid the consequences of an uncontrolled explosion of different ways of describing information. We describe a new (...) strategy to advance the consistency of data in the dental research community. The strategy is based on the idea that existing systems for data collection in dental research will continue to be used, but proposes a methodology in which past, present and future data will be described using a consensus-based controlled structured vocabulary called the Ontology for Dental Research (ODR). (shrink)

The pandemic brought new norms and techniques of pedagogical strategies in formal education. The synchronous/ asynchronous video streaming brought an emphasis on virtual and augmented realities, which are rapidly replacing textbooks as the main medium for learning and teaching. This transformation requires more extensive online and interactive content with simpler user interfaces. The aim of this study is to report on the design, implementation, and testing of a game based on low-cost and user-friendly content for digital cultural heritage. In (...) this project, a game aimed at inclusive and equitable education was developed using 360° images of the targeted architectural heritage geographically distributed in a pilot site. We promote lifelong learning opportunities for all, following the SDG4, aiming for quality education with the easy-to-use online platform and easy access to immersive education through mobile platforms. Towards a post-carbon future without the need for travel, computational design methods such as using 360° videos and images in combination with virtual reality (VR) headsets allow a low-cost approach to remotely experiencing cultural heritage. We propose developing and testing a GIS-based educational game using a low-cost 360° virtual tour of architectural heritage, more specifically, caravanserais of Anatolia. (shrink)

Everyday (mis)uses of deepfakes define prevailing conceptualizations of what they are and the moral stakes in their deployment. But one complication in understanding deepfakes is that they are not photographic yet nonetheless manipulate lens-based recordings with the intent of mimicking photographs. The harmfulness of deepfakes, moreover, significantly depends on their potential to be mistaken for photographs and on the belief that photographs capture actual events, a tenet known as the transparency thesis, which scholars have somewhat ironically attacked by citing (...) class='Hi'>digital imaging techniques as counterexamples. Combining these positions, this paper sets out two core points: (1) that conceptions about the nature of photography introduce imperatives about its uses; and (2) that popular cultural understandings of photography imply normative ideas that infuse our encounters with deepfakes. Within this, I further raise the question of what moral ground deepfakes occupy that allows them to have such a potentially devastating effect. I show that answering this question involves reinstating the notion that photographs are popularly conceived of as transparent. The rejoinder to this argument, however, is that to take the sting out of deepfakes we must, once again, become skeptical of the veracity of all images, including photoreal ones. This kind of critical mindedness was warranted before the invention of photography for both pictorial imprints and written accounts from various media sources. Given this, along with the fact that photographic trickery is nothing new, deepfakes need not push us into a post-truth epistemic abyss, for they imply a decidedly old turn. (shrink)

Advancements in computing, instrumentation, robotics, digital imaging, and simulation modeling have changed science into a technology-driven institution. Government, industry, and society increasingly exert their influence over science, raising questions of values and objectivity. These and other profound changes have led many to speculate that we are in the midst of an epochal break in scientific history. -/- This edited volume presents an in-depth examination of these issues from philosophical, historical, social, and cultural perspectives. It offers arguments both for (...) and against the epochal break thesis in light of historical antecedents. Contributors discuss topics such as: science as a continuing epistemological enterprise; the decline of the individual scientist and the rise of communities; the intertwining of scientific and technological needs; links to prior practices and ways of thinking; the alleged divide between mode-1 and mode-2 research methods; the commodification of university science; and the shift from the scientific to a technological enterprise. Additionally, they examine the epochal break thesis using specific examples, including the transition from laboratory to real world experiments; the increased reliance on computer imaging; how analog and digital technologies condition behaviors that shape the object and beholder; the cultural significance of humanoid robots; the erosion of scientific quality in experimentation; and the effect of computers on prediction at the expense of explanation. -/- Whether these events represent a historic break in scientific theory, practice, and methodology is disputed. What they do offer is an important occasion for philosophical analysis of the epistemic, institutional and moral questions affecting current and future scientific pursuits. (shrink)

Throughout the 20th century, philosophers have criticized the scientific understanding of the human body. Instead of presenting the body as a meaningful unity or Gestalt, it is regarded as a complex mechanism and described in quasi-mechanistic terms. In a phenomenological approach, a more intimate experience of the body is presented. This approach, however, is questioned by Jacques Lacan. According to Lacan, three basic possibilities of experiencing the body are to be distinguished: the symbolical (or scientific) body, the imaginary (or ideal) (...) body and the real body. Whereas the symbolical body is increasingly objectified (and even digitalized) by medical science, the phenomenological perception amounts to an idealization of the body. The real body cannot be perceived immediately. Rather, it emerges in the folds and margins of our efforts to symbolize or idealize the body, which are bound to remain incomplete and fragile. In the first part of the article (1-3), Lacan's conceptual distinction between the symbolical, the imaginary and the real body will be explained. In the second part (4-5), this distinction will be further clarified by relying on crucial chapters in the history of anatomy (notably Mundinus, Vesalius, Da Vinci and Descartes). (shrink)

Trees belong to humanity’s heritage, but they are more than that. Their loss, through catastrophic fires or under business-as-usual, is devastating to many forms of life. Moved by this fact, we begin with an assertion that heritage can have an active role in the design of future places. Written from within the field of architecture, this article focuses on structures that house life. Habitat features of trees and artificial replacement habitats for arboreal wildlife serve as concrete examples. Designs of such (...) habitats need to reflect behaviours, traditions and cultures of birds, bats, and other animals. Our narrative highlights the nonhuman aspect of heritage, seeking to understand how nonhuman stakeholders can act as users and consumers of heritage and not only as its constituents. Our working definition states that more-than-human heritage encompasses tangible and intangible outcomes of historical processes that are of value to human as well as nonhuman stakeholders. From this basis, the article asks how the established notions of heritage can extend to include nonhuman concerns, artefacts, behaviours and cultures. As a possible answer to this question, the hypothesis tested here is that digital information can (1) contribute to the preservation of more-than-human heritage; and (2) illuminate its characteristics for future study and use. This article assesses the potential of three imaging technologies and considers the resulting data within the conceptual framework of more-than-human heritage, illuminating some of its concrete aspects and challenges. (shrink)

Over the last ten years the sharing of nude images or videos (sometimes known as “sexting”) by young people has emerged as a concern. Despite this, no research had been conducted on the prevalence of the sharing of nudes among young New Zealanders. This study addresses this and raises important questions for all those with a role in supporting young people’s healthy development. We believe this report makes an important contribution to the overall understanding of young people’s experience of these (...) behaviours. However, it only provides a snapshot, and more work is required to understand how best to support young people as they navigate the challenges and potential risks. This report is being released as part of a larger project exploring young people’s experiences of digital risk and harm, carried out by a partnership between Netsafe and the Ministry for Women. (shrink)

Electronic text can be defined on two different, though interconnected, levels. On the one hand, electronic text can be defined by taking the notion of “text” or “printed text” as the point of departure. On the other hand, electronic text can be defined by taking the digital format as the point of departure, where everything is represented in the binary alphabet. While the notion of text in most cases lends itself to being independent of medium and embodiment, it is (...) also often tacitly assumed that it is in fact modeled on the print medium, instead of, for instance, on hand-written text or speech. In late 20th century, the notion of “text” was subjected to increasing criticism, as can be seen in the question that has been raised in literary text theory about whether “there is a text in this class.” At the same time, the notion was expanded by including extralinguistic sign modalities (images, videos). A basic question, therefore, is whether electronic text should be included in the enlarged notion that text is a new digital sign modality added to the repertoire of modalities or whether it should be included as a sign modality that is both an independent modality and a container that can hold other modalities. In the first case, the notion of electronic text would be paradigmatically formed around the e-book, which was conceived as a digital copy of a printed book but is now a deliberately closed work. Even closed works in digital form will need some sort of interface and hypertextual navigation that together constitute a particular kind of paratext needed for accessing any sort of digital material. In the second case, the electronic text is defined by the representation of content and (some parts of the) processing rules as binary sequences manifested in the binary alphabet. This wider notion would include, for instance, all sorts of scanning results, whether of the outer cosmos or the interior of our bodies and of digital traces of other processes in-between (machine readings included). Since other alphabets, such as the genetic alphabet and all sorts of images may also be represented in the binary alphabet, such materials will also belong to the textual universe within this definition. A more intriguing implication is that born-digital materials may also include scripts and interactive features as intrinsic parts of the text. The two notions define the text on different levels: one is centered on the Latin, the other on the binary alphabet, and both definitions include hypertext, interactivity, and multimodality as constituent parameters. In the first case, hypertext is included as a navigational, paratextual device; whereas in the second case, hypertext is also incorporated in the narrative within an otherwise closed work or as a constituent element on the textual universe of the web, where it serves the ongoing production of (possibly scripted) connections and disconnections between blocks of textual content. Since the early decades of early 21st century still represent only the very early stages of the globally distributed universe of web texts, this is also a history of the gradual unfolding of the dimensions of these three constituencies—hypertext, interactivity, and multimodality. The result is a still-expanding repertoire of genres, including some that are emerging via path dependency; some via remediation; and some as new genres that are unique for networked digital media, including “social media texts” and a growing variety of narrative and discursive multiple-source systems. (shrink)

In this existential reading of Kim Kardashian-West's International Women's Day selfie of 2016, I focus on the rise of selfie culture and public discourse around emerging digital representations of women's bodies. The selfie is a relatively new phenomenon, and is particularly curious because of the subject/object paradox it creates; in taking a selfie, a person asserts control over their own image, but at the same time, becomes object in their own gaze. My argument is that selfies, like other assertions (...) of bodily subjectivity in digital spaces, are a threat to patriarchal structures that paint women as immanent, object, as reflected in public discourse around Kardashian-West's International Women's Day selfie. I draw on both Jean-Paul Sartre and Simone de Beauvoir's work on subjectivity in existentialism and phenomenology, as well as Amy Shields Dobson's work on post-feminism and young women's projections of self, in order to delineate what it is about the selfie that creates this paradox. I also make reference to the work of Elisabeth Grosz and Frantz Fanon in relation to a colonial hierarchy that prioritises body over mind, as well as Laura Mulvey's work on the male gaze. (shrink)

This book is an anthology about transformation processes. It brings together contributions that were made during the 16th International Congress of the German Society for Semiotics 2021. Due to the Corona pandemic, it was finally not held in attendance at the TU Chemnitz, in Germany, but took place online. 11 sections with different focuses from archaeology, architecture, design, digital humanities, on the body, from the field of literature & youth and subcultures, media, fashion, environment, and carto/atlas semiotics and sign (...) philosophy had each published their own call for papers. -/- The focus of the IMAGE & Cultural study sections' call, published with the volume, was to understand images as agents - according to art and cultural studies scholar Aby M. Warburg - and to recognize and understand not only their potential for cognition, but also their potential for action. As an active part of culture, they not only convey it, but at the same time stimulate action. In this respect, images can be understood not only as documents and testimonies of collective history, but also as active carriers and repositories of affectively effective elements of communication. As agents of cultural transformation processes, images take on a status of their own within the human capacity for expression and action. The essays in this volume bear eloquent witness to this. (shrink)

RESUMO: As novas tecnologias revolucionaram tanto as relações humanas quanto as formas de exploração. Com o uso massivo e a dependência das redes sociais, muitas pessoas descobriram fontes de ganhos fnanceiros a partir da exposição da imagem, seja da sua ou de outrem. Nesse cenário, a intimidade de centenas de crianças é exposta por seus pais ou responsáveis em troca de audiência, fama e recursos fnanceiros. Partindo dessa problemática, o presente artigo investiga os impactos do trabalho infantil mediante a exploração (...) da imagem e da intimidade da criança nas plataformas digitais. Por se tratar de uma nova modalidade de produção abundante de artistas mirins, suas consequências têm impactado a atual geração, sobretudo na saúde biopsicossocial. -/- PALAVRAS-CHAVE: Trabalho Infantil. Exposição Virtual. Exploração da Imagem. Redes Sociais. -/- ABSTRACT: New technologies have revolutionized both human relationships and forms of exploitation. With the massive use and dependence on social networks, many people have discovered sources of fnancial gain from the exposure of the image, whether theirs or someone else’s. In this scenario, the intimacy of hundreds of children is exposed by their parents or guardians in exchange for audience, fame and fnancial gain. Based on this problem, this article investigates the impacts of child labor through the exploitation of the image and intimacy of the child on digital platforms. As it is a new modality of abundant production of child artists, its consequences have impacted the current generation, especially in biopsychosocial health. -/- KEYWORDS: Child Labor. Virtual Exposure. Image Exploitation. Social networks. (shrink)

Perceptual systems respond to proximal stimuli by forming mental representations of distal stimuli. A central goal for the philosophy of perception is to characterize the representations delivered by perceptual systems. It may be that all perceptual representations are in some way proprietarily perceptual and differ from the representational format of thought (Dretske 1981; Carey 2009; Burge 2010; Block ms.). Or it may instead be that perception and cognition always trade in the same code (Prinz 2002; Pylyshyn 2003). This paper rejects (...) both approaches in favor of perceptual pluralism, the thesis that perception delivers a multiplicity of representational formats, some proprietary and some shared with cognition. The argument for perceptual pluralism marshals a wide array of empirical evidence in favor of iconic (i.e., image-like, analog) representations in perception as well as discursive (i.e., language-like, digital) perceptual object representations. (shrink)

Abstract: Early detection of breast cancer plays a pivotal role in improving patient prognosis and reducing mortality rates. Recent technological advancements have significantly enhanced the accuracy and effectiveness of breast cancer screening methods. This paper explores the latest innovations in early detection, including the evolution of digital mammography, the impact of 3D mammography (tomosynthesis), and the use of advanced imaging techniques such as molecular imaging and MRI. Furthermore, the integration of artificial intelligence (AI) in diagnostic tools is (...) discussed, highlighting how machine learning algorithms are refining imaging analyses and reducing diagnostic errors. Advances in genetic screening, liquid biopsies, and biomarkers are also examined, showcasing their potential in identifying high-risk individuals and enabling personalized treatment plans. This paper provides insights into the future of breast cancer detection, outlining both the opportunities and challenges that lie ahead in adopting these innovative technologies to improve patient outcomes. (shrink)

Beauty filters are automated photo editing tools that use artificial intelligence and computer vision to detect facial features and modify them, allegedly improving a face’s physical appearance and attractiveness. Widespread use of these filters has raised concern due to their potentially damaging psychological effects. In this paper, I offer an account that examines the effect that interacting with such filters has on self-perception. I argue that when looking at digitally-beautified versions of themselves, individuals are looking at AI-curated distorted mirrors. This (...) helps identify two potential cognitive effects of this behavior. First, it can elicit affective attitudes that change how individuals feel when looking at their unfiltered self-images. Second, exposure to filtered self-images might cause a perceptual normalization of such images. Finally, I argue that this form of distorted mirror gazing is a novel cultural practice for self-perception, and I highlight some ways in which this practice could be critically evaluated and ultimately changed. (shrink)

Abstract: Early detection of breast cancer is vital for improving patient outcomes and reducing mortality rates. Technological advancements have significantly enhanced the accuracy and efficiency of screening methods. This paper explores recent innovations in early detection, focusing on the evolution of digital mammography, the benefits of 3D mammography (tomosynthesis), and the application of advanced imaging techniques such as molecular imaging and MRI. It also examines the role of artificial intelligence (AI) in diagnostic tools, showing how machine learning (...) algorithms are improving imaging analysis and reducing diagnostic errors. Furthermore, the paper discusses advancements in genetic screening, liquid biopsies, and biomarkers, emphasizing their potential in identifying high-risk individuals and supporting personalized treatment plans. The paper provides a forward-looking perspective on the future of breast cancer detection, addressing both the opportunities and challenges associated with the adoption of these cutting-edge technologies to improve patient outcomes. (shrink)

The recent proliferation of deepfakes and other digitally produced deceptive representations has revived the debate on the epistemic robustness of photography and other mechanically produced images. Authors such as Rini (2020) and Fallis (2021) claim that the proliferation of deepfakes pose a serious threat to the reliability and the epistemic value of photographs and videos. In particular, Fallis adopts a Skyrmsian account of how signals carry information (Skyrms, 2010) to argue that the existence of deepfakes significantly reduces the information that (...) images carry about the world, which undermines their reliability as a source of evidence. In this paper, we focus on Fallis’ version of the challenge, but our results can be generalized to address similar pessimistic views such as Rini’s. More generally, we offer an account of the epistemic robustness of photography and videos that allows us to understand these systems of representation as continuous with other means of information transmission we find in nature. This account will then give us the necessary tools to put Fallis’ claims into perspective: using a richer approach to animal signaling based on the signaling model of communication (Maynard-Smith and Harper, 2003), we will claim that, while it might be true that deepfake technology increases the probability of obtaining false positives, the dimension of the epistemic threat involved might still be negligible. (shrink)

With the progress of artificial intelligence, the digitalization of the lifeworld, and the reduction of the mind to neuronal processes, the human being appears more and more as a product of data and algorithms. Thus, we conceive ourselves “in the image of our machines,” and conversely, we elevate our machines and our brains to new subjects. At the same time, demands for an enhancement of human nature culminate in transhumanist visions of taking human evolution to a new stage. Against this (...) self-reification of the human being, the present book defends a humanism of embodiment: our corporeality, vitality, and embodied freedom are the foundations of a self-determined existence, which uses the new technologies only as means instead of submitting to them. The book offers an array of interventions directed against a reductionist naturalism in various areas of science and society. As an alternative, it offers an embodied and enactive account of the human person: we are neither pure minds nor brains, but primarily embodied, living beings in relation with others. This general concept is applied to issues such as artificial intelligence (AI), transhumanism and enhancement, virtual reality, neuroscience, embodied freedom, psychiatry, and finally to the accelerating dynamics of current society which lead to an increasing disembodiment of our everyday life. The book thus applies cutting-edge concepts of embodiment and enactivism to current scientific, technological, and cultural tendencies that will crucially influence our society’s development in the twenty-first century. (shrink)

Background: how mind functions is subject to continuing scientific discussion. A simplistic approach says that, since no convincing way has been found to model subjective experience, mind cannot exist. A second holds that, since mind cannot be described by classical physics, it must be described by quantum physics. Another perspective concerns mind's hypothesized ability to interact with the world of quanta: it should be responsible for reduction of quantum wave packets; physics producing 'Objective Reduction' is postulated to form the basis (...) for mind-matter interactions. This presentation describes results derived from a new approach to these problems. It is based on well-established biology involving physics not previously applied to the fields of mind, or consciousness studies, that of critical feedback instability. -/- Methods: 'self-organized criticality' in complexity biology places system loci of control at critical instabilities, physical properties of which, including information properties, are presented. Their elucidation shows that they can model hitherto unexplained properties of experience. -/- Results: All results depend on physical properties of critical instabilities. First, at least one feed-back or feed-forward loop must have feedback gain, g = 1: information flows round the loop impress perfect images of system states back on themselves: they represent processes of perfect self-observation. This annihilates system quanta: system excitations are instability fluctuations, which cannot be quantized. Major results follow: -/- 1. Information vectors representing criticality states must include at least one attached information loop denoting self-observation. -/- 2. Such loop structures are attributed a function, 'registering the state's own existence', explaining -/- a. Subjective 'awareness of one's own presence' -/- b. How content-free states of awareness can be remembered (Jon Shear) -/- c. Subjective experience of time duration (Immanuel Kant) -/- d. The 'witness' property of experience – often mentioned by athletes 'in the zone' -/- e. The natural association between consciousness and intelligence -/- This novel, physically and biologically sound approach seems to satisfactorily model subjectivity. -/- Further significant results follow: -/- 1. Registration of external information in excited states of systems at criticality reduces external wave-packets: the new model exhibits 'Objective Reduction' of wave packets. -/- 2. High internal coherence (postulated by Domash & Penrose) leading to a. Non-separable information vector bundles. b. Non-reductive states (Chalmers's criterion for experience). -/- 3. Information that is: a. encoded in coherence negentropy; b. non-digitizable, and therefore c. computationally without digital equivalent (posited by Penrose). -/- Discussion and Conclusions: instability physics implies anharmonic motion, preventing excitation quantization, and totally different from the quantum physics of simple harmonic motion at stability. Instability excitations are different from anything hitherto conceived in information science. They can model aspects of mind never previously treated, including genuine subjectivity, objective reduction of wave-packets, and inter alia all properties given above. (shrink)

In this paper, I explore the nature of photographs by comparing them to hand-made paintings, as well as by comparing traditional film photography with digital photography, and I concentrate on the question of realism. Several different notions can be distinguished here. Are photographs such that they depict the world in a 'realist' or a 'factive' way ? Do they show us the world as it is with accuracy and reliability other types of pictures don't posses ? Do they allow (...) us, as some have suggested, to literally see the world through them ? Below, I will distinguish three kinds of realism about photographs, reject two, and partly endorse one. Indeed, the label "realism", when concerning photographs, can stand for a variety of very different claims. The first (and quite obvious) distinction to start with concerns what the realist thesis is about : the claim that somehow photographs are more accurate or more reliable or that they somehow depict the world better than hand-made pictures can be a claim about the photographic image itself or alternatively a claim about the way in which photographs are produced. In the former case, realism is a thesis about how photographs look and what sort of information they contain, while in the latter case realism is a claim about the process of production of photographs. It is the latter claim that is the most discussed in the philosophical literature about photography. I will concentrate on this type of realism, of which I shall examine two varieties. (shrink)

Andreas Gursky is the darling of philosophers and art theorists of all kinds of traditions and denominations. He has been used as a prime example of the return of the sublime in contemporary art, as a trailblazer in the use of the digital manipulation of images in order to represent something abstract and even as a philosopher of perception who makes some subtle point about the nature of visual experience. All of these arguments are based on some or another (...) technological innovation Gursky uses: the size of his photos, their postproduction (often digital) manipulation and their unusually high resolution. The aim of this paper is to shift the emphasis from these arguments on the significance of the new technology in Gursky’s oeuvre to a much more important role technology plays in his works, namely, in their aesthetics. (shrink)

The tendency to idealise artificial intelligence as independent from human manipulators, combined with the growing ontological entanglement of humans and digital machines, has created an “anthrobotic” horizon, in which data analytics, statistics and probabilities throw our agential power into question. How can we avoid the consequences of a reified definition of intelligence as universal operation becoming imposed upon our destinies? It is here argued that the fantasised autonomy of automated intelligence presents a contradistinctive opportunity for philosophical consciousness to understand (...) itself anew as holistic and co-creative, beyond the recent “analytic” moment of the history of philosophy. Here we introduce the concept of “crealectic intelligence”, a meta-analytic and meta-dialectic aspect of consciousness. Intelligent behaviour may consist in distinguishing discrete familiar parts or reproducible functions in the midst of noise via an analytic process of segmentation; intelligence may also manifest itself in the constitution of larger wholes and dynamic unities through a dialectic process of association or assemblage. But, by contrast, crealectic intelligence co-creates realities in the image of an ideal or truth, taking into account the desiring agent imbued with a sense of possibility, in a relationship not only with the Real but also with the creative sublime or “Creal”. (shrink)