The article presents a socio-philosophical analysis of artificial intelligence (AI) integration into public administration systems. The research focuses on identifying an optimal balance between enhancing administrative efficiency and preserving humanistic values. The author examines diverse perspectives on AI’s role in contemporary society, ranging from techno-optimistic concepts that view AI as a tool for qualitative improvement of human life, to critical theories warning of dehumanization risks and increased social control. The paper conducts a comparative analysis of national AI development (...) strategies among leading global powers, identifying their common features and significant differences shaped by cultural, political, and economic factors. Potential risks and threats associated with the implementation of AI systems in public administration are explored, including issues of personal data protection, information security, and the ethical dimensions of algorithmic decision-making. The concept of a human-centered approach to AI is examined as a potential guiding principle for the development and deployment of these technologies. Various levels of control over AI systems are characterized, encompassing legal regulation, professional and public evaluation. Particular attention is given to the prospects of artificial general intelligence (AGI) development and its potential impact on the transformation of state institutions and social relations. The study argues that AGI architecture, enabling genuine system agency, must incorporate a level responsible for actualization functions (strategic goal-setting, ethics, knowledge, and self-identification). Special emphasis is placed on the system’s awareness of its finite existence as a necessary condition for developing meaningful operational strategies and ethical principles. The article concludes that as AI technologies advance, the importance of ethical norms, value systems, and responsibility principles increases since these core societal factors cannot be fully replaced even by the most sophisticated regulation. The author highlights the growing significance of mutual trust between state and society in an environment where AI systems provide unprecedented opportunities for social control. (shrink)

Artificial intelligence (AI) is rapidly changing the way that art is created and consumed, allowing artists to create unique, engaging works with high computing power that can supplement their creative process. This manuscript explores the creative process of using AI technology in digital art to create paintings and evaluates creativity based on the aesthetic value and components of works created by AI. This research seeks to understand how AI technology influences the art world through a practice-led methodology with (...) a descriptive qualitative approach and observational methodology. Pioneering artwork such as Edmond de Belamy, created by French collective obvious using generative adversarial networks (GANs), has raised questions among the creative fields concerning originality, creativity, and authorship. Through analyses of AI-generated artwork and comparison with traditional artwork, the research investigates potential opportunities and challenges that AI presents to the art world. Ultimately, AI technology can provide a creative spark for human artists who, with an appropriate understanding of the limitations of AI algorithms, can create incredible pieces of art that embrace the contributions of both humans and machines. This research seeks to fill in the gaps left by earlier works and provide a more multi-faceted look at the changing landscape of AI in art, gaining a better understanding of the ways AI is impacting the art world and what the future may look like in the coming years. (shrink)

Deepfakes are synthetic media, such as pictures, music and videos, created with generative artificial intelligence (GenAI) tools, a technique that builds upon machine learning and multi-layered neural networks trained on large datasets. Today, anyone can create deepfakes online, without any knowledge about the underpinning technology. This fact opens up creative opportunities at the same time as it creates individual and societal challenges. Some identified challenges are fake news, bullying, defamation, media manipulation and democracy damage. The aim (...) of this study was to analyse and discuss how deepfakes could affect entertainment, education and digital news media in positive and negative ways. The chosen research strategy was a qualitative cross-sectional study to create a snapshot of current attitudes in blogs, online discussion fora and from a selected expert panel. Firstly, blogs and internet discussion fora on deepfakes and AI were analysed inductively. Secondly, results from the previous step were used to create a question scheme for semi-structured interviews with some selected experts that have relevant knowledge in the field of AI and deepfakes. Finally, interviews answered were analysed thematically using the Technology Affordances and Constraints Theory as an analytical lens. Findings show that deepfakes at the same time have a wide variety of affordances, but also some critical constraints to consider. In the affordance part, there are the potential use of deepfakes for speculative and provoking concepts, not only as entertainment, but also to illustrate educational scenarios that are hard or impossible to capture in traditional videos, images or sound recordings. Furthermore, there are many affordances for entertainment and the creation of environments where realism is not an important condition. Some examples are video game graphics, animated film background music in games and music videos. However, the conclusion is that the findings comprise more of constraints than of affordances, where the serious negative aspect of deepfakes can lead to psychological, financial and social harm. Many images and videos in news media have already been manipulated during the last decades, but deepfakes can take this to a new and more problematic level where the overall trust might disappear. The author’s recommendation is to further increase the focus on source criticism and that discussions on which sources to trust should be an early introduced part of educational programmes. (shrink)

Current research in artificial intelligence (AI) sheds light on algorithmic bias embedded in AI systems. The underrepresentation of women in the AI design sector of the tech industry, as well as in training datasets, results in technological products that encode gender bias, reinforce stereotypes and reproduce normative notions of gender and femininity. Biased behaviour is notably reflected in anthropomorphic AI systems, such as personal intelligent assistants (PIAs) and chatbots, that are usually feminized through various design parameters, such as names, (...) voices and traits. Gendering of AI entities, however, is often reduced to the encoding of stereotypical behavioural patterns that perpetuate normative assumptions about the role of women in society. The impact of this behaviour on social life increases, as human-to-(anthropomorphic)machine interactions are mirrored in human-to-human social interactions. This article presents current critical research on AI bias, focusing on anthropomorphic systems. Moreover, it discusses the significance of women’s engagement in AI design and programming, by presenting selected case studies of contemporary female media artists and designers. Finally, it suggests that women, through their creative practice, provide feminist and critical approaches to AI design which are essential for imagining alternative, inclusive, ethic and de-biased futures for anthropomorphic AIs. (shrink)

This article analyses the limits of legal norms and institutions in holding to account the emerging power of Artificial Intelligence (AI) and Machine Learning. It demonstrates how a symbiosis of capitalism and new forms of digital power is mutating to produce novel and dangerous styles of organised irresponsibility that go beyond the reach of conventional legal mechanisms. It draws on the work of Pashukanis, Baudrillard, and Alain Supiot to show how this transformation is taking place. Referring to the (...) role of AI in the spread of Financial Technologies, it introduces a new term – ‘venture legalism’ – to describe how unprecedented risks are currently being created. It concludes by observing how ethical and democratic registers are equally implausible modes of accountability. (shrink)

The article critically analyzes how contemporary image practices involving generative artificial intelligence are entangled with processes of democratization. We demonstrate and discuss how generative artificial intelligence images raise questions of democratization and citizenship in terms of access, skills, validation, truths, and diversity. First, the article establishes a theoretical framework, which includes theory on democratization and aesthetics and lays the foundations for the analytical concepts of ‘formative’ and ‘generative’ visual citizenship. Next, we argue for the use (...) of explorative and collaborative methods to investigate contemporary image practice, before analyzing the central part of our investigation, which takes the form of four collaborative workshops conducted in 2023 with external partners in different domains (the art scene, art therapy, education, and the news media). After analyzing insights from these workshops, the article significantly nuances how visual citizenship is at work in different manners depending on the different concrete image practices using generative artificial intelligence. Finally, we conclude that an aesthetic perspective offers valuable insights into foundational aspects of belonging to contemporary visual communities. (shrink)

Posthumanism is one of the well-known and significant concepts in the present day. It impacted numerous contemporary fields like philosophy, literary theories, art, and culture for the last few decades. The movement has been concentrated around the technological development of present days due to industrial advancement in society and the current proliferated daily usage of technology. Posthumanism indicated a deconstruction of our radical conception of ‘human’, and it further shifts our societal value alignment system to a novel dimension. The majority (...) of our population is getting deeply involved in virtual reality in daily life. Sooner or later, we shall get a different conception of ‘biological human being’ through the advancement of artificial intelligence technology. If an automated artificial system could replace the human brain and repair any physical loss of our biological body, it will certainly become a journey towards immortality for scientists. However, we must analyze whether posthumanism will consider ‘hybrid human beings’ as moral agents, similar to biological humans. This is why, in the future, the relation between biological human beings and posthumans will play an active role in designing artificial moral agents. Whether the future posthumans would overpower biological humanity or both of them would work as peers to form a digital utopian society and create new dimensions of rationality is still a case of anticipation. Our aim in this paper is to critically analyze the authenticity of the posthuman cyborg as an agent, their relations with humans and the emergence of ‘AI ethics’. (shrink)

Artificial Intelligence Applications in Higher Education offers direct examples of how artificial intelligence systems can be applied in today's higher education contexts. As use of AI rapidly advances within colleges and universities worldwide, there is a pressing need to showcase the challenges, opportunities, and ethical considerations inherent in deploying these advanced computational tools. This book highlights the multifaceted roles of AI across teaching and learning, institutional administration, student data management, and beyond. Its collected case studies furnish actionable insights (...) into enhancing academic institutions and addressing diverse learning priorities such as motivation, engagement, feedback, and achievement goals. This valuable reference for researchers, designers, administrators, teaching faculty, and graduate students across various university programs offers fresh perspectives on generative AI, adaptive learning, intelligent tutoring systems, chatbots, predictive technologies, remote learning, and more. (shrink)

The ethics of artificial intelligence is an upcoming field of research that deals with the ethical assessment of emerging AI applications and addresses the new kinds of moral questions that the advent of AI raises. The argument presented in this article is that, even though there exist different approaches and subfields within the ethics of AI, the field resembles a critical theory. Just like a critical theory, the ethics of AI aims to diagnose as well as change (...) society and is fundamentally concerned with human emancipation and empowerment. This is shown through a power analysis that defines the most commonly addressed ethical principles and topics within the field of AI ethics as either to do with relational power or with dispositional power. Moreover, it is concluded that recognizing AI ethics as a critical theory and borrowing insights from the tradition of critical theory can help the field forward. (shrink)

With the increasing adoption of artificial intelligence (AI) technologies in the news industry, media organizations have begun publishing guidelines that aim to promote the responsible, ethical, and unbiased implementation of AI-based technologies. These guidelines are expected to serve journalists and media workers by establishing best practices and a framework that helps them navigate ever-evolving AI tools. Drawing on institutional theory and digital inequality concepts, this study analyzes 37 AI guidelines for media purposes in 17 countries. (...) Our analysis reveals key thematic areas, such as transparency, accountability, fairness, privacy, and the preservation of journalistic values. Results highlight shared principles and best practices that emerge from these guidelines, including the importance of human oversight, explainability of AI systems, disclosure of automated content, and protection of user data. However, the geographical distribution of these guidelines, highlighting the dominance of Western nations, particularly North America and Europe, can further ongoing concerns about power asymmetries in AI adoption and consequently isomorphism outside these regions. Our results may serve as a resource for news organizations, policymakers, and stakeholders looking to navigate the complex AI development toward creating a more inclusive and equitable digital future for the media industry worldwide. (shrink)

The COVID-19 pandemic and its related policies (e.g., stay at home and social distancing orders) have increased people’s use of digital technology, such as social media. Researchers have, in turn, utilized artificial intelligence to analyze social media data for public health surveillance. For example, through machine learning and natural language processing, they have monitored social media data to examine public knowledge and behavior. This paper explores the ethical considerations of using artificial intelligence to monitor (...) social media to understand the public’s perspectives and behaviors surrounding COVID-19, including potential risks and benefits of an AI-driven approach. Importantly, investigators and ethics committees have a role in ensuring that researchers adhere to ethical principles of respect for persons, beneficence, and justice in a way that moves science forward while ensuring public safety and confidence in the process. (shrink)

In artificial-intelligence (AI) and computer-vision research, photographic images are typically referred to as natural images. This means that images used or produced in this context are conceptualized within a binary as either natural or synthetic. Recent advances in creative AI technology, particularly generative adversarial networks and diffusion models, have afforded the ability to create photographic-seeming images, that is, synthetic images that appear natural, based on learnings from vast databases of digital photographs. Contemporary discussions of these images have (...) thus far revolved around the political and social implications of producing convincing fake photographs. However, these images are of theoretical interest for the fields of art history and visual studies for additional reasons. AI-generated photographic images resonate with many of the classic themes in photography: nature and the real, the unconscious and the uncanny, and discourses of power. This article therefore seeks to answer the question: Can photorealistic AI-generated images be defined as photographs? I argue that AI-generated photographs do indeed belong within in the wider discourse of photography, given their form and interpretation. (shrink)

The object of the study is artificial intelligence technology in Chinese show business. The subject of the study is the following technologies of Chinese show business, at the basis of which we can find an artificial intelligence: virtual idols, digital avatars, virtual influencers. The following aspects of these technologies are considered in detail: making a profit, strengthening national identity. Special attention is focused on the fact that the development of artificial intelligence technology is part of the (...) state policy of the People's Republic of China, which is reflected in the country's regulatory legal acts. The theoretical basis of the study is the work of the following authors: A.M. Gridnev, G. A. Ioakimidi, M. D. Pysin, K. F. Lee, H. Khan and others. The following methods are used in the article: analysis of special literature, publications of mass media, normative legal acts, synthesis, deduction. The study showed that virtual idols and influencers such as "Xiangwan Big Devil", digital copies of celebrities (B. Sa, S. Zhu, B. Gao, Ya. Long) and presenter Xiao Xi bring additional profits and attract an audience, as well as strengthen the national image and unity of China. The scientific novelty of this study lies in the detailed systematization of information and cultural analysis of the phenomenon of "virtual influencer", which is gaining popularity in the modern digital world. The results of the study provide valuable data for the development and implementation of artificial intelligence strategies in China, especially in such areas as industry, defense, social sphere and show business. These findings contribute to the formation of standards and ethical principles for artificial intelligence, which is critically important for the successful digital transformation of the country. The study highlights China's strategic goals of using AI as a driver of modernization of the national economy by 2030. The document identifies key stages of development and goals, including the development of standards and the widespread introduction of AI in various sectors. China views AI as an important tool to strengthen its position on the world stage, striving to become a leader in high technology, which will undoubtedly have a significant impact on the global economy and the development of technological innovations. (shrink)

This paper considers recent experiments in art and artificial intelligence that crystallize around training algorithms to generate artworks based on datasets derived from the Western art historical canon. Over the last decade, a shift towards the rejection of canonicity has begun to take shape in art historical discourse. At the same time, algorithmically enabled practices in the US and Europe have emerged that entrench the Western canon as a locus and guarantor of aesthetic value. Operating within the epistemic framework (...) of a “view from nowhere,” this tendency in generative art inherits the coloniality of both art history and artificial intelligence. Producing “art histories from nowhere,” this tendency conflates the conceptual category of visual art with the histories of Western cultural production. It reproduces a set of aesthetic values that entrench the mythology of the artist-genius and his imputed whiteness and masculinity; the extolment of innovation and novelty as self-evident virtues; disembodied Cartesian models of knowing and sensing; and the erasure of contributions that have been occluded from canonical visibility. As we encounter systems trained on particular visions of art history and of the artist, how might we remain attentive to the specific lens through which they are taught to see? This essay addresses that question by bringing the coloniality of recent experiments into view, bridging data feminisms and decolonial studies to formulate alternative visions of encounters between art and AI. (shrink)

Fueled by ever-growing amounts of (digital) data and advances in artificial intelligence, decision-making in contemporary societies is increasingly delegated to automated processes. Drawing from social science theories and from the emerging body of research about algorithmic appreciation and algorithmic perceptions, the current study explores the extent to which personal characteristics can be linked to perceptions of automated decision-making by AI, and the boundary conditions of these perceptions, namely the extent to which such perceptions differ across media, (public) (...) health, and judicial contexts. Data from a scenario-based survey experiment with a national sample (N = 958) show that people are by and large concerned about risks and have mixed opinions about fairness and usefulness of automated decision-making at a societal level, with general attitudes influenced by individual characteristics. Interestingly, decisions taken automatically by AI were often evaluated on par or even better than human experts for specific decisions. Theoretical and societal implications about these findings are discussed. (shrink)

Cinema and Machine Vision unfolds the aesthetic, epistemic, and ideological dimensions of machine-seeing films and television using computers. With its critical-technical approach, this book presents to the reader key new problems that arise as AI becomes integral to visual culture. The book theorises machine vision through a selection of aesthetics, film theory, and applied machine learning research, dispelling widely held assumptions about computer systems designed to watch and make images on our behalf. -/- At its heart, Cinema and Machine (...) Vision is an invitation for film and media scholars to critically engage with AI at a technical level, a prompt for scientists and engineers working with images and cultural data to critically reflect on where their assumptions about vision come from, and a joint recognition of the fruitful problems of working together to understand the algorithmic governance of the visual. (shrink)

A leading critic of the disruptive force of technology in education, Bernard Stiegler saw the counter-effects of artificial intelligence in undermining human agency, autonomy and individuality, rendering the role of education ever more critical. Stiegler believes that our goal is not to abandon technology but to focus our attention on its power and direction in a hypercapitalist economy. While he did not foresee the emergence of generative artificial intelligence (GAI), its rapid acceleration raises important issues for (...) his notion of digital writing as a pharmakon. In this essay, we examine Stiegler’s view on intelligence, digital writing, technological memory, and neuropower, focusing specifically on his Shanghai lecture and Nanjing Lectures. We compare Stiegler with Catherine Malabou, who examines the nature of intelligence primarily through the lens of neuroscience. We argue that Malabou’s view of neuroplasticity in human and artificial brains, and her critique of techno-narcissism in the control over technology, add an important dimension to Stiegler’s political critique of education. Finally, we examine how best to construe AI as part of a hyper-materialist epistemology that Stiegler espouses in the conclusion of his Nanjing Lectures, to bring about neganthropic knowledge through a therapeutics of care. (shrink)

This paper explores the important role of critical science, and in particular of post-colonial and decolonial theories, in understanding and shaping the ongoing advances in artificial intelligence. Artificial intelligence is viewed as amongst the technological advances that will reshape modern societies and their relations. While the design and deployment of systems that continually adapt holds the promise of far-reaching positive change, they simultaneously pose significant risks, especially to already vulnerable peoples. Values and power are central to this (...) discussion. Decolonial theories use historical hindsight to explain patterns of power that shape our intellectual, political, economic, and social world. By embedding a decolonial critical approach within its technical practice, AI communities can develop foresight and tactics that can better align research and technology development with established ethical principles, centring vulnerable peoples who continue to bear the brunt of negative impacts of innovation and scientific progress. We highlight problematic applications that are instances of coloniality, and using a decolonial lens, submit three tactics that can form a decolonial field of artificial intelligence: creating a critical technical practice of AI, seeking reverse tutelage and reverse pedagogies, and the renewal of affective and political communities. The years ahead will usher in a wave of new scientific breakthroughs and technologies driven by AI research, making it incumbent upon AI communities to strengthen the social contract through ethical foresight and the multiplicity of intellectual perspectives available to us, ultimately supporting future technologies that enable greater well-being, with the goal of beneficence and justice for all. (shrink)

In this paper, we sketch a programme for AI-driven social theory. We begin by defining what we mean by artificial intelligence (AI) in this context. We then lay out our specification for how AI-based models can draw on the growing availability of digital data to help test the validity of different social theories based on their predictive power. In doing so, we use the work of Randall Collins and his state breakdown model to exemplify that, already today, AI-based (...) models can help synthesise knowledge from a variety of sources, reason about the world, and apply what is known across a wide range of problems in a systematic way. However, we also find that AI-driven social theory remains subject to a range of practical, technical, and epistemological limitations. Most critically, existing AI-systems lack three essential capabilities needed to advance social theory in ways that are cumulative, holistic, open-ended, and purposeful. These are (1) semanticisation, i.e., the ability to develop and operationalize verbal concepts to represent machine-manipulable knowledge; (2) transferability, i.e., the ability to transfer what has been learned in one context to another; and (3) generativity, i.e., the ability to independently create and improve on concepts and models. We argue that if the gaps identified here are addressed by further research, there is no reason why, in the future, the most advanced programme in social theory should not be led by AI-driven cumulative advances. (shrink)

The pace of technological change continues to outstrip the evolution of democratic institutions, creating an urgent need for innovative approaches to democratic reform. However, the experimentation bottleneck - characterized by slow speed, high costs, limited scalability, and ethical risks - has long hindered progress in democracy research. This paper proposes a novel solution: employing generative artificial intelligence (GenAI) to create synthetic data through the simulation of digital homunculi, GenAI-powered entities designed to mimic human behavior in social contexts. (...) By enabling rapid, low-risk experimentation with alternative institutional designs, this approach could significantly accelerate democratic innovation. I examine the potential of GenAI-assisted research to mitigate current limitations in democratic experimentation, including the ability to simulate large-scale societal interactions and test complex institutional mechanisms. While acknowledging potential risks such as algorithmic bias, reproducibility challenges, and AI alignment issues, I argue that the benefits of synthetic data are likely to outweigh their drawbacks if implemented with proper caution. To address existing challenges, I propose a range of technical, methodological, and institutional adaptations. The paper concludes with a call for interdisciplinary collaboration in the development and implementation of GenAI-assisted methods in democracy research, highlighting their potential to bridge the gap between democratic theory and practice in an era of rapid technological change. (shrink)

All theories of world creation, whether scientific, philosophical, or religious, can readily acknowledge the fact that humans have primarily evolved to engage with nature, the individual self, fellow human beings, society, and other naturalistic aspect of existence. Nevertheless, several novel challenges ascend when the human mind engages with technology, media, machines, and related concepts such as—ChatGPT, artificial intelligence, and to name a few. For that reason, we need philosophy and critical assessment of the uncovered essence of advanced (...) technologies, media and machines and our way of life concerning them. In other words, protectively assessing their impact requires a thorough examination of ethical and existential concerns, including technology’s implications for freedom, AI’s evolving role, the essence of human being, and the unexamined transformative societal changes that follow. Building upon the premise that these phenomena share a common thread despite their apparent disparities, our interdisciplinary pursuit draws inspiration from philosophical luminaries such as Luciano Floridi, Karamjit S. Gill, David Kaplan, Aldous Huxley, Martin Heidegger, Hannah Arendt, and Gandhi. Through philosophical insights, we explore the essence of technology and its broad effects, with a focus on its impact on human freedom and essence in both public and private domains. (shrink)

Theories related to cognitive sciences, Human-in-the-loop Cyber-physical systems, data analysis for decision-making, and computational ethics make clear the need to create transdisciplinary learning, research, and application strategies to bring coherence to the paradigm of a truly human-oriented technology. Autonomous objects assume more responsibilities for individual and collective phenomena, they have gradually filtered into routines and require the incorporation of ethical practice into the professions related to the development, modeling, and design of algorithms. To make this possible, it is pertinent and (...) urgent to bring them closer to the problems and approaches of the humanities. Increasingly transdisciplinary research must be part of the construction of systems that provide developers and scientists with the necessary bases to understand the ethical debate and therefore their commitment to society. This article considers two theories as articulating axes: Blumenberg’s, coming from the field of philosophy, for whom the process of technification and especially the implementation of mathematical models in their algorithmic form leads to an emptying of meaning and therefore makes programmers who implement their functions to be alien to the concerns that gave them origin; Daston’s, belonging to the field of the history of science and according to which the division of labor in the processes of technification of the calculation implies a kind of subordination in which those who implement the inventions of a small group of privileged mathematicians ignore the procedures that put them into operation. Given these two theories, the black box models prevalent in AI development, and the urgency of establishing explanatory frameworks for the development of computational ethics, this article exposes the need to give a voice to the cultural history of consciousness for promoting the discussions around the implementation of mathematical algorithms. The paper takes as a reference the different points of view that have emerged around the study of technological ethics, its applicability, management, and design. It criticizes the current state of studies from a humanistic perspective and explains how the historical perspective allows promoting the training of software engineers, developers and creators so that they assume intuitions and moral values in the development of their work. Specifically, it aims to expose how cultural history, applied to the study of consciousness and its phenomena, makes those involved in this technological revolution aware of the effect that they, through their algorithms, have on society in general and on human beings in particular. (shrink)

The advent of generative artificial intelligence and the widespread adoption of it in society engendered intensive debates about its ethical implications and risks. These risks often differ from those associated with traditional discriminative machine learning. To synthesize the recent discourse and map its normative concepts, we conducted a scoping review on the ethics of generative artificial intelligence, including especially large language models and text-to-image models. Our analysis provides a taxonomy of 378 normative issues in 19 topic (...) areas and ranks them according to their prevalence in the literature. The study offers a comprehensive overview for scholars, practitioners, or policymakers, condensing the ethical debates surrounding fairness, safety, harmful content, hallucinations, privacy, interaction risks, security, alignment, societal impacts, and others. We discuss the results, evaluate imbalances in the literature, and explore unsubstantiated risk scenarios. (shrink)

In this paper, I explore the philosophical apprehension of the face through art history in order to signal a moment of rupture in the contemporary times of the face and its signifying relationship to the subject. Drawing from Francis Galton’s nineteenth century photographic experiments on analytical portraiture, one sees how the face when conceived as an atlas, functions very differently for the subject and its recognition than when understood as a mere image. With the advent of futuristic technology like AI (...) and machine learning feeding in much of our technocratic imaginations, where does the face and its constituency lie? Modernist artists found in the face, various motivations of their own – it was a field to explore their own subjectivities and those inclined towards the transcendental managed to liberate the subject from its image i.e. the face. This manner of freeing the subject of its image and thinking of the face as a structure of the subject, has potential to help us imagine new kinds of polyvalent subjectivities, as can be seen in works of contemporary artist- philosophers like Hito Steyerl. This paper articulates this journey of the face which began its story as the constitutive technology of the subject in the 19th century but today find its best reckoning as an insufficient one, in our quest for understanding new post-humanist subjectivities. (shrink)

Digital sovereignty is a term increasingly used by academics and policymakers to describe efforts by states, private companies, and citizen groups to assert control over digital technologies. This descriptive conception of digital sovereignty is normatively deficient as it centres discussion on how power is being asserted rather than evaluating whether actions are legitimate. In this article, I argue that digital sovereignty should be understood as a normative concept that centres on authority (i.e., legitimate control). A normative (...) approach to digital sovereignty is beneficial as it supports critical discourse about the desirability of actors’ assertions of control. It is also more closely aligned with traditional definitions of sovereignty that are grounded in ideas of sovereign authority. To operationalise this normative approach to digital sovereignty and demonstrate the deficiencies of a descriptive approach, the role that “Big Tech” companies are playing in controlling artificial intelligence is considered from both perspectives. Through this case study, it is highlighted that Big Tech companies assert a high degree of control (i.e., descriptive digital sovereignty), but that they lack strong input legitimacy and have a questionable amount of output legitimacy. For this reason, it is argued that Big Tech companies should only be considered quasi-sovereigns over AI. (shrink)

The first part (“Is there a future?”), discusses the idea of the future in the context of Carl Schmitt’s vision for the spatial revolutions of modernity, and then the idea of Anthropocene, as a synonym for an environmental crisis endangering the very survival of humankind. From this point of view, the conquest of space and the colonization of Mars at the center of futuristic and technocratic visions appear to be an attempt to escape from human responsibilities on Earth. The second (...) part (“AI and other hyperobjects”) discusses the extent of intellectual hubris expressed in computation, AI (Garvin Minsky e Ray Kurzweil), and the philosophy of computing and information (Eric Fredkin), involved in the elaboration of new theoretical assessments on the ultimate nature of reality. Their vision is then contrasted and made to interact with that of philosopher Timothy Morton. He has taken the perspective of global warming and the possibility of ecological catastrophe seriously, avoiding all the futuristic enthusiasms and instead emphasizing the radical nature of the transformations that humans experience in the present. In this perspective, AI becomes one of the “hyperobjects,” like the Internet or climate change, in which humans are immersed. Morton’s hyperobjects delineate an uncanny view of the future; this uncanniness is not related to the supernatural but to the environment. The third section (“More-than-human-humanism”) further reflects on the “uncanniness” that human perceive in the encounters with the manifestations of hyperobjects. It also seeks to understand the human position in the face of the radical technological transformations induced by cybernetics and AI. This section discusses Anti-humanism, Transhumanism, and Posthumanism within the broader category of more-than-human thought, which seems to be a more appropriate term to clarify the possible misunderstandings induced by the word “posthuman” and “transhuman.” The central question is not to empower (Transhumanism) or disempower (Posthumanism) humans, but to see them in relation to what is not human, including other animals, the environment, and the machine. The analysis considers the works of Cary Wolfe, Jane Bennet, Bryant Levi, among others, and introduces ethical debates on cyborgs, robots, and Autonomous weapons systems (AWS). The fourth section (“Ethical Perspectives”) continues this inquiry, concentrating on the non-standard ethical theories of Luciano Floridi (Computer and Information Ethics) and David Gunkel (The question of the Machine). It examines the opportunity and feasibility of including in the discussion on the ethics of our time - characterized by the pervasiveness of AI - the notions of consciousness as theorized by Emmanuel Levinas’s Humanism of the Other and Paul Ricoeur’s Oneself as Another. Finally, the last section (“The time of the end?”) reflects on how the hyperobject, Anthropocene, re-establishes a sense of limits in human history and confirms the special responsibility of human beings, and supports the need for a more-than-human-humanism. The latter, in other words, means intertwining ourselves with a unique ecosystem which cannot be overlooked and which restores meaning to our relationship with the past, present, and future. The awareness of the current challenges of technology can and must express itself in different forms of resistance to the adverse effects of AI in our lives. The ethical approach based on the persisting role of human consciousness is essential, but it must be coupled with human decision-making and political action. (shrink)

This study presents a critical review of the emerging field of Artificial Intelligence (AI) Sociology, examining the social implications and ethical considerations of AI technologies. Through a qualitative methodology incorporating a systematic literature review and thematic analysis, this research explores the intersection of AI and sociology, aiming to bridge the gap between technological advancement and societal impact. The study investigates key theoretical frameworks, including critical theory and actor-network theory, to analyse power relations, social stratification, and the dynamic (...) interplay between AI and society. The findings reveal the multifaceted influence of AI on social structures, ethical challenges, and the need for interdisciplinary approaches to address the societal implications of AI. (shrink)

Applications of artificial intelligence/machine learning in health care are dynamic and rapidly growing. One strategy for anticipating and addressing ethical challenges related to AI/ml for health care is patient and public involvement in the design of those technologies – often referred to as ‘co-design’. Co-design has a diverse intellectual and practical history, however, and has been conceptualized in many different ways. Moreover, AI/ml introduces challenges to co-design that are often underappreciated. Informed by perspectives from critical data studies and (...) critical digital health studies, we review the research literature on involvement in health care, and involvement in design, and examine the extent to which co-design as commonly conceptualized is capable of addressing the range of normative issues raised by AI/ml for health care. We suggest that AI/ml technologies have amplified and modified existing challenges related to patient and public involvement, and created entirely new challenges. We outline three pitfalls associated with co-design for ethical AI/ml for health care and conclude with suggestions for addressing these practical and conceptual challenges. (shrink)

This article reflects on the problem of false belief produced by the integrated psychological and algorithmic landscape humans now inhabit. Following the work of scholars such as Lee McIntyre (Post-Truth, MIT Press, 2018) or Cailin O’Connor and James Weatherall (The Misinformation Age: How False Beliefs Spread, Yale University Press, 2019) it combines recent discussions of fake news, post-truth, and science denialism across the disciplines of political science, computer science, sociology, psychology, and the history and philosophy of science that variously address (...) the ineffectiveness, in a digital era, of countering individual falsehoods with facts. Truth and falsehood, it argues, rather than being seen as properties or conditions attached to individual instances of content, should now be seen as collective, performative, and above all persuasive phenomena. They should be practically evaluated as networked systems and mechanisms of sharing in which individually targeted actions are combining with structural tendencies (both human and mechanical) in unprecedented ways. For example, the persuasive agency of apparent consensus (clicks, likes, bots, trolls) is newly important in a fractured environment that only appears to be, but is no longer ‘public’; the control of narratives, labels, and associations is a live, time-sensitive issue, a continuous contest, or ongoing cusp. Taking a social approach to truth yields observations of new relevance; from how current strategies of negative cohesion, blame, and enemy-creation depend crucially on binary ways of constructing the world, to how the offer of identity/community powerfully cooperates with the structural tendencies of algorithm-driven advertiser platforms towards polarisation. Remedies for these machine-learned and psychological tendencies lie in end-user education. So the Arts and Humanities, whether via comparisons with previous historical periods, or via principles of critical thinking and active reading, offer crucial resources to help counter what since 1997 silicon valley executives and scholars have called ‘persuasive technology’ (Fogg in Persuasive Technology: Using Computers to Change What we Think and Do, Morgan Kaufmann, 2003; Hamari et al. (eds) in Persuasive Technology, Springer International Publishing, 2014; Harris in How a Handful of Tech Companies Control Billions of Minds Every Day, 2017; Lanier in Who Owns the Future? Simon & Schuster, 2014 and Ten Arguments for Deleting your Social Media Accounts Right Now, Picador, 2019). The article proposes a paradigm shift in public understandings of this new social environment: from a culture of discovery, where what matters is what exists or is in fact the case, to a culture of iteration, where what matters is what gets repeated. (shrink)

This paper explores the perversion of reality in the context of advanced technologies, such as AI, VR, and AR, through the lens of Jean Baudrillard’s theory of hyperreality and the precession of simulacra. By examining the transformative effects of these technologies on our perception of reality, with a particular focus on the usage of digital avatars, the paper highlights the blurred distinction between the real and the simulated, where the copy becomes more ‘real’ than the original. Drawing on Baudrillard’s (...) concept of hyperreality, the paper delves into the perversion of reality as individuals seek refuge in virtual pleasure paradises and embrace artificial pleasures through their digital avatars, disconnecting from genuine human experiences. The convergence of AI, VR, and AR technologies amplifies this hyperreal condition, where digital avatars mimic or surpass the depth of human relationships, challenging our understanding of what is real. In line with Baudrillard’s theory, the paper explores the objectification and commodification of reality within digital spaces, specifically examining the digital avatars’ role in the erosion of genuine human connections. It explores the implications of these avatars in terms of consent, exploitation, and loss of authenticity, echoing Baudrillard’s concerns about the distortion of reality in contemporary society. Recognizing the implications of these technologies, the paper calls for a critical reflection on their transformative power. It emphasizes the need for a nuanced understanding of the hyperreal condition and ethical responsibility in engaging with AI, VR, and AR, particularly in relation to the usage of digital avatars. By resisting the seductive allure of digital escapism and preserving genuine human connections, we can navigate the perversion of reality and cultivate empathy, compassion, and meaningful interactions that transcend the simulated experiences offered by technology. (shrink)

Techno-solutionism (Ts) amplifies academic integrity issues endemic to using Generative AI in Open and Distance education (ODE). It (Ts) induces in Higher education (HE) the disposition that technology can and should be employed in every aspect of teaching, learning, and assessment. The prevalence of Ts in ODE and the consequence of undermining academic integrity is found in the surge in published papers. A 2023 study by Nature of over 1600 scientists reports that nearly 30% use GenAI to write papers, (...) and 5% use it in grant applications. A 2024 Originalityai report on 13,000 analysed papers on arXiv indicates a sudden increase of 200.42%, 44.68% and 22.04%, respectively, in Computer Science, Physics and Mathematics in papers published in Jan. 2019 and those published in Nov. 2023. Apr. 2024 paper on arXiv notes Computer Science to be the most prolific in LLM usage with up to 17.5% increase. The problem this study addresses is balancing the challenges and opportunities of GenAI in ODE. Is there a limit to AI use in ODE? How can we upsurge academic integrity in the age of AI? How might we rethink the culture of publish or perish in the age of AI? Adopting the scoping review methodology and discourse analysis, this paper analyses the gains and pains of AI in ODE. Leveraging the critical theory of technology, it recommends clear green and red lines on using AI in teaching, research, and assessment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hegel and Herder on Art, History, and ReasonKristin GjesdalThe introduction of a historical perspective in aesthetics is usually traced back to Hegel's 1820 lectures on fine art. Given at the University of Berlin, these lectures were amongst Hegel's most successful and best attended.1 By then a recognized intellectual figure, Hegel sets out to salvage art from its subjectivization in Kantian and romantic aesthetics, but ends up declaring that art, (...) considered in its highest vocation, is a thing of the past. This judgment on art—that its greatness is a thing of the past—follows from Hegel's attempt to combine a notion of art's historicity with a conception of its absolute essence. Hegel, however, was not the first to think systematically about the historicity of art. For this aspect of art—and, indeed, of reason too—was explored philosophically a good sixty years before Hegel's Berlin lectures by a young and aspiring student of Kant's, namely Johann Gottfried Herder. In a series of essays and fragments, Herder develops an advanced and elaborate alternative to Hegel's conception, a fundamentally non-essentialist approach to art, history, and reason.Over the past twenty years or so, Hegel's attempt to combine an essentialist and an historicist approach to art has been revitalized, with increasing force and sophistication, by Arthur Danto.2 The attempts to rehabilitate Herder's aesthetics, however, have been few and far between.3 This is the aim of the present essay, which seeks to contrast the young Herder's non-essentialist understanding of the historicity of art with Hegel's essentialist views on the artwork's historicity, pleading for a rehabilitation of the former.4 I approach this task from three different directions. First, I offer a brief account of Herder's and Hegel's views on reason, history, and art. Second, I look closer at their conceptions of classical tragedy and sculpture, which, due to Winckelmann's studies, [End Page 17] were perceived at the time as the gateway to a historically sensitive conception of culture as such. Finally, I round off by looking at some of the hermeneutic implications of Herder's non-essentialist standpoint.IAccording to Hegel, a phenomenologically mature and accountable philosophy is distinguished by its readiness to reflect on its own, historical presuppositions. It must acknowledge the critical commitments of modern thinking, but also take into account how these commitments are the result of spirit's laborious journey through history. Only by combining the perspective of modernity with the resources of tradition may philosophy inhabit a place where systematicity and historicity concur. Reality may now be exhausted in the form of a speculative logic. This, according to Hegel, is the end of history, but as the end of history, it is also the dawn of a new era, that of free and self-determining spirit.Hegel's notion of the end of history testifies to a formidable optimism about the power of critical thought. In modernity, Hegel claims, art and religion no longer emerge as adequate media of self-reflection. It is philosophy that has taken on this task. Considered from the standpoint of modernity, religion and art are no longer appropriate forms of expression; now only the conceptual optics of philosophy adequately reflects our deepest truths and values.5Artistically speaking, this moment may well emerge as a loss. For even though Hegel never claims that art, as such, will no longer be produced,6 he reckons it will not be produced in the same spirit as before. No longer expressive of a shared, ethical and political commitment, art is not brought forth by necessity. Intellectually speaking, however, the end of art triggers a different response. Not only does the end of art represent another step towards the conceptual self-determination of spirit. It also follows that only when a phenomenon such as art has finally fulfilled its historical possibilities can it be brought to philosophical clarity about itself. Only after art can we know conceptually what art is. Aesthetics can only begin at the point when art, considered in its highest vocation, no longer holds a historical future.IIAs a young and... (shrink)

What is the relation between mimesis and posthumanism? And why should these seemingly antagonistic concepts be joined in a volume opening up a new branch of posthuman studies titled Mimetic Posthumanism? After the plurality of innovative qualifications that, since the twilight of the twentieth century, have been giving critical and creative specificity to the posthuman turn, rendering posthumanism "critical" and "speculative," "philosophical" and "ecological," among other future-oriented perspectives, adding "mimetic" to the list of qualifications may initially sound disappointing. (...) Skeptics might wonder: What now? Is the posthuman turn so deprived of originality that it now returns to the old humanistic notion of "mimesis," traditionally restricted to all-too-human forms of artistic representation? This first impression is partially justified. At first sight, what we group under the rubric of mimetic posthumanism appears to look in two diametrically opposed directions: the mimetic side looks back to the past origins of aesthetic and philosophical theories attentive to the ways humans are uniquely endowed with a capacity to copy, represent and, in this restricted sense, imitate the world; the posthuman side looks ahead to technological developments that go beyond the human and are characterized by posthumanist difference rather than humanistic sameness, innovation instead of repetition, creativity and originality rather than copying or imitation. Given the long shadow mimesis casts on the very idea of technological innovation that drives posthuman studies, mimetic posthumanism might thus not only seem deprived of originality, it may also appear to generate a performative contradiction that a genealogy of philosophers informing posthuman studies has long trained us to critique, unmask, and deconstruct. And yet, precisely if we adopt genealogical lenses, the opposition between mimesis and posthumanism reveals itself to be less stable than it appears to be, generating mirroring inversions of perspective that open up new possibilities for alternative reconstructions. Convoking the ancient philosophical and aesthetic concept of "mimēsis" should at least remind thinkers of the posthuman that first appearances tend to be deceiving. A second look, in fact, shows that if the two perspectives look in opposed directions, they can be joined to compose a Janus-faced conceptual figure. As we shall see, a plurality of posthuman figurations, configurations, or, better still, transfigurations open up creative, strikingly metamorphic, and even original directions of inquiry to further a "mimetic turn or re-turn to mimesis" in the twenty-first century. After all, the same genealogists that paved the way for the supplementary "post" that now destabilizes the anthropocentric concept of the "human," rendering it "posthuman," started by troubling the hierarchical metaphysical binaries on which humanism relied. Such binaries were often structured on much-iterated oppositions such as inside/outside, nature/culture, mind/body, self/other, male/female, dominant/subaltern, and human/nonhuman. They also rested on an idealist metaphysics that opposed the "copy" to the "original," the material "phenomenon" to the ideal "Form," the "imitation" to the "model." Despite their multiple iterations that traverse the history of western thought, ultimately, such binary oppositions rested on a dominant conception of mimesis that, at least since Plato, was predicated on the mirroring logic of the Same, a vertical mimetic logic that has long been deconstructed, overturned, and unmasked as a metaphysical fiction. In the wake of Nietzsche's critique of metaphysics, humans revealed themselves to be far removed from being mere debased imitations of a divine, transcendental, and ideal model posited in an imaginary world behind the world. Rather, the very idea of a divine model, ideal, or phantom turned out to be given form by all-too-human drives constitutive of our evolutionary history in general and modernist critiques of that history in particular. As a period characterized by technological innovations and accelerations, modernist thinkers were thus quick to diagnose a change in human character or subjectivity that turned the ego into a copy, simulacrum, or, to use Nietzsche's phrase, a "phantom of the ego." Over a century later, in the wake of recent developments in robotics and algorithmic reason, and especially the artificial intelligence (AI) revolutions that increasingly blur the frontier between human and artificial intelligence, it is thus tempting to repeat modernist claims on radical changes or transformations. (shrink)

In recent years, there has been a growing public discourse regarding the influence AI will have on the future of work. Simultaneously, considerable critical attention has been given to the implications of AI on gender equality. Far from making precise predictions about the future, this discourse demonstrates that new technologies are instances for renegotiating the relation of gender and work. This paper examines how gender is addressed in news media discourse on AI and the future of work, focusing (...) on Germany. We approach this question from a perspective of feminist technology studies and discourse analysis, exploring a corpus of 178 articles from 2015 to 2021 from German newspapers and newsmagazines. The findings indicate that critical AI and gender knowledge circulates in public discourse in the form of specific discursive frames, thematizing algorithmic bias, automatization and enhancement, and gender stereotypes. As a result, we show that, first, the discourse takes up feminist and scholarly discourse on gender and discusses AI in a way that is informed by social constructivism and standpoint theories. Second, gender appears as a—to some extent intersectional—diversity category which is critical to AI, while at the same time omitting important perspectives. Third, it can be shown that there is a renegotiating of the ideal worker norm taking place, and finally, we argue that the gendered frame of the powerful men developer responsible for AI’s risk is a concept to be challenged. (shrink)

The development of artificial intelligence (AI) in medicine raises fundamental ethical issues. As one example, AI systems in the field of mental health successfully detect signs of mental disorders, such as depression, by using data from social media. These AI depression detectors (AIDDs) identify users who are at risk of depression prior to any contact with the healthcare system. The article focuses on the ethical implications of AIDDs regarding affected users’ health-related autonomy. Firstly, it presents the (ethical) discussion (...) of AI in medicine and, specifically, in mental health. Secondly, two models of AIDDs using social media data and different usage scenarios are introduced. Thirdly, the concept of patient autonomy, according to Beauchamp and Childress, is critically discussed. Since this concept does not encompass the specific challenges linked with the digital context of AIDDs in social media sufficiently, the current analysis suggests, finally, an extended concept of health-related digital autonomy. (shrink)

This article sheds new light on Karl Marx’s theoretical legacy to promote educational philosophy and theory in science, technology, engineering, arts, and mathematics (STEAM) education. Accordingly, this article selects Marxian thought as an exemplar case to elaborate critical pedagogy and aesthetics and culminate with an overview of the Marxian approach to the theoretical underpinnings of STEAM education. Hence, the article critically reviews Marx’s original works and earlier Marxian scholars’ contributions to extending critical pedagogy and its applications to the (...) STEAM paradigm and informational and communication technology (ICT) development. This article critiques notable structural problems of STEAM education that produce power differentials such as educational gaps and digital divides in the current age of digital capitalism. Given the context, this article refines art and communication theories through the lens of his biography and writings. Additionally, this article incorporates the Marxian viewpoints about reproduction and aesthetic literacy into STEAM education. Overall, this article reviews the theoretical legacy of Marx and his essential critical and pedagogical theory, calling on scholars to pay close attention to re-orienting STEAM pedagogy as an emerging multidisciplinary field. (shrink)

This article introduces seven ethical issues raised by the introduction of artificial intelligence (AI) at work. Each ethical issue is presented in connection to broader and older philosophical topics as well as topics in the more specialised literature on applied ethics of technology. The seven issues are: (1) How to govern the impact of AI on job losses and other social issues raised by the reshaping of the job market? (2) AI may contribute to create new forms of oppression (...) and violation of rights of the workforce; (3) AI may negatively affect workers’ (moral) agency, autonomy or responsibility; (4) AI may create hidden labour, that is, economically valuable tasks are performed by human agents without their work being sufficiently recognised, rewarded or protected, with (technological) companies acquiring an unfair gain and an increasing socio-economic power over people; (5) To what extent can AI affect the opportunity for people to perform good or meaningful work, and how should meaningful work be defined in a pluralistic society? (6) The introduction of AI at work may have a broader impact on social values and norms; (7) Who is responsible for making AI have a positive rather than a negative impact on ethical and societal values? In addition to providing a critical introduction to the ethical debate on AI and the future of work, the article also positions on this broader ethical and philosophical map the five articles of The Journal of Ethics special issue ‘Artificial Intelligence and the Future of Work’. (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)

Artificial Intelligence and Music Ecosystem highlights the opportunities and rewards associated with the application of AI in the creative arts. Featuring an array of voices, including interviews with Jacques Attali, Holly Herndon and Scott Cohen, this book offers interdisciplinary approaches to pressing ethical and technical questions associated with AI. Considering the perspectives of developers, students and artists, as well as the wider themes of law, ethics and philosophy, Artificial Intelligence and Music Ecosystem is an essential introduction for anyone (...) interested in the impact of AI on music, including those studying and working in the creative arts. (shrink)

This paper investigates the application of artificial intelligence (AI) language models in writing policy briefing notes within the context of public administration by juxtaposing the technologies’ performance against the traditional reliance on human expertise. Briefing notes are pivotal in informing decision-making processes in government contexts, which generally require high accuracy, clarity, and issue-relevance. Given the increasing integration of AI across various sectors, this study aims to evaluate the effectiveness and acceptability of AI-generated policy briefing notes. Using a structured evaluation-by-experts (...) methodology, the research scrutinizes and compares the output of three leading AI language models—OpenAI’s ChatGPT, Google’s Gemini, and Mistral’s Le Chat—across ten critical dimensions reflective of policy briefing notes quality. These dimensions encompass both structural and content-related aspects, ranging from linguistic precision to the depth and applicability of the generated information. The discussion is anchored in the technology acceptance model (TAM) theory and its extensions, which offer a theoretical framework for understanding the factors influencing the adoption and usefulness of technology in public administration. Our comparative analysis reveals that while AI models exhibit notable competencies in meeting some structural and linguistic benchmarks, they fail to address the nuances and depth required by policy experts for undertaking informed decision-making adequately. This discrepancy underscores the enduring value of human expertise in synthesizing complex information and navigating ethical considerations, even as AI enhances efficiency in certain aspects of the policy briefing note crafting process. (shrink)

This book interprets relationships among art and ethics in the context of contemporary South African art. Nearly three decades after inaugurating political freedom in a democratic form, the infrastructure of South Africa faces palpable issues and challenges to the social fabric. The social tension involves painful struggles for decolonization and violent debates about the removal of colonial statues, change of colonial names, transformation of universities, and curriculum change. This book does critical work in art history, theory, criticism, and visual (...) culture by looking from and looking after social differences to interpret the potential impact of contemporary media and mediation. Artists examined include Zanele Muholi, Mohau Modisekeng, Dineo Seshee Bopape, Hasan and Husain Essop, and Kemang Wa Lehulere. The book will be of interest to scholars working in art history, contemporary art, visual culture, art theory, ethics, aesthetics, philosophy of art, and African studies. (shrink)

The application of generative artificial intelligence (GenAI) technologies in the field of propaganda influences information creation, dissemination, and reception, and introduces new ethical challenges. This paper revisits the philosophical discourses of Jacques Ellul on technology and propaganda, placing them within the context of the rise of today’s generative AI technologies. Ellul identified the First Industrial Revolution as the initial juncture in the history of human technology that formed technique as a social phenomenon, which subsequently shaped the nature (...) of propaganda as a technique. Subsequent developments in computer technology in the latter half of the 20th century enabled the formation of a technological system. This raises the question: Could generative AI represent another pivotal moment in the evolution of the technological system, and what are the ethical implications of propaganda technology in this context? This article seeks to illuminate current discussions on GenAI technology and propaganda ethics with Ellul’s insightful theoretical insights. In terms of research methodology, this study relies on textual interpretation and classical hermeneutics, including three processes: syntactic text interpretation, historical background, and situational application. Ellul’s research delves into the intrinsic links and inherent ethical dimensions between propaganda and technology, examining their comprehensive and enduring impacts. This normative perspective is crucial for a deep understanding of contemporary propaganda within the framework of emerging technologies, helping us to transcend the escalating spiral of propaganda technology and counter-propaganda techniques. By incorporating propaganda facilitated by generative AI technologies into the overall development logic of the technological society, this approach explores its ethical implications from a more macroscopic and holistic perspective. (shrink)

Postphenomenology is not a critique of phenomenology, but a practical interpretive epistemology where technological artifacts and practices are studied. These new researchers can be called ‘R&D postphenomenologists’. Over the past 25 years, the expanding hermeneutics of postphenomenology has been undertaken by classical phenomenologists, cultural anthropologists, media/communications writers and performance artists. But these face Scharff’s challenge of ‘insufficient critical consideration’ and an entire world of artifice experienced through embodied mobile devices. In response there is a ‘weaving metaphor’ and performance (...) art with the intentional use of artifice/illusion to allow for multistability and ‘implicit idealism’ in a complex and unpredictable sensory world of ontological experiments and case studies. Allowing for multistable interpretations, variational theory, and the study of illusions, technoscience researchers and users of emerging technologies can develop heuristics for interpreting the world through devices, if programmers of these technologies make the hermeneutics accessible and visually interpretable. Both groups must expand the purview of the ‘readable technologies’ of Patrick Heelan, allowing for an expanding material hermeneutics of postphenomenology that is poised to become a praxis of perception for users of ubiquitous digital technologies and devices. (shrink)

The Art and Craft of Political Theory provides a critical overview of the discipline's core concepts and concerns and its development of critical thinking and practical judgment. The field's interdisciplinary strengths are deployed to grapple with emerging issues and engage afresh enduring ideals and quandaries. While conventional definitions of key concepts are provided, original and controversial perspectives are also explored, revealing continuity in a tradition of thought while emphasizing its diversity and innovations. The Art and Craft of Political (...) Theory illustrates the analytic and interpretive skills, the moral and philosophic discernment, and the historical knowledge needed to appreciate a tradition of thought, to contest its claims, and to make good use of its insights. Topics include: - Science, Ideology, and Normative Theory - Biology, Culture, Human Nature, Power and Violence - Ancient, Modern, and Postmodern Political Thought - Liberty, Equality, Justice, Reason, and Democracy - Racial, Religious, Gender, and Economic Identities - Liberalism, Socialism, Capitalism, Communism, Anarchism, Feminism, and Environmentalism - Social Media, Automation, Artificial intelligence and other Emerging Technologies This concise, lively, and accessibly written book is essential reading for all students of political theory. (shrink)

Recent publications on digital health technologies highlight the importance of ‘responsible’ use. References to the concept of responsibility are, however, frequently made without providing clear definitions of responsibility, thus leaving room for ambiguities. Addressing these uncertainties is critical since they might lead to misunderstandings, impacting the quality and safety of healthcare delivery. Therefore, this study investigates how responsibility is interpreted in the context of using digital health technologies, including artificial intelligence (AI), telemonitoring, wearables and mobile apps. (...) We conducted a scoping review with a systematic search in PubMed, Web of Science, Embase, CINAHL and Philosopher’s Index. A total of 34 articles were included and categorized using a theoretical framework of responsibility aspects, and revealed two main findings. First, we found that digital health technologies can expand and shift existing ‘role responsibilities’ among caregivers, patients and technology. Second, moral responsibility is often equated with liability or accountability, without clear justification. Articles describe new ways in which physicians can be held accountable, particularly in the context of AI, and discuss the emergence of a ‘responsibility gap’ where no-one can be fully responsible for AI-generated outcomes. The literature also shows that m-Health technologies can increase patients’ accountability for their own health. However, there was limited discussion in the reviewed literature on whether these attributions of accountability are appropriate. We conclude with implications for practice and suggestions for expanding the theoretical framework of moral responsibility, recommending further study on responsibility of collectives and artificial entities, and on the role of virtue in digital health. (shrink)

Background In an effort to improve the quality of medical care, the philosophy of patient-centered care has become integrated into almost every aspect of the medical community. Despite its widespread acceptance, among patients and practitioners, there are concerns that rapid advancements in artificial intelligence may threaten elements of patient-centered care, such as personal relationships with care providers and patient-driven choices. This study explores the extent to which patients are confident in and comfortable with the use of these technologies when (...) it comes to their own individual care and identifies areas that may align with or threaten elements of patient-centered care. Methods An exploratory, mixed-method approach was used to analyze survey data from 600 US-based adults in the State of Florida. The survey was administered through a leading market research provider (August 10–21, 2023), and responses were collected to be representative of the state’s population based on age, gender, race/ethnicity, and political affiliation. Results Respondents were more comfortable with the use of AI in health-related tasks that were not associated with doctor-patient relationships, such as scheduling patient appointments or follow-ups (84.2%). Fear of losing the ‘human touch’ associated with doctors was a common theme within qualitative coding, suggesting a potential conflict between the implementation of AI and patient-centered care. In addition, decision self-efficacy was associated with higher levels of comfort with AI, but there were also concerns about losing decision-making control, workforce changes, and cost concerns. A small majority of participants mentioned that AI could be useful for doctors and lead to more equitable care but only when used within limits. Conclusion The application of AI in medical care is rapidly advancing, but oversight, regulation, and guidance addressing critical aspects of patient-centered care are lacking. While there is no evidence that AI will undermine patient-physician relationships at this time, there is concern on the part of patients regarding the application of AI within medical care and specifically as it relates to their interaction with physicians. Medical guidance on incorporating AI while adhering to the principles of patient-centered care is needed to clarify how AI will augment medical care. (shrink)

This study challenges the conventional boundaries of philosophy by asserting that organizations can function as legitimate subjects within philosophical discourse. Western philosophy, epitomized by Descartes, has long assumed that individual human beings are the fundamental units of thought and moral agency. However, in a significant oversight, this belief overlooks the idea that organizations can think independently, leading to both virtuous and malevolent results. Epistemology lacks a clear prioritization of morally sound knowledge over potentially harmful knowledge. The advent of artificial (...) intelligence (AI) has also transformed the landscape of cognition from a primarily individual human endeavor into a joint undertaking where humans collaborate with AI entities in collective thinking and decision-making. Nevertheless, AI lacks the innate ability to discern between ethical and unethical actions. This symbiosis creates organizations as fundamental philosophical subjects, marking a significant shift in philosophical emphasis where the organization takes the center stage. Accordingly, within this emerging field, we advance four propositions as the core subjects of organization philosophy: organizations can think, organizations can create knowledge, AI can be part of an organization, and humans in the organization control moral discipline. These propositions guide the ethical coexistence of AI and human agents in organizations, emphasizing the importance of ethical deliberation in knowledge use. Moreover, the malicious use of profound knowledge hinders human progress, as illustrated in this study by an ethical examination of military institutions within organization philosophy. (shrink)

As artificial intelligence (AI) deployment is growing exponentially, questions have been raised whether the developed AI ethics discourse is apt to address the currently pressing questions in the field. Building on critical theory, this article aims to expand the scope of AI ethics by arguing that in addition to ethical principles and design, the organizational dimension (i.e. the background assumptions and values influencing design processes) plays a pivotal role in the operationalization of ethics in AI development and deployment (...) contexts. Through the prism of critical theory, and the notions of underdetermination and technical code as developed by Feenberg in particular, the organizational dimension is related to two general challenges in operationalizing ethical principles in AI: (a) the challenge of ethical principles placing conflicting demands on an AI design that cannot be satisfied simultaneously, for which the term ‘inter-principle tension’ is coined, and (b) the challenge of translating an ethical principle to a technological form, constraint or demand, for which the term ‘intra-principle tension’ is coined. Rather than discussing principles, methods or metrics, the notion of technical code precipitates a discussion on the subsequent questions of value decisions, governance and procedural checks and balances. It is held that including and interrogating the organizational context in AI ethics approaches allows for a more in depth understanding of the current challenges concerning the formalization and implementation of ethical principles as well as of the ways in which these challenges could be met. (shrink)

In this article, the potential for Artificial Intelligence (AI) to be appraised as an object of beauty is critically examined through the lens of philosophical thought. Tracing beauty’s evolution from Platonic ideals to contemporary interpretations, the analysis contends that AI’s emergence offers a unique illustration of beauty in the modern age. Confronting the challenge of assigning beauty to entities devoid of consciousness or emotional depth, the argument unfolds to suggest that the intricate design of AI’s algorithms and its technological (...) advancements constitute an emergent form of beauty, one inherently tied to human intellectual endeavor. The article proposes that with time, as with historical art forms, the aesthetic qualities of AI may gain broader acknowledgment, implying that technological advancements necessitate an ongoing revision of established beauty norms. The historical evolution of beauty has been traced in details, and an extended literature review has been provided, serving as the foundation for a comprehensive exploration into the potential for AI to be recognized as an object of beauty. The harmony, elegance, and problem-solving capabilities of AI algorithms have been meticulously evaluated, with a comparison made to classical elements of beauty in an effort to contextually situate AI within longstanding aesthetic traditions. Furthermore, the analysis has been extended to consider the emergence of artificial and digital beauty, alongside an investigation into the parallels drawn between divine and artificial intelligence. As part of a deeper inquiry, the possibility of human emotions, such as awe and love, being authentically directed towards AI has been scrutinized. In conclusion, a reflection has been presented on the transformative role of AI in reimagining the conceptual landscape of beauty, prompting readers to thoughtfully engage with an extended review and the philosophical and cultural implications emerging from AI’s evolving influence on the field of aesthetics. (shrink)

The justification and rationality of this paper is to present some fundamental principles, theories, and concepts that we believe moulds the nucleus of a good artificial intelligence (AI) society. The morally accepted significance and utilitarian concerns that stems from the inception and realisation of an AI’s structural foundation are displayed in this study. This paper scrutinises the structural foundation, fundamentals, and cardinal righteous remonstrations, as well as the gaps in mechanisms towards novel prospects and perils in determining resilient fundamentals, (...) accountability, and AI’s convoluted and responsible implications. We outline a number of salient and practical benefits, in which to place moral norms within the mise en scène of AI, to delineate the rudimentary ethical dilemmas and decorous directions within the realms of AI. (shrink)