The literature addressing bias and fairness in AI models (fair-AI) is growing at a fast pace, making it difficult for novel researchers and practitioners to have a bird’s-eye view picture of the field. In particular, many policy initiatives, standards, and best practices in fair-AI have been proposed for setting principles, procedures, and knowledge bases to guide and operationalize the management of bias and fairness. The first objective of this paper is to concisely survey the state-of-the-art of fair-AI methods and resources, (...) and the main policies on bias in AI, with the aim of providing such a bird’s-eye guidance for both researchers and practitioners. The second objective of the paper is to contribute to the policy advice and best practices state-of-the-art by leveraging from the results of the NoBIAS research project. We present and discuss a few relevant topics organized around the NoBIAS architecture, which is made up of a Legal Layer, focusing on the European Union context, and a Bias Management Layer, focusing on understanding, mitigating, and accounting for bias. (shrink)

For the uninitiated, there are two major tendencies in the modeling of human cognition. The older, tradtional school believes, in essence, that full human cognition can be modeled by dividing the world up into distinct entities -- called __symbol s__-- such as “dog”, “cat”, “run”, “bite”, “happy”, “tumbleweed”, and so on, and then manipulating this vast set of symbols by a very complex and very subtle set of rules. The opposing school claims that this system, while it might be good (...) at concluding that Paris is the capital of France or that there must be blood flowing in the left-rear leg of a cow, can never capture the full measure -- indeed, the essence -- of human cognition. For them, the essential features of cognition emerge from the combined effects of myriad, tiny actions far below the surface of consciousness. This is the camp to which Paul Churchland belongs. (shrink)

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

Extensively revised and expanded in this fourth edition, Exploring Philosophy: An Introductory Anthology is a uniquely accessible and engaging introduction to philosophy. Steven M. Cahn brings together exceptionally clear recent essays by noted philosophers and supplements them with influential historical sources. Most importantly, the articles have been carefully edited to make them understandable to every reader. The topics are drawn from across the major fields of philosophy and include knowledge and skepticism, mind and body, freedom and determinism, the existence of (...) God, identity and immortality, ethical reasoning, abortion, euthanasia, world hunger, democracy, social justice, art, and life and death. The readings are enhanced by concise introductions, study questions, explanatory notes, and suggestions for further reading.NEW TO THE FOURTH EDITION:* More than fifty new readings greatly expand the book's coverage and its flexibility for course use* More than half of the new readings are "Historical Sources," which introduce students to philosophical classics and help them understand the contemporary selections* Four new sections--Identity and Immortality, Social Justice, Art, and Life and Death--extend the anthology's range into areas that today's students find especially compelling* Study Questions after each reading help students test their comprehension and encourage class discussion. (shrink)

My intellectual journey in philosophy proceeded along two mountainous paths that coincided at their base, but forked less than halfway up the incline. The first is that of my philosophical development, a steep but steady and continuous ascent. It began in my family, and accelerated in high school, art school, college, and graduate school. Those foundations propelled my philosophical research into the nature of rationality and its relation to the structure of the self, a long-term project focused on the Kantian (...) and Humean metaethical traditions in Anglo-American analytic philosophy. It would have been impossible to bring this project to completion without the anchor, compass, and conceptual mapping provided by my prior, longstanding involvement in the practice and theory of Vedic philosophy. The second path is that of my professional route through the field of academic philosophy, which branched onto a rocky detour in graduate school, followed by a short but steep ascent, followed next by a much steeper, sustained descent off that road, into the ravine, down in flames, and out of the profession. In order to reach the summit of the first path, I had to reach the nadir of the second. It was the right decision. My yoga practice cushioned my landing. (shrink)

A rejoinder to Harri Mäcklin, "A Heideggerian Critique of Immersive Art".

IntroductionCardiology is characterized by its state-of-the-art biomedical technology and the predominance of Evidence-Based Medicine. This predominance makes it difficult for healthcare professionals to deal with the ethical dilemmas that emerge in this subspecialty. This paper is a first endeavor to empirically investigate the axiological foundations of the healthcare professionals in a cardiology hospital. Our pilot study selected, as the target population, cardiology personnel not only because of their difficult ethical deliberations but also because of the stringent conditions in which they (...) have to make them. Therefore, there is an urgent need to reconsider clinical ethics and Value-Based Medicine. This study proposes a qualitative analysis of the values and the virtues of healthcare professionals in a cardiology hospital in order to establish how the former impact upon the medical and ethical decisions made by the latter.ResultsWe point out the need for strengthening the roles of healthcare personnel as educators and guidance counselors in order to meet the ends of medicine, as well as the need for an ethical discernment that is compatible with our results, namely, that the ethical values developed by healthcare professionals stem from their life history as well as their professional education.ConclusionWe establish the kind of actions, communication skills and empathy that are required to build a stronger patient-healthcare professional relationship, which at the same time improves prognosis, treatment efficiency and therapeutic adhesion. (shrink)

_ Source: _Volume 26, Issue 1, pp 118 - 147 This paper challenges the widespread emphasis on the absence of God in post- Holocaust historiography, theology, and art by suggesting that Barnett Newman’s _Stations of the Cross_ may have been conceived under the theological category of the apophatic rather than the aesthetic category of the sublime. This paper focuses on the “anti-realist” position of Newman and other artists for whom the Holocaust necessitated a renewed aniconic tendency in Jewish aesthetics. His (...) work, I suggest, holds out a tension between absolute absence and redemptive presence that at once resists and affirms a negative aesthetic of God’s solidarity with suffering. (shrink)

ABSTRACT An overview of some of the main modes of making images of natural objects and processes, as they have appeared in the history of science, leads to two main conclusions. First, the dichotomies that have traditionally distinguished, for example, art from science, museums from laboratories, and geometrical from algebraic methods have produced a poverty of understanding of visualization. It is at the intersections of these dichotomies where much of the creative work of science occurs, and it is into those (...) intersections that this Focus section leads us. Second, the section suggests that we need to understand images as arguments. Generalizing, we need to develop a “materialized epistemology” that reunites sensual with ideational knowing. Recent work in the history of science is already pointing the way and producing a dramatically new historiography. (shrink)

In this article, one of a series he was preparing for publication when he died, Michael Podro discusses how the concept of truthfulness can be applied to paintings, paying particular attention to Cezanne's art and thought.

This essay derives its focus on poetry from the subtitle of Die Fröhliche Wissenschaft: “la gaya scienza.” Nietzsche appropriated this phrase from the phrase “gai saber” used by the Provençal knight-poets (or troubadours) of the eleventh through thirteenth centuries — the first lyric poets of the European languages — to designate their Ars Poetica or “art of poetry.” I will begin with an exploration of Nietzsche’s treatment of poets and poetry as a subject matter, closely analyzing his six aphorisms which (...) deal explicitly with poets and poetry. Having considered The Gay Science as a text about poetry, I will then briefly explore three further ways in which The Gay Science can be thought of as itself a kind of poetry. The result of these analyses is an understanding of Nietzsche’s own understanding of philosophy (and of the best way to live) as also a form of poetry. (shrink)

This volume offers the first-ever complete English translation of Leibniz’s Dissertatio De Arte Combinatoria together with a critical edition of the original Latin text on fa...

Interactive narratives are inextricable from the way that we understand our encounters with digital technology. This is based upon the way that these encounters are processually formed into a narrative of episodic events, arranged and re-arranged by various levels of agency. After describing past research conducted at the iCinema Research Centre at the University of New South Wales, this paper sets out a framework within which to build a relational theory of interactive narrative formation, outlining future research in the area.

This article presents a critical reading of Albert O. Hirschman’s typology of exit, voice and loyalty as a heuristic for understanding the changing meanings of exile in the 20th and early 21st centuries. It is argued that Hirschman’s experiences as well as the theory he distilled from them are highly relevant for researchers of forced migration and exile. After first defending the usefulness of Hirschman’s analytical framework for exile and diaspora studies, the article then highlights the need to revise and (...) complicate his approach. Hirschman could not foresee the emerging global possibilities of cultivating ‘the art of voice’, new forms of internal and self-exile as a result of post-fascist versions of authoritarianism, and the growing difficulties faced by refugees including, refugee scholars and writers, to exit their countries and find a safe haven somewhere else. The gaps in Hirschman’s theory are addressed by drawing on insights from the writings of Judith Shklar. (shrink)

The emerging field of the philosophy of dance, as suggested by Aili Bresnahan, increasingly recognizes the problem that (especially pre‐modern) dance has historically focused on bodily perfection, which privileges abled bodies as those that can best make and perform dance as art. One might expect that the philosophy of dance, given the critical and analytical powers of philosophy, might be helpful in illuminating and suggesting ameliorations for this tendency in dance. But this is particularly a difficult task since the analytic (...) philosophy of dance is too young to have achieved a comprehensive treatment of dance per se, let alone to update such a treatment in line with the demands of social justice. As a step in that direction, the present article (a) summarizes dance theorists on disabled dance (as opposed to the dance of the temporarily able‐bodied, or TAB) and then applies (b) the philosophy of art and dance to disability, (c) the philosophy of disability to dance, (d) interdisciplinary disability theory to dance, and (e) my own Figuration philosophy of dance to disability, as inspired in part by John Dewey. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetics and Humean Aesthetic Norms in the Novels of Jane AustenEva M. Dadlez (bio)IntroductionThe eighteenth century, Paul Oskar Kristeller tells us, in addition to crystallizing what we now call the fine arts, is also marked by an increased lay interest both in the arts and in criticism.1 Amateurs as well as philosophers ventured critical commentary on the arts. Talk concerning taste or beauty or the sublime was so much (...) a part of general discourse that even novelists of that era incorporated such subjects in their work. Henry Fielding "was able to construct a novel on the true and false sublime in art," according to Samuel Monk, "and to draw an analogy between the sublime in art and the sublime in character."2 So we shouldn't find it surprising that perspectives on aesthetics are sometimes presented in the novels of Jane Austen.3 This subject matter ranges from descriptions of skill in the execution and sensitivity in the appreciation of particular arts to general observations about beauty and taste and what is requisite for the apprehension of the former and the possession of the latter.Consider the following catalog of arts and beauties. Mansfield Park, Sense and Sensibility, and Northanger Abbey contain many references to the beauties of nature, both cultivated and wild. Taste in music is a topic in Persuasion, Mansfield Park, Pride and Prejudice, and Lady Susan. A taste for poetry and literature is the lot of the heroines of Persuasion, Northanger Abbey, Mansfield Park, and Sense and Sensibility. Taste and talent for drawing is exhibited by characters in Sense and Sensibility, Emma, and Northanger Abbey. Both Sense and Sensibility and Mansfield Park contain discussions of the merits of effective reading, that is, reading well aloud. Mansfield Park even comments on [End Page 46] acting ability, albeit rather disapprovingly. More general reflections on taste and beauty, as well as their connection to morality, are equally typical.It is possible to venture several different arguments about the philosophical perspective into which such observations best fit. Kantian analyses have already been ventured in the literature. Anne Crippen Ruderman calls our attention to the Kantian flavor of the connection Austen draws between a sensitivity to natural beauty and one's moral disposition, for instance, and David Kaufman compares Austen to Kant, though primarily in regard to ethics.4 Nonetheless, in this article I will argue that the strongest correlations and correspondences are in fact between Austen's and Hume's positions on aesthetics. Evidence in support of a Kantian analysis will first be canvassed and later compared with claims in favor of a Humean alternative.I will establish that the positions on taste and beauty and delicacy that are explicitly stated in or can be inferred from Austen's novels fit a Humean model—and fit it with a fair degree of precision. In doing so, I hope to demonstrate a correspondence strong enough to serve as the staging area for the further speculations that constitute the second thesis of this article. A great deal has already been said by philosophers about the capacity of literature to elicit moral reactions from the reader. Fictions can present ethical endorsements and invite us to adopt ethical perspectives by making it true in the world of the work that some course of action is right or some character is laudable. They can do this not by telling us that an act is right or a person meritorious but by showing us the rightness of the action and the commendability of the individual—by asking us to imagine traits that call forth our own approval and commendation. I will contend that aesthetic norms can be treated in much the same way as moral norms. That is, I will claim that the fiction of Jane Austen, in addition to evidencing the conscription of a Humean aesthetic, so engages and educates us that we are led imaginatively to adopt certain aesthetic perspectives in the course of its contemplation: not just by being told what is aesthetically pleasing or commendable, but by being made to feel pleasure and to experience commendation; not just by being told what constitutes discriminating taste, but by being led... (shrink)

BackgroundCarefully planned research is critical to developing policies and interventions that counter physical, psychological and social challenges faced by young people living with HIV/aids, without increasing burdens. Such studies, however, must navigate a ‘vulnerability paradox’, since including potentially vulnerable groups also risks unintentionally worsening their situation. Through embedded social science research, linked to a cohort study involving Adolescents Living with HIV/aids (ALH) in Kenya, we develop an account of researchers’ responsibilities towards young people, incorporating concepts of vulnerability, resilience, and agency (...) as ‘interacting layers’.MethodsUsing a qualitative, iterative approach across three linked data collection phases including interviews, group discussions, observations and a participatory workshop, we explored stakeholders’ perspectives on vulnerability and resilience of young people living with HIV/aids, in relation to home and community, school, health care and health research participation. A total of 62 policy, provider, research, and community-based stakeholders were involved, including 27 ALH participating in a longitudinal cohort study. Data analysis drew on a Framework Analysis approach; ethical analysis adapts Luna’s layered account of vulnerability.ResultsALH experienced forms of vulnerability and resilience in their daily lives in which socioeconomic context, institutional policies, organisational systems and interpersonal relations were key, interrelated influences. Anticipated and experienced forms of stigma and discrimination in schools, health clinics and communities were linked to actions undermining ART adherence, worsening physical and mental health, and poor educational outcomes, indicating cascading forms of vulnerability, resulting in worsened vulnerabilities. Positive inputs within and across sectors could build resilience, improve outcomes, and support positive research experiences.ConclusionsThe most serious forms of vulnerability faced by ALH in the cohort study were related to structural, inter-sectoral influences, unrelated to study participation and underscored by constraints to their agency. Vulnerabilities, including cascading forms, were potentially responsive to policy-based and interpersonal actions. Stakeholder engagement supported cohort design and implementation, building privacy, stakeholder understanding, interpersonal relations and ancillary care policies. Structural forms of vulnerability underscore researchers’ responsibilities to work within multi-sectoral partnerships to plan and implement studies involving ALH, share findings in a timely way and contribute to policies addressing known causes of vulnerabilities. (shrink)

Building on my previous exploration of the role of dance in the contemporary French political philosopher Jacques Rancière’s Aisthesis: Scenes from the Aesthetic Regime of Art, first published in French in 2011, the present essay turns to another book originally published in the same year, The Intervals of Cinema. Having previously established that the core of Rancière’s philosophical method is an analysis of philosophical homonyms into figurative dancing conceptual partners, I begin by applying that method to the first chapter of (...) Intervals, “Cinematic Vertigo: Hitchcock to Vertov and Back.” There I identify two series of such dancing partners, as follows: Hitchcock’s image-controlling, capitalist vertiginous fall, and Vertov’s movement-equalizing, communist balanced dance. I then critique the implicit marginalizing of women and female bodies in the films and chapter, including Hitchcock’s protagonist’s best friend and ex-fiancé, and Vertov’s cosmetologists and switchboard operators. Finally, I offer a corrective from the proto-feminist life of my grandmother, a onetime cosmetologist, switchboard operator, and Glamour Shots amateur model, my grandmother, Louise Nunnelley, or “Mamaw.” Such are the unacknowledged material basis of Rancière’s radical democratic philosophy, the specifically-embodied and positioned female dancers who continue to get lost in his figurative dance. (shrink)

Theodor W. Adorno is best known for his contributions to aesthetics and social theory. Critics have always complained about the lack of a practical, political or ethical dimension to Adorno's philosophy. In this highly original contribution to the literature on Adorno, J. M. Bernstein offers the first attempt in any language to provide an account of the ethical theory latent in Adorno's writings. Bernstein relates Adorno's ethics to major trends in contemporary moral philosophy. He analyses the full range of Adorno's (...) major works, with a special focus on Dialectic of Enlightenment, Minima Moralia and Negative Dialectics. In developing his account Bernstein lays particular stress on Adorno's contention that the event of Auschwitz demands a new categorical imperative. This book will be widely acknowledged as the standard work on Adorno's ethics and as such will interest professionals and students of philosophy, political theory, sociology, history of ideas, art history and music. (shrink)

ABSTRACT One of the standard defenses of Daniel Tosh, Andrew Dice Clay, Bernard Manning, and other stand-up comedians who have been accused of crossing moral lines is that the responses they elicit belong to an aesthetic rather than a moral domain to which standard methods of ethical evaluation are therefore inapplicable. I argue, first, that fictionality does not confer immunity to ethical criticism and, second, that the stance adopted by the stand-up artist is not fully analogous to a fictive one (...) in any event. Whatever the case with respect to the adoption of an alternative persona, the stand-up artist refers in his or her pronouncements to the actual world in a way that a fiction does not. That also suggests susceptibility to ethical criticism, just for different reasons. (shrink)

In Michel de Certeau’s Invention of the Everyday, improvisational community dance function as a catalyst for the subversive art of the oppressed, via its ancient Greek virtue/power of mētis, being “foxlike.” And in de Certeau’s The Possession of Loudun, this foxlike dance moves to the stage, as an improv chorus that disrupts the events at Loudon when reimagined as a tetralogy of plays at City Dionysia. More precisely, Loudun’s tetralogy could be interpreted as a series of three tragedies and one (...) comedy, the latter of which involves the chorine nuns’ channeling of anomie into a proto-feminist transfiguration. More precisely, the tactical prowess of the nuns’ chorus leader, namely the prioress Jeanne des Anges, elevates her to the status of an angelic prophet, which in de Certeau’s theatrical dancing critique makes her the Loudun tetralogy’s Dionysian, foxlike mage. In conclusion, this analysis suggests de Certeau’s relevance for revolutionary social justice today. (shrink)