Philosophical and technoculture studies surrounding the existential understanding of the human–technology–world experience have seen a slow but steady increase that makes a turn to material hermeneutics in the second decade of the twenty-first century (Ihde in Postphenomenology: essays in the postmodern context. Northwestern University Press, Evanston, 1993; Capurro in AI Soc 25(1):35–42, 2010; Romele in Digital hermeneutics: philosophical investigations in new media and technologies. Routledge, Abingdon, 2020; among others). This renewed focus makes sense because human–technology–world experiences need to be interpreted. (...) And many of these are more complicated to study, precisely because technology is at the root of the experiences. One interesting subset of technologies is media technologies, also called digital media, which intertwines the device and the content to mediate together in the world (Irwin in Digital media: human-technology connection. Lexington Books, Lanham, 2016). Visual media technologies and media content, together, through what is called moving image technologies, create virtual role-playing, virtual and augmented reality, video games, and social media focused worlds that have become central experiences in contemporary culture. Just as image-based scientific instruments read the world in different ways, so to do these visual mediated experiences. How might this comingled “reading” of technology explain the digital film language and experience? I contend that understanding the existential “early” film experience helps understand the new age of cinema, with implications for digital media, digital representation of the visual, and technoscience and technoculture studies. The material hermeneutics perspective called postphenomenology is one way to study these visually focused human–technology–world perceptual and interpretive experiences. Don Ihde’s methodological framework (1990, 1993, 1996, 2002, 2010, 2012, 2016, 2019) is both an idea from technoscience studies and a set of nuanced vocabulary that helps to explore and reveal variations, patterns, and trajectories of the whole-body experience of technology. This use case will first explore traditional cinema and then the “new age” term “moving image”, to learn more about this complicated and radically transforming technological experience. Work by Don Ihde and Vivian Sobchack is considered. (shrink)

Neuroadaptive technology (NAT) is a closed-loop neurotechnology designed to enhance human–computer interaction. NAT works by collecting neurophysiological data, which are analysed via autonomous algorithms to create actions and adaptations at the user interface. This paper concerns how interaction with NAT can mediate self-related processing (SRP), such as self-awareness, self-knowledge, and agency. We begin with a postphenomenological analysis of the NAT closed loop to highlight the built-in selectivities of machine hermeneutics, i.e., autonomous chains of algorithms that convert data into an assessment (...) of psychological states/intentions. We argue that these algorithms produce an assessment of lived experience that is quantitative, reductive, and highly simplistic. This reductive assessment of lived experience is presented to the user via feedback at the NAT interface and subsequently mediates SRP. It is argued that congruence between system feedback and SRP determines the precise character of the alterity relation between human user and system. If feedback confirms SRP, the technology is regarded as a quasi-self. If there is a disagreement between SRP and feedback from the system, NAT is perceived to be a quasi-other. We argue that the design of the user interface shapes the precise ways in which NAT can mediate SRP. (shrink)