Does artificial intelligence (AI) exhibit consciousness or self? While this question is hotly debated, here we take a slightly different stance by focusing on those features that make possible both, namely a basic or fundamental subjectivity. Learning from humans and their brain, we first ask what we mean by subjectivity. Subjectivity is manifest in the perspectiveness and mineness of our experience which, ontologically, can be traced to a point of view. Adopting a non-reductive neurophilosophical strategy, we assume that the point (...) of view exhibits two layers, a most basic neuroecological and higher order mental layer. The neuroecological layer of the point of view is mediated by the timescales of world and brain, as further evidenced by empirical data on our sense of self. Are there corresponding timescales shared with the world in AI and is there a point of view with perspectiveness and mineness? Discussing current neuroscientific evidence, we deny that current AI exhibits a point of view, let alone perspectiveness and mineness. We therefore conclude that, as per current state, AI does not exhibit a basic or fundamental subjectivity and henceforth no consciousness or self is possible in models such as ChatGPT and similar technologies. (shrink)

Science museums aim to provide educational experiences for both children and adults. To achieve this goal, museum displays must convey scientifically-relevant relationships, such as the similarities that unite members of a natural category, and the connections between scientific models and observable objects and events. In this paper, we explore how research on comparison could be leveraged to support learning about such relationships. We describe how museum displays could promote educationally-relevant comparisons involving natural specimens and scientific models. We also discuss how (...) these comparisons could be supported through the design of a display—in particular, by using similarity, space, and language to facilitate relational thinking for children and their adult companions. Such supports may be pivotal given the informal nature of learning in museums. (shrink)

A natural language argument may be valid in at least two nonequivalent senses: it may be interpretationally or representationally valid (Etchemendy in The concept of logical consequence. Harvard University Press, Cambridge, 1990). Interpretational and representational validity can both be formally exhibited by classical first-order logic. However, as these two notions of informal validity differ extensionally and first-order logic fixes one determinate extension for the notion of formal validity (or consequence), some arguments must be formalized by unrelated nonequivalent formalizations in order (...) to formally account for their interpretational or representational validity, respectively. As a consequence, arguments must be formalized subject to different criteria of adequate formalization depending on which variant of informal validity is to be revealed. This paper develops different criteria that formalizations of an argument have to satisfy in order to exhibit the latter’s interpretational or representational validity. (shrink)

We provide results allowing to state, by the simple inspection of suitable classes of posets , that the corresponding intermediate propositional logics are maximal among the ones which satisfy the disjunction property. Starting from these results, we directly exhibit, without using the axiom of choice, the Kripke frames semantics of 2No maximal intermediate propositional logics with the disjunction property. This improves previous evaluations, giving rise to the same conclusion but made with an essential use of the axiom of choice, of (...) the cardinality of the set of the maximal intermediate propositional logics with the disjunction property. (shrink)

Recent years have brought enormous growth in the number of women-only art exhibitions. These exhibitions are accompanied by discussions that concentrate on curatorial feminist activism. In this text, I propose a different perspective by taking into consideration all exhibitions where the participants were determined by social category and which were organized in one country during one year. This perspective not only allows us to remark on and analyse activities that otherwise remain unnoticed but also encourages us to extend our understanding (...) of politics behind women-only initiatives. These exhibitions are generally intended to increase the capital of women artists, and to shift forces within the art and social fields in favour of women. However, as my analysis demonstrates, the organizers of different exhibitions occupy different places both in the art field and in the social field, and it is their position that determines, to a large extent, what changes they envision, what objectives they – in consequence – have and how they formulate their politics. This text also offers a reflection on whether the objectives behind organizing women-only shows has been constant or if they are a result of the current situation of women. (shrink)

Aby Warburg's Bilderatlas Mnemosyne, left unfinished in 1929, has attracted significant interest in recent decades. This essay offers a new interpretation of Warburg's “picture atlas,” not in relation to modernist collage and photomontage, but as an heir to scientific pedagogical exhibitions of the late Wilhelmine period. It deals in particular with two “public enlightenment” shows curated by the Leipzig medical historian Karl Sudhoff, whose work Warburg admired and employed: the first on with the history of hygiene in Dresden in 1911, (...) the second in Leipzig, three years later, on the development of scientific images. Like Warburg, Sudhoff appreciated artworks and artifacts as sources for the history of science and medicine. His exhibitions consisted of assemblages of photographic reproductions—some of which were provided by Warburg himself—and uncannily anticipate Mnemosyne in both form and content. By examining the exchange of materials and display methods between the two scholars, the article explores how their respective visual projects reflected deeper disagreements over the public role of science, the epistemic power of images, and the persistence of the irrational in the human psyche. (shrink)

The size of animal exhibits has important effects on their lives and welfare. However, most references to exhibit size only consider floor space and height dimensions, without considering the space afforded by usable features within the exhibit. In this paper, we develop two possible methods for measuring the usable space of zoo exhibits and apply these to a sample exhibit. Having a metric for usable space in place will provide a better reflection of the quality of different exhibits, and enhance (...) comparisons between exhibits. (shrink)

In Grundgesetze der Arithmetik, Frege tried to show that arithmetic is logical by giving gap-free proofs from what he took to be purely logical basic laws. But how do we come to judge these laws as true, and to recognize them as logical? The answer must involve giving an account of the apparent arguments Frege provides for his axioms. Following Sanford Shieh, I take these apparent arguments to instead be exhibitions: the exercise of a logical capacity in order to bring (...) us into a state of judgement. I provide an account of what sort of inferential capacities are at play in such exhibitions, and explain how they lead us to judge that Frege’s primitive laws are general and undeniable. I will also situate my account with respect to other rival interpretations, particularly the elucidatory interpretations of Joan Weiner and Thomas Ricketts. (shrink)

This book contains the proceedings from Weaponising Speculation, a two-day conference and exhibition that took place in Dublin in March 2013. Weaponising Speculation was organised by D.U.S.T. (Dublin Unit for Speculative Thought) and aimed to be an exploration of the various expressions of DIY theory operative in the elsewheres, the shafts and tunnels of the para-academy. The topics covered all come under the welcoming embrace of speculation, spanning a broad range: from art, philosophy, nature, fiction, and computation to spiders, (...) culinary cosmology, and Oscar the Grouch. The book itself aims to be more than just a collection of essays and catalogue of artworks, but also a documentation of the event as a whole"--Publisher website, August 19, 2020. (shrink)

In museum settings, caregivers support children's learning as they explore and interact with exhibits. Museums have developed exhibit design and facilitation strategies for promoting families' exploration and inquiry, but these strategies have rarely been contrasted. The goal of the current study was to investigate how prompts offered through staff facilitation vs. labels printed on exhibit components affected how family groups explored a circuit blocks exhibit, particularly whether children set and worked toward their own goals, and how caregivers were involved in (...) children's play. We compared whether children, their caregivers, or both set goals as they played together, and the actions they each took to connect the circuits. We found little difference in how families set goals between the two conditions, but did find significant differences in caregivers' actions, with caregivers in the facilitation condition making fewer actions to connect circuits while using the exhibit, compared to caregivers in the exhibit labels condition. The findings suggest that facilitated and written prompts shape the quality of caregiver-child interactions in distinct ways. (shrink)

This early essay by Georg Simmel, first published in 1890, reflects on some sociological features of the phenomenon of the art exhibition in European culture at the end of the nineteenth century. The text presents Simmel's judgement at this time – in some respects negative, in other respects positive – of the consequences of the juxtaposition of multiple visual objects within definite temporary institutional spaces for future artistic production, organisation and reception. Particularly notable in the text are some themes (...) that look forward both to Simmel's own better-known essay of 1902, ‘The Metropolis and Mental Life’, and to Walter Benjamin's famous study of 1936, ‘The Work of Art in the Age of Mechanical Reproduction’. (shrink)

Drawing on a series of exhibitions curated and installed at the Canadian Centre for Architecture in Montréal throughout the 1990s and the early millennium, this essay analyzes how architecture and its representation in museological exhibitions have innovated forms of communication and display practices, transcending the traditions established by the fine arts paradigm since the late eighteenth century. The author argues that in addition to providing a heightened recognition of the narrative and performative potential of the exhibitionary setting, the discourses and (...) tensions specific to architecture and architectural practice have led to a rethinking of the communicative potential of the exhibition environment. Principles inherent to architecture—spatiality, materiality, and the experiential—are fruitful when considering the possibilities of exhibition design to elucidate multiple levels of meaning, and these principles have led to architecture’s coming-of-age in the museological environment in ways that are specific to re aedificatoria—the art of building itself. (shrink)

Discussions of installation art often develop out of an analysis of its similarities and differences to other art forms. Doing so helps to ground it into critical engagement we are well familiar with. In this paper I take a different approach. I look at installation art in relation to a cognate practice not ordinarily understood as art-making: that of exhibition-making. We will see that this comparison is illuminating since installation art and exhibitions have two kinds of meaning-bearing properties in (...) common: display and site-responsiveness. I will explore this shared ground, and make some remarks on how this helps illuminate the deep relationship between installation art and exhibition-making. (shrink)

This article mainly outlines and explores the art exhibitions held between China and the Soviet Union during the founding of the People's Republic of China. The author examines in detail such aspects of the topic as mutual exchanges of art exhibitions between China and the Soviet Union since the founding of the People's Republic of China. Particular attention is paid to the political background against which the evolution in Chinese art took place, as well as the legacy of Soviet realist (...) art in China in the political context and the interaction of art with politics and state-building. The author emphasizes the positive influence of art exhibitions held by the Soviet Union in China on Chinese art education and the creativity of artists. The main conclusions of this study are that the various exhibitions of Soviet art held in China provided an effective opportunity for Chinese artists to study Soviet realist oil paintings. The emergence of Soviet realism in China also served as an important reference point for the development of Chinese oil painting in the 1950s. The novelty of the study lies in the fact that the author not only analyzed the process of the acceptance and dissemination of Soviet realist art in China, but also examined the beginning and end of artistic exchange between China and the Soviet Union in conjunction with the country's social environment and the political leadership of its leaders. (shrink)

According to Husserl’s so-called Exhibition Principle, the propositions “x exists” and “The exhibition of x’s existence is possible” are equivalent. The overall aim of this paper is to debate EP. First, I raise the question whether EP can properly be said to be a principle. Second, I give a general formulation of EP. Third, I examine specific formulations of EP, namely those regarding eidetic and individual objects. Fourth, I identify the readings of EP I hold to be exegetically (...) plausible, that is the transcendental reading, the metaphysical reading, and the hybrid reading. Fifth, I present Husserl’s refutation of Berkeleyan idealism developed in 1902/03 lectures, and I argue that under certain assumptions, both esse est percipi and the metaphysical EP engender an infinite regress. In this regard, I claim there are two options for avoiding such a regress: either to commit oneself to reflexive exhibition of the ego’s actuality or to deny the universality of EP. I show that Husserl has a good argument for rejecting the first option, and I conclude that if the Husserlian idealist chooses the second option while affirming the ego’s actuality, he turns out to be as “dogmatic” as the realist. (shrink)

Exhibitions dedicated to the theme of "Red China" occupy an important place in the dissemination of "red" culture, the continuity of the "red" gene and the intensification of "red" education. They reflect the political agenda, have a distinct content and the uniqueness of the text material. Being an important element of the spread of "red" culture, exhibitions on the theme of "Red China" integrate elements of this culture into people's daily lives and play an active role in preserving and multiplying (...) the "red" gene. In this article, the systematization and generalization of knowledge in the field of narrative strategy of exhibitions on the theme of "Red China" is carried out from the point of view of ontology, structure and narrative carrier, which at the present stage is important for building a strong socialist ideology. Exhibitions on the theme of "Red China" are an important way of materialization, visualization and dissemination of "red" culture, as well as an effective means of its popularization. The study found that the "Red" exhibitions should have a "revolutionary content", have a "political character", be "mutually recognized by the authorities and the people", take on the main responsibility for providing people with common access to material and spiritual culture. From the point of view of the communication function of the "red" exhibitions, they are an important means of organizing ideological and political education by the Communist Party of China, strengthening social harmony and promoting basic values. (shrink)

This is the first day of our confinement here in Paris, which soon will feel a bit like house arrest. So, to help cheer you up, in these times of doom and gloom, I have decided to bring the museum to you in the form of a virtual exhibition thrice weekly. I have picked 25 photos from a work in progress I started years ago. The photos are portraits of visitors or guards in museums. It's candid photography, capturing life (...) on the run, a moment in time. I hope you will find many other ways to - Résidence numérique - Brigitte Cavanagh. (shrink)

This article attempts to explain how the Stockholm Exhibition of 1930 was uniquely different from previous exhibitions and sought to resolve a longstanding tension between a vision of the future and longing for the past. In particular, it addresses how ideas of the everyday were redirected towards functionalism in a joyful festive context through the agency of consumer desire. It also explains how the exhibition attempted to relate to Skansen, a nearby museum of the Swedishvernacular and how Gunnar (...) Asplund’s concepts of functionalism reflect Heidegger’s principles of dwelling. Finally, using Foucault’s concepts of ‘other’ spaces, it shows how the Stockholm Exhibition served as a heterotopia of the future that collaborated actively with a heterotopia of the past to make a more convincing case to a mass audience about the appropriateness of functionalism in Sweden. (shrink)

Presentation of self (via Goffman) is becoming increasingly popular as a means for explaining differences in meaning and activity of online participation. This article argues that self-presentation can be split into performances, which take place in synchronous “situations,” and artifacts, which take place in asynchronous “exhibitions.” Goffman’s dramaturgical approach (including the notions of front and back stage) focuses on situations. Social media, on the other hand, frequently employs exhibitions, such as lists of status updates and sets of photos, alongside situational (...) activities, such as chatting. A key difference in exhibitions is the virtual “curator” that manages and redistributes this digital content. This article introduces the exhibitional approach and the curator and suggests ways in which this approach can extend present work concerning online presentation of self. It introduces a theory of “lowest common denominator” culture employing the exhibitional approach. (shrink)

We can distinguish two non-equivalent ways in which a natural language argument can be valid: it can be interpretationally or representationally valid. However, there is just one notion of classical first-order validity for formal languages: truth-preservation in all classical first-order models. To ease the tension, Baumgartner suggests that we should understand interpretational and representational validity as imposing different adequacy conditions on formalizations of natural language arguments. I argue against this proposal. To that end, I first show that Baumgartner’s definition of (...) representational validity is extensionally inadequate. I present a number of natural language arguments that we pre-theoretically hold to be representationally valid, but are not representationally valid according to Baumgartner’s definition. I then point to two further untenable features of Baumgartner’s definitions: according to Baumgartner’s definition of a representationally correct formalization, we cannot arrive at formalizations in a recursive way, and Baumgartner’s definition of representational validity is non-monotonic. I conclude that interpretational and representational validity cannot be understood as merely imposing different adequacy conditions on formalizations. If we want to capture our interpretational and representational intuitions, we need two different formal definitions of validity. (shrink)

The publication presents for the first time the B. Baradin’s theses to A. Dorzhiev’s lecture that was supposed to be delivered at the international Buddhist exhibition in Leningrad in 1927. A. Dorzhiev was a famous Buryat lama who received the academic title of Geshe (the highest philosophical academic degree in the Gelug tradition of Tibetan Buddhism) upon completion of his philosophical education in the monasteries of Mongolia and Tibet. After 1918, he was involved in organizational issues of the Buddhist (...) Sangha in Russia. B. Baradin was an academic scientist and public figure, a professor at St. Petersburg University, and the author of studies on the history and teachings of Tibetan Buddhism. After the revolution of 1917, he began working in Buryatia in various administrative positions, focusing on the organization of the scientific and cultural life of the Republic. Their main idea is that the modern world consists of the two equal parts - East and West, unification of which is possible and even necessary for the further development of humanity. The system-forming teaching of the East is Buddhism; and the lecture hold on those aspects of Buddhist philosophy that could be compared with the teachings of the West. Four points are highlighted: 1) Buddhism is comparable to Darwin’s theory in that both consider humans in the context of all living beings in an evolutionary manner; 2) Buddhism, like science, accepts the determinism principle; 3) the Buddhist concept of shunya is similar to the relativistic principles of physics; and 4) the system of Buddhist psychotechniques is similar to the theory of reflexology. B. Baradin concludes that Indo-Buddhist culture and European culture are complementary and their rapprochement will bring us closer to a truly universal culture. The theses mentioned here are, apparently, the first systematic exposition of the views of neo-Buddhists-renewalists on the points of convergence between Buddhist and Western cultures. (shrink)

A methodological framework is presented for the analysis of the discursive function of the science exhibit, which is treated as a multimodal “text” with conceptual, structural, and operational features encoding science knowledge. This analytical model is founded on Bernstein's theory of cultural codes (classification and framing) and socio-linguistics (formality). By using this framework, it is hoped that the museum researcher, the science museum practitioner, and the science communicator are empowered to retrieve the science exhibit “message,” to reconstruct the image of (...) the represented science, and the socio-cultural positioning of the model visitor in the communicative context of the science museum. (shrink)

The Brownian motion of small particles interacting with a field at a finite temperature is a well-known and well-understood phenomenon. At zero temperature, even though the thermal fluctuations are absent, quantum fields still possess vacuum fluctuations. It is then interesting to ask whether a small particle that is interacting with a quantum field will exhibit Brownian motion when the quantum field is assumed to be in the vacuum state. In this paper, we study the cases of a small charge and (...) an imperfect mirror interacting with a quantum scalar field in (1 + 1) dimensions. Treating the quantum field as a classical stochastic variable, we write down a Langevin equation for the particles. We show that the results we obtain from such an approach agree with the results obtained from the fluctuation-dissipation theorem. Unlike the finite temperature case, there exists no special frame of reference at zero temperature and hence it is essential that the particles do not break Lorentz invariance. We find that that the scalar charge breaks Lorentz invariance, whereas the imperfect mirror does not. We conclude that small particles such as the imperfect mirror will exhibit Brownian motion even in the quantum vacuum, but this effect can be so small that it may prove to be difficult to observe it experimentally. (shrink)