This study is concerned with the moral dilemma that stems from the digital manipulation of magazine ads to render models thinner. Exposure to the "thin ideal" has been linked to such damaging psychological responses as body dissatisfaction, loss of self-esteem, and ultimately to disordered eating behaviors. However, the artistic freedom of photo editors is a cherished value that conflicts with the concern for public health. Findings suggest that, although aware of the prevalence of digital editing, readers disapprove (...) of its use in rendering models thinner, and judge it to be unethical and unfair. Findings are discussed with regard to the role of education in helping readers discount manipulated images. (shrink)

Privacy and surveillance scholars increasingly worry that data collectors can use the information they gather about our behaviors, preferences, interests, incomes, and so on to manipulate us. Yet what it means, exactly, to manipulate someone, and how we might systematically distinguish cases of manipulation from other forms of influence—such as persuasion and coercion—has not been thoroughly enough explored in light of the unprecedented capacities that information technologies and digital media enable. In this paper, we develop a definition of (...) manipulation that addresses these enhanced capacities, investigate how information technologies facilitate manipulative practices, and describe the harms—to individuals and to social institutions—that flow from such practices. -/- We use the term “online manipulation” to highlight the particular class of manipulative practices enabled by a broad range of information technologies. We argue that at its core, manipulation is hidden influence—the covert subversion of another person’s decision-making power. We argue that information technology, for a number of reasons, makes engaging in manipulative practices significantly easier, and it makes the effects of such practices potentially more deeply debilitating. And we argue that by subverting another person’s decision-making power, manipulation undermines his or her autonomy. Given that respect for individual autonomy is a bedrock principle of liberal democracy, the threat of online manipulation is a cause for grave concern. (shrink)

Social media use is soaring globally. Existing research of its ethical implications predominantly focuses on the relationships amongst human users online, and their effects. The nature of the software-to-human relationship and its impact on digital well-being, however, has not been sufficiently addressed yet. This paper aims to close the gap. I argue that some intelligent software agents, such as newsfeed curator algorithms in social media, manipulate human users because they do not intend their means of influence to reveal the (...) user’s reasons. I support this claim by defending a novel account of manipulation and by showing that some intelligent software agents are manipulative in this sense. Apart from revealing a priori reason for thinking that some intelligent software agents are manipulative, the paper offers a framework for further empirical investigation of manipulation online. (shrink)

The digital age brings with it novel forms of data flow. As a result, individuals are constantly being monitored while consuming products, services and content. These abilities have given rise to a variety of concerns, which are most often framed using “privacy” and “data protection”-related paradigms. An important, oft-noted yet undertheorized concern is that these dynamics might facilitate the manipulation of subjects; a process in which firms strive to motivate and influence individuals to take specific steps and make (...) particular decisions in a manner considered to be socially unacceptable. That it is important and imperative to battle manipulation carries with it a strong intuitive appeal. Intuition, however, does not always indicate the existence of a sound justification or policy option. For that, a deeper analytic and academic discussion is called for. This Article begins by emphasizing the importance of addressing the manipulation-based argument, which derives from several crucial problems and flaws in the legal and policy setting currently striving to meet the challenges of the digital age. Next, the Article examines whether the manipulation-based concerns are sustainable, or are merely a visceral response to changing technologies which cannot be provided with substantial analytical backing. Here the Article details the reasons for striving to block manipulative conduct and, on the other hand, reasons why legal intervention should be, in the best case, limited. The Article concludes with some general implications of this discussion for the broader themes and future directions of privacy law, while trying to ascertain whether the rise of the manipulation-based discourse will lead to information privacy’s expansion or perhaps its demise. (shrink)

Digital imaging has provided scientists with new opportunities to acquire and manipulate data using techniques that were difficult or impossible to employ in the past. Because digital images are easier to manipulate than film images, new problems have emerged. One growing concern in the scientific community is that digital images are not being handled with sufficient care. The problem is twofold: (1) the very small, yet troubling, number of intentional falsifications that have been identified, and (2) the (...) more common unintentional, inappropriate manipulation of images for publication. Journals and professional societies have begun to address the issue with specific digital imaging guidelines. Unfortunately, the guidelines provided often do not come with instructions to explain their importance. Thus they deal with what should or should not be done, but not the associated ‘why’ that is required for understanding the rules. This article proposes 12 guidelines for scientific digital image manipulation and discusses the technical reasons behind these guidelines. These guidelines can be incorporated into lab meetings and graduate student training in order to provoke discussion and begin to bring an end to the culture of data beautification. (shrink)

Mobile health applications that promise the user to help her with some aspect of her health are very popular: for-profit apps such as MyFitnessPal, Fitbit, or Headspace have tens of millions of users each. For-profit health apps are designed and run as optimization systems. One would expect that these health apps aim to optimize the health of the user, but in reality they aim to optimize user engagement and, in effect, conversion. This is problematic, I argue, because digital health (...) environments that aim to optimize user engagement risk being manipulative. To develop this argument, I first provide a brief analysis of the underlying business models and the resulting designs of the digital environments provided by popular for-profit health apps. In a second step, I present a concept of manipulation that can help analyze digital environments such as health apps. In the last part of the article, I use my concept of manipulation to analyze the manipulative potential of for-profit health apps. Although for-profit health can certainly empower their users, the conditions for empowerment also largely overlap with the conditions for manipulation. As a result, we should be cautious when embracing the empowerment discourse surrounding health apps. An additional aim of this article is to contribute to the rapidly growing literature on digital choice architectures and the ethics of influencing behavior through such choice architectures. I take health apps to be a paradigmatic example of digital choice architectures that give rise to ethical questions, so my analysis of the manipulative potential of health apps can also inform the larger literature on digital choice architectures. (shrink)

Ever-increasing numbers of human interactions with intelligent software agents, online and offline, and their increasing ability to influence humans have prompted a surge in attention toward the concept of (online) manipulation. Several scholars have argued that manipulative influence is always hidden. But manipulation is sometimes overt, and when this is acknowledged the distinction between manipulation and other forms of social influence becomes problematic. Therefore, we need a better conceptualisation of manipulation that allows it to be overt (...) and yet clearly distinct from related concepts of social influence. I argue that manipulation is careless influence, show how this account helps to alleviate the shortcomings of the hidden influence view of manipulation, and derive implications for digital ethics. (shrink)

Introduction : digital technology and popular music sound -- Making sense of digital spatiality : Kate Bush's eerie collage -- The instrument formerly known as the machine : hyper-accuracy and sonic richness in Prince's Kiss -- The rebirth of silence in the company of noise : Portishead going retro -- Cut-ups and glitches : Los Sampler's and Squarepusher's freeze and flow -- Seasick computers : microrhythmic manipulation in the era of endless undo -- Autotuned voices : alienation (...) and brokenhearted androids -- Popular music in the digital era. (shrink)

Digital manipulation of photographs raises a different set of questions for magazine editors than it does for news.paper editors. Interviews with editors of 13 consumer magazines reveal that digital alteration depends largely on the editorial profile of the magazine. All editors interviewed refused to digitally manipulate news photos; however, opinions varied on the treatment of feature and cover photos.

Drawing on contemporary pragmatic philosophy and grounded in a reading of techniques associated with digital media as sophist practices of influence and manipulation, this paper proposes an ‘experimental’ reading of key aspects of the topological qualities of the infrastructure of the knowledge economy, with its obsessive attempts at measuring, recording and monitoring, or ‘qualculation’. Taking seriously, albeit with humour, early criticisms of actor-network for its ostensibly Machiavellian proclivities, it offers a series of playful stratagems for the exploration and (...) analysis of power as an emergent property of socio-technical relations. Topology, in this account, becomes relevant to cultural analysis because of the way that it allows us to think together processes constructive of the intensive continua of ‘desiring production’ with the sociotechnical operations of digital media infrastructures. Different elements operative within digital media (the super-hub, the power of small numbers, recursion and relational databases) are read stratagematically – as figures of a praxis (the material practice of immaterial labour), that reveals different facets of the operations of power, while also allowing for counter-tactics to be deployed. Rather than proposing a theoretical account or an empirical analysis, the paper develops what Stengers (2011) calls ‘operative constructs’, which become ingredients for further active exploration of and thinking about the topological qualities of mediatic infrastructure. The paper addresses four different and overlapping areas of digital media from a point of view that considers the plural, compositional quality of media/power relations. (shrink)

Digital photo manipulation is often treated in the literature as a problem that occurs when individuals stray from a single set of ethical standards. It is proposed in this study that the newsroom comprises various subgroups, each with unique norms and values, and each seeking to shape newsroom decision making. It is expected that photo manipulation should result from subgroups' perceptions of, and reactions to, this plurality of newsroom norms. This expectation is assessed through both in-depth interviews (...) and a national phone survey of visual journalism managers. In-depth interviews reveal the existence of various sets of norms; these include integrative norms, which reflect the needs of the organization, art norms, and journalistic norms. Journalistic norms are perceived as dominant, but where art norms are stronger, photo manipulation is slightly more likely. Findings also suggest photos are more likely to be manipulated when newsrooms are large and complex and when visual journalists strain to fit visuals with story theme. (shrink)

Technology scholars and journalists have recently called attention to digital platforms’ and devices’ ability to influence users based on their present moods, stress level, hunger, and other transient features. For them, such influence based on users’ present status – what the chapter calls “real-time profiling” – is not only a clear form of wrongful manipulation but also online manipulation’s future. The chapter aims to explain what makes real-time profiling wrong (when wrong) and discusses problems associated with its (...) regulation. After explaining what real-time profiling consists in and showing that it can be presumed to be a form of manipulation, the chapter argues that real-time profiling is wrong both because the profiler psychologically hijacks profiled subjects and because it works as a gateway to further wrongs. Towards the end, the chapter discusses some implications of the proposed account for the legal regulation of online manipulative technologies like real-time profiling. It is argued that existing legal frameworks are not fine-grained enough to deal with the wrongs associated with real-time profiling and related forms of online manipulation. (shrink)

Modifying images for scientific publication is now quick and easy due to changes in technology. This has created a need for new image processing guidelines and attitudes, such as those offered to the research community by Doug Cromey (Cromey 2010). We suggest that related changes in technology have simplified the task of detecting misconduct for journal editors as well as researchers, and that this simplification has caused a shift in the responsibility for reporting misconduct. We also argue that the concept (...) of best practices in image processing can serve as a general model for education in best practices in research. (shrink)

This chapter defends the view that manipulated behaviour is explained by an injustice. Injustices that explain manipulated behaviour need not involve agential features such as intentionality. Therefore, technology can manipulate us, even if technological artefacts like robots, intelligent software agents, or other ‘mere tools’ lack agential features such as intentionality. The chapter thus sketches a comprehensive account of manipulated behaviour related to but distinct from existing accounts of manipulative behaviour. It then builds on that account to defend the possibility that (...) we are being manipulated by technology. (shrink)

Are we being manipulated online? If so, is being manipulated by online technologies and algorithmic systems notably different from human forms of manipulation? And what is under threat exactly when people are manipulated online? This volume provides philosophical and conceptual depth to debates in digital ethics about online manipulation. The contributions explore the ramifications of our increasingly consequential interactions with online technologies such as online recommender systems, social media, user-friendly design, micro-targeting, default-settings, gamification, and real-time profiling. The (...) authors in this volume address four broad and interconnected themes: • What is the conceptual nature of online manipulation? And how, methodologically, should the concept be defined? • Does online manipulation threaten autonomy, freedom, and meaning in life, and if so, how? • What are the epistemic, affective, and political harms and risks associated with online manipulation? • What are legal and regulatory perspectives on online manipulation? The Philosophy of Online Manipulation brings these various considerations together to offer philosophically robust answers to critical questions concerning our online interactions with one another and with autonomous systems. It will be of interest to researchers and advanced students working in moral philosophy, digital ethics, philosophy of technology, and the ethics of manipulation. (shrink)

Bazin, Cavell and other prominent theorists have asserted that movies are essentially photographic, with more recent scholars such as Carroll and Gaut protesting. Today CGI stands as a further counter, in addition to past objections such as editing, animation and blue screen. Also central in debates is whether photography is transparent, that is, whether it allows us to see things in other times and places. I maintain photography is transparent, notwithstanding objections citing digital manipulation. However, taking a cue (...) from Cavell—albeit one poorly outlined in his work—I argue this is not so much because of what photography physically is, but because of what “photography” has come to mean. I similarly argue digital technologies have not significantly altered what cinematic media “are” because they have not fundamentally modified what they mean; and that cinema retains a photographic legacy, even when it abandons photographic technologies to digitally manufacture virtual worlds. (shrink)

I consider how photographic image manipulation and deception influence both interpretation and evaluation of photographs. First I distinguish between image manipulation and deception by clarifying that image manipulation does not necessarily lead to deception in terms of forming false beliefs. I also argue that image manipulation is not the only way of using photographs deceptively, and I provide examples for photographic deception that do not rely on image manipulation. Then I examine what role the readability (...) of photographic properties plays in their interpretation. I introduce the concept of photographic illocutionary acts to account for the interpretation of photographic images, and I argue that the default interpretation of photographs is always based on our knowledge of the specific ontological and epistemic status of photographs in general, and which distinguishes them from non-photographic images. I conclude that our knowledge about the ease and frequency of analogue or digital image manipulation does not alter our default interpretation with which we approach photographs. (shrink)

Bazin, Cavell and other prominent theorists have asserted that movies are essentially photographic, with more recent scholars such as Carroll and Gaut protesting. Today CGI stands as a further counter, in addition to past objections such as editing, animation and blue screen. Also central in debates is whether photog- raphy is transparent, that is, whether it allows us to see things in other times and places. I maintain photography is transparent, notwithstanding objections citing dig- ital manipulation. However, taking a (...) cue from Cavell—albeit one poorly outlined in his work—I argue this is not so much because of what photography physically is, but because of what “photography” has come to mean. I similarly argue digital tech- nologies have not significantly altered what cinematic media “are” because they have not fundamentally modified what they mean; and that cinema retains a photographic legacy, even when it abandons photographic technologies to digitally manufacture virtual worlds. (shrink)

The impact of large digital corporations on our freedom is often lamented but rarely investigated systematically. This paper aims to fill this desideratum by focusing on the power of social media corporations and the freedom of their users. In order to analyze this relationship, I distinguish two forms of freedom and two corresponding forms of power. Social media corporations extend their users’ freedom of choice by providing many new options. This provision, however, comes with the domination by these corporations (...) because it is based on their power of uncontrolled interference. Users could escape this domination through exit. One reason why they do not choose this option is that they would lose the benefits associated with the network effects provided by social media services. A second reason is that the power of social media corporations runs so deep that they are able to manipulate the autonomous decision-making processes of their users. Users are provided with many new avenues for authentic self-presentation on social media. By using them, however, users need to conform to a web interface that is designed by corporations to undermine self-control. Through these two mechanisms, corporations are able to promote an interest in users to present themselves on their platforms. Insofar as this works, they secure the users’ compliance to their domination through subjectivation. This double conjunction of choice and domination, on the one hand, and autonomy and subjectivation, on the other, makes the case that the very power of corporate social media stems from their intrinsic connection to genuine practices of freedom. (shrink)

It is becoming increasingly common for authoritarian regimes to leverage digital technologies to surveil, repress and manipulate their citizens. Experts typically refer to this practice as “digital authoritarianism” (DA). Existing definitions of DA consistently presuppose a politically repressive agent intentionally exploiting digital technology in pursuit of authoritarian ends. I refer to this as the "intention-based definition." This paper argues that this definition is untenable as a general description of DA. I begin by illustrating the current predominance of (...) the intention-based definition (Section 1). Section 2 then presents four counterexamples to this definition: benign surveillance; digital sovereignty; attention-harvesting algorithms; and tech-induced loneliness. In each case, we witness authoritarianism being promoted by digital technologies without any evidence of this being intentionally caused by politically repressive agents. Based on these observations, I contend that the intention-based definition is underinclusive and therefore unsustainable. Section 3 then outlines an improved definition of DA – what I call the "promotion-based definition." Since this more expansive definition does not posit intentional, politically repressive agency as a precondition of DA, it can accommodate the counterexamples discussed in Section 2. Moreover, it enables us to catch a broader spectrum of cases of DA, such as tech-induced loneliness, which those adhering to the intention-based definition are prone to overlook. After outlining further practical benefits of the promotion-based definition, I argue that we still need to distinguish between intentional and unintentional forms of DA since they call for distinct types of remedial action. (shrink)

In this article, we explore how digital marketers think about marketing in the age of Big Data surveillance, automatic computational analyses, and algorithmic shaping of choice contexts. Our starting point is a contradiction at the heart of digital marketing namely that digital marketing brings about unprecedented levels of consumer empowerment and autonomy and total control over and manipulation of consumer decision-making. We argue that this contradiction of digital marketing is resolved via the notion of relevance, (...) which represents what Fredric Jameson calls a symbolic act. The notion of the symbolic act lets us see the centering of relevance as a creative act of digital marketers who undertake to symbolically resolve a contradiction that cannot otherwise be resolved. Specifically, we suggest that relevance allows marketers to believe that in the age of surveillance capitalism, the manipulation of choice contexts and decision-making is the same as consumer empowerment. Put differently, relevance is the moment when marketing manipulation disappears and all that is left is the empowered consumer. To create relevant manipulations that are experienced as empowering by the consumer requires always-on surveillance, massive analyses of consumer data and hyper-targeted responses, in short, a persistent marketing presence. The vision of digital marketing is therefore a fascinating one: marketing disappears at precisely the moment when it extends throughout the life without limit. (shrink)

I aim to illustrate how the recommender systems of digital platforms create a particularly problematic kind of vulnerability in their users. Specifically, through theories of scaffolded cognition and scaffolded affectivity, I argue that a digital platform’s recommender system is a cognitive and affective artifact that fulfills different functions for the platform’s users and its designers. While it acts as a content provider and facilitator of cognitive, affective and decision-making processes for users, it also provides a continuous and detailed (...) amount of information to platform designers regarding users’ cognitive and affective processes. This dynamic, I argue, engenders a kind of vulnerability in platform users, structuring a power imbalance between designers and users. This occurs because the recommender system can not only gather data on users’ cognitive and affective processes, but also affects them in an unprecedentedly economic and capillary manner. By examining one instance of ethically problematic practice from Facebook, I specifically argue that rather than being a tool for manipulating or exploiting people, digital platforms, especially by their underlying recommender systems, can single out and tamper with specific cognitive and affective processes as a tool specifically designed for mind invasion. I conclude by reflecting how the understanding of such AI systems as tools for mind invasion highlights some merits and shortcomings of the AI Act with regards to the protection of vulnerable people. (shrink)

Since 2016, when the Facebook/Cambridge Analytica scandal began to emerge, public concern has grown around the threat of “online manipulation”. While these worries are familiar to privacy researchers, this paper aims to make them more salient to policymakers — first, by defining “online manipulation”, thus enabling identification of manipulative practices; and second, by drawing attention to the specific harms online manipulation threatens. We argue that online manipulation is the use of information technology to covertly influence another (...) person’s decision-making, by targeting and exploiting their decision-making vulnerabilities. Engaging in such practices can harm individuals by diminishing their economic interests, but its deeper, more insidious harm is its challenge to individual autonomy. We explore this autonomy harm, emphasising its implications for both individuals and society, and we briefly outline some strategies for combating online manipulation and strengthening autonomy in an increasingly digital world. (shrink)

Digital pictures can be type-identical in respect of colours, shapes and sizes (allographic), but they are not tokens of notational systems, because the types under which they are identical have vague limits and do not meet the requirements for notational characters. Digital display devices are designed to instantiate only limited ranges of objective properties (light intensities, sizes and shapes). Those ranges keep differences in objective magnitudes below sensory discrimination thresholds, and thus define objective conditions sufficient, but not necessary, (...) for the phenomenal type-identity of pictures. The fact that digital pictures are types shows that pictures are not necessarily autographic. Moreover, the reasons why digital pictures are allographic (essentially, the consistent manipulation of sub-phenomenal information) could in principle also be made to apply to non-digital pictures. (shrink)

Advancements in digital technology have made it easy to alter faces using editing software, posing challenges for industries in verifying photograph authenticity. Digital image forensics, a scientific method, is employed to gather data and determine the veracity of faces. This study assesses the effectiveness of digital image forensics in detecting fake digital faces using tools such as Foto Forensics, Forensically Beta, and Opanda IExif. Foto Forensics analyzes JPEG picture compression levels to detect image edits, revealing metadata (...) differences compared to the original photo. Forensically Beta examines digital characteristics like color and noise levels to identify alterations. Opanda IExif scrutinizes image metadata, disclosing information about the camera used and subsequent changes. All three forensic methods effectively identify fake digital faces. Analyzing metadata differences and contrast variations between the original and altered faces proves to be an effective method for spotting alterations. Digital image forensics enhances legal and investigative processes, serving as a valuable tool for identifying digital face manipulation. Stronger digital security measures, including improved encryption, authentication, and legal regulations, are needed to protect against facial photograph manipulation. Updating legal and regulatory frameworks for digital security is vital to address increasingly sophisticated techniques used in facial photograph editing. As digital technology advances, continuous development and improvement of forensic techniques are crucial to detect digital face fabrication. Given the growing complexity of digital editing tools and the ease with which facial images can be altered, reliable methods are essential. Digital image forensics provides a systematic approach to gather data and verify the authenticity of digital photographs. (shrink)

More and more researchers argue that online technologies manipulate human users and, therefore, undermine their autonomy. We call this the MAL view on online technology because it argues from Manipulation to Autonomy-Loss. MAL enjoys public visibility and will shape the academic discussion to come. This view of online technology, however, fails conceptually. MAL presupposes that manipulation equals autonomy loss, and that autonomy is the absence of manipulation. That is mistaken. In short, an individual can be manipulated while (...) being fully personally autonomous. Internet policy researchers should be aware of this point to avoid looking in the wrong place in future research on manipulative and harmful online technology. (shrink)

The new computer technology that dramatically improves color reproduction in newspapers also allows digital retouching of photographs. Digital retouching can alter and synthesize photos to the point that the alteration is undetectable. This technology gives publications the ability to create eye?catching illustrations, but does it have a place in photojournalism? This paper attempts to raise some initial ethical questions. Although manipulation of photographs is not new, digital retouching allows for imperceptible alterations of photographs to be made (...) with speed, ease, and precision. All the editors agreed that news photographs should not be altered. However, there was disagreement about photographs that appeared in the feature sections, in particular photo illustrations. (shrink)

Photography has become a pervasive component of contemporary communication. Recent technological advances in creating and manipulating images have provided renewed impetus to decades-long debates on use of photographs in science. With increase in the potential for inappropriate image manipulation, fears about misrepresentation have heightened concern among journal editors and scholars about the 'accuracy' of published images. We discuss how science has responded to growing concerns surrounding falsification and inaccuracy of photography. We document progress in implementing a variety of complementary (...) approaches to addressing the problem. These include digital forensics, photo member checking and the implementation of codes of ethics to enhance the veracity of published photographs in science research. We conclude by acknowledging the irreducible conflict likely to remain between use of the photograph as a creative work of art and employment of this medium as a source of information in the progress of science. (shrink)

There are currently considerable confusion and disarray about just how we should view computationalism, connectionism and dynamicism as explanatory frameworks in cognitive science. A key source of this ongoing conflict among the central paradigms in cognitive science is an equivocation on the notion of computation simpliciter. ‘Computation’ is construed differently by computationalism, connectionism, dynamicism and computational neuroscience. I claim that these central paradigms, properly understood, can contribute to an integrated cognitive science. Yet, before this claim can be defended, a better (...) understanding of ‘computation’ is required. ‘Digital computation’ is an ambiguous concept. It is not just the classical dichotomy between analogue and digital computation that is the basis for the equivocation on ‘computation’ simpliciter in cognitive science, but also the diversity of extant accounts of digital computation. There are many answers on what it takes for a system to perform digital computation. Answers to this problem range from Turing machine computation, through the formal manipulation of symbols, the execution of algorithms and others, to the strong-pancomputational thesis, according to which every physical system computes every Turing-computable function. Despite some overlap among them, extant accounts of concrete digital computation are non-equivalent, thus, rendering ‘digital computation’ ambiguous. The objective of this dissertation is twofold. First, it is to promote a clearer understanding of concrete digital computation. Accordingly, my main thesis is that not only are extant accounts of concrete digital computation non-equivalent, but most of them are inadequate. I show that these accounts are not just intensionally different (this is quite trivially the case), but also extensionally distinct. In the course of examining several key accounts of concrete digital computation, I propose the instructional information processing account, according to which digital computation is the processing of discrete data in accordance with finite instructional information. The second objective is to establish the foundational role of computation in cognitive science whilst rejecting the purported representational nature of computation. (shrink)

My question in this paper is whether digital technologies transform humanity and make politics impossible. Digital technologies, no doubt, are revolutionary. But I argue that what they have done in the Post-Cold War era are: (1) to further contract the spaces between politicians and the people; (2) transform actors from subjects to objects, such that we may in addition to social identities, talk about digital identities; (3) relocate the public sphere from squares to ilosphere where individuals are (...) granted enormous expressive powers but at the same time become vulnerable to large scale manipulations; (4) and escalate the tools of politics. My argument will be that digital technologies in a subtle way are transforming humanity in the digital space and that this might have costly moral consequences not only in politics generally but specifically in liberal democracy. However, I will contend that this transformation of humanity does not make politics impossible; it only escalates it with troubling consequences like those we saw in the 2016 American presidential election. (shrink)

The increasing diffusion of novel digital and online sociotechnical systems for arational behavioral influence based on Artificial Intelligence (AI), such as social media, microtargeting advertising, and personalized search algorithms, has brought about new ways of engaging with users, collecting their data and potentially influencing their behavior. However, these technologies and techniques have also raised concerns about the potential for manipulation, as they offer unprecedented capabilities for targeting and influencing individuals on a large scale and in a more subtle, (...) automated and pervasive manner than ever before. This paper, provides a narrative review of the existing literature on manipulation, with a particular focus on the role of AI and associated digital technologies. Furthermore, it outlines an account of manipulation based of four key requirements: intentionality, asymmetry of outcome, non-transparency and violation of autonomy. I argue that while manipulation is not a new phenomenon, the pervasiveness, automaticity, and opacity of certain digital technologies may raise a new type of manipulation, called “digital manipulation”. I call “digital manipulation” any influence exerted through the use of digital technology that is intentionally designed to bypass reason and to produce an asymmetry of outcome between the data processor (or a third party that benefits thereof) and the data subject. Drawing on insights from psychology, sociology, and computer science, I identify key factors that can make manipulation more or less effective, and highlight the potential risks and benefits of these technologies for individuals and society. I conclude that manipulation through AI and associated digital technologies is not qualitatively different from manipulation through human–human interaction in the physical world. However, some functional characteristics make it potentially more likely of evading the subject’s cognitive defenses. This could increase the probability and severity of manipulation. Furthermore, it could violate some fundamental principles of freedom or entitlement related to a person’s brain and mind domain, hence called neurorights. To this end, an account of digital manipulation as a violation of the neuroright to cognitive liberty is presented. (shrink)

The advent of computer-assisted digital manipulation has raised new ethical concerns in news photography. A series of recent questionable manipulations in news magazines gives rise to a call for some systematic decision making and accountability. Protocols rather than codes of ethics are called for.

What distinguishes deception from manipulation? Cohen (Australasian Journal of Philosophy, 96, 483 and 2018) proposes a new answer and explores its ethical implications. Appealing to new cases of “non‐deceptive manipulation” that involve intentionally causing a false belief, he offers a new definition of deception in terms of communication that rules out these counterexamples to the traditional definition. And, he leverages this definition in support of the claim that deception “carries heavier moral weight” than manipulation. In this paper, (...) I argue that these cases of “non‐deceptive manipulation” are even more prevalent than Cohen suggests—especially in the digital world. Thus, if his moral claim were correct, a lot of what is happening on the internet these days would constitute moral improvement over old‐fashioned deception. Fortunately, we are not forced to accept this counterintuitive conclusion. Cohen's definition must be rejected because it incorrectly rules out clear instances of deception. In this paper, I defend a definition of deception in terms of evidence that does correctly distinguish between deception and non‐deceptive manipulation. Moreover, it does not support Cohen's claim that deception is morally worse than other forms of manipulation. (shrink)

Cognition is commonly taken to be computational manipulation of representations. These representations are assumed to be digital, but it is not usually specified what that means and what relevance it has for the theory. I propose a specification for being a digital state in a digital system, especially a digital computational system. The specification shows that identification of digital states requires functional directedness, either for someone or for the system of which it is a (...) part. In the case or digital representations, to be a token of a representational type, where the function of the type is to represent. [An earlier version of this paper was discussed in the web-conference "Interdisciplines" https://web.archive.org/web/20100221125700/http://www.interdisciplines.org/adaptation/papers/7 ]. (shrink)

Secrets of exposure revealed, with a bonus color checker card included Exposure is the number one topic that digital photographers want to know about. This full-color book fits in your camera bag and provides all the information you need on this very important aspect of digital photography. Exposure involves combining ISO, aperture, and shutter speed in different variations to accomplish your vision of the perfect image. Exposure Digital Field Guide takes you through the complex techniques of good (...) exposure, taking you from hobbyist to serious amateur photographer. Explains how to adjust shutter speed and aperture to control the amount of light hitting the camera's light sensor Teaches you how to "see the light" for the perfect exposure Helps you gain confidence as you move from automatic controls into manipulating the elements of exposure for specific results Packed with stunning full-color photographs to illustrate what you can achieve Provides suggested settings for various shooting situations and subjects Includes a tear-out color checker card to help you maintain true color Fits in your camera bag for ready reference in the field Exposure Digital Field Guide helps you master one of the most complex and intricate elements of digital photography. (shrink)

A full-color guide to taking stunning wedding photos from "America's Most Popular Photo Expert" —Rick Sammon Wedding photography has grown into a major industry with droves of digital photographers in the field, all looking for a competitive edge. Whether you're new to the field or you're looking for some fresh new ideas, this full-color guide is packed with more than 200 tips, tricks, and secrets for taking stunning and memorable digital wedding photos. Top photographer and Canon Explorer of (...) Light Rick Sammon explores the wedding photography market from the angles of both novice and experienced digital photographers and offers guidance for choosing and using digital camera equipment, accessories, software, and printing options. "America's Most Popular Photo Expert" Rick Sammon shows you how to set up the scene for an incredible wedding shot—both posed and candid Shows how to prepare for a variety of conditions in all types of settings, including exotic locales Demonstrates best practices for post-shoot digital darkroom workflow Explains how to manipulate photos to include impressive effects Brimming with lavish inspirational color photos, this is the must-have book if you're looking to bring a unique style to your wedding photography skills. (shrink)

Organisations increasingly use digital nudges to influence their workforces’ behaviour without coercion or incentives. This can expose employees to arbitrary domination by infringing on their autonomy through manipulation and indoctrination. Nudges might furthermore give rise to the phenomenon of “organised immaturity.” Adopting a balanced approach between overly optimistic and dystopian standpoints, I propose a framework for determining the moral permissibility of digital nudging in the workplace. In this regard, I argue that not only should organisations provide pre-discursive (...) justification of nudges but they should also ensure that employees can challenge their implementation whenever necessary through legitimation procedures. Building on Rainer Forst’s concept of the right to justification, this article offers a way to combine contract- and deliberation-based theories for addressing questions in business ethics. I further introduce the concept of meta-autonomy as a capacity that employees can acquire to counter threats of arbitrary domination and to mitigate organised immaturity. (shrink)

This special issue seeks to problematize the role of digital technologies in the constitution of the self, taking up the phenomenological premise that experiential structures are shaped and renegotiated through interactions between subjects, environments, and the manipulation of both real and fictional objects. The articles herein address the effects of digital technologies on the human self and, conversely, the active, open, and plastic ways that the self experiences and shapes the digital w...

The abstract basis of modern computation is the formal description of a finite state machine, the Universal Turing Machine, based on manipulation of integers and logic symbols. In this contribution to the discourse on the computer-brain analogy, we discuss the extent to which analog computing, as performed by the mammalian brain, is like and unlike the digital computing of Universal Turing Machines. We begin with ordinary reality being a permanent dialog between continuous and discontinuous worlds. So it is (...) with computing, which can be analog or digital, and is often mixed. The theory behind computers is essentially digital, but efficient simulations of phenomena can be performed by analog devices; indeed, any physical calculation requires implementation in the physical world and is therefore analog to some extent, despite being based on abstract logic and arithmetic. The mammalian brain, comprised of neuronal networks, functions as an analog device and has given rise to artificial neural networks that are implemented as digital algorithms but function as analog models would. Analog constructs compute with the implementation of a variety of feedback and feedforward loops. In contrast, digital algorithms allow the implementation of recursive processes that enable them to generate unparalleled emergent properties. We briefly illustrate how the cortical organization of neurons can integrate signals and make predictions analogically. While we conclude that brains are not digital computers, we speculate on the recent implementation of human writing in the brain as a possible digital path that slowly evolves the brain into a genuine (slow) Turing machine. (shrink)

Most people encounter art images as digital reproductions on a computer screen instead of as originals in a museum or gallery. With the development of digital technologies, high-resolution artworks can be accessed anywhere and anytime by a large number of viewers. Since these digital images depict the same content and are attributed to the same artist as the original, it is often implicitly assumed that their aesthetic evaluation will be similar. When it comes to the digital (...) reproductions of art, however, it is also obvious that reproductions do differ from the originals in various aspects. Besides image quality, resolution, and format, the most obvious change is in the representation of color. The effects of subjectively varying surface-level image features on art evaluation have not been clearly assessed. To address this gap, we compare the evaluation of digital reproductions of 16 expressionist and impressionist paintings manipulated to have a high color saturation vs. a saturation similar to the original. We also investigate the impact of viewing time and expertise, two other aspects that may impact the perception of art in online contexts. Moreover, we link these dimensions to a recent model of aesthetic experience [the Vienna Integrated Model of Top-Down and Bottom-Up Processes in Art Perception ]. Results suggest that color saturation does not exert a major influence on liking. Cognitive and emotional aspects, however, are affected – to different extents for experts and laypersons. For laypersons, the increase in color saturation led to more positive assessments of an artwork, whereas it resulted in increased confusion for art experts. This insight is particularly important when it comes to reproducing artworks digitally. Depending on the intended use, increasing or decreasing the color saturation of the digitally reproduced image might be most appropriate. We conclude with a discussion of these findings and address the question of why empirical aesthetics requires more precise dimensions to better understand the subtle processes that take place in the perception of today’s digitally reproduced art environment. (shrink)

Praise for 50 Fast Digital Camera Techniques "Applying the lively techniques in this book will make anyone's digital camera a more productive tool." -Al Francekevich, professional photographer, on the first edition Your digital camera is an amazing and versatile creative tool, with features and capabilities you probably haven't even explored-until now. Here are step-by-step instructions for 50 hot new techniques that take advantage of all the latest camera features, fully illustrated with stunning color photos taken by the (...) author. No matter what type of digital camera you have, this book will help you create more professional pictures. Your guide to amazing results with your digital camera * Select the right shooting mode and change critical settings in seconds * Use exposure and focal length to get sharper photos * Shoot fantastic candid, nature, and pet pictures * Learn the secrets of shooting dramatic skyscapes and urban landscapes * Plan shots for creative digital manipulation * Download and print your photos or share them on the Web * Create a photographic essay or convert color shots to artsyblack-and-white. (shrink)

Stevan Harnad correctly perceives a deep problem in computationalism, the hypothesis that cognition is computation, namely, that the symbols manipulated by a computational entity do not automatically mean anything. Perhaps, he proposes, transducers and neural nets will not have this problem. His analysis goes wrong from the start, because computationalism is not as rigid a set of theories as he thinks. Transducers and neural nets are just two kinds of computational system, among many, and any solution to the semantic problem (...) that works for them will work for most other computational systems. (shrink)

Public health scholars and public health officials increasingly worry about health-related misinformation online, and they are searching for ways to mitigate it. Some have suggested that the tools of digital influence are themselves a possible answer: we can use targeted, automated digital messaging to counter health-related misinformation and promote accurate information. In this commentary, I raise a number of ethical questions prompted by such proposals—and familiar from the ethics of influence and ethics of AI—highlighting hidden costs of targeted (...) digital messaging that ought to be weighed against the health benefits they promise. (shrink)

This article develops a framework for analysing how digital software and models become mediums for creative imagination in architectural design. To understand the hermeneutics of these relationships, we develop key concepts from Material Engagement Theory (MET) and Postphenomenology (PP). To push these frameworks into the realm of digital design, we develop the concept of Digital Materiality. Digital Materiality describes the way successive layers of mathematics, code, and software come to mediate enactive perception, and the possibilities of (...) creative material engagement actualised in work with software. Just as molecular materials come to transform action with material objects, so digital materiality comes to enable and transform creative practices with computers. Digital architectural design form a new space for ongoing enactive discovery and creativity through manipulation of digital models and their underlying software environments. By shifting relationships within their digital models, architects can direct their attention, intention, and imagination towards widely different aspects of the model. Here, creative imagination becomes a fundamentally situated activity where mind emerges through dynamic interaction between a variety of embodied, material, and cultural domains. (shrink)

Digital video and photography are becoming aspects of everyday business activities, allowing for the quick modification and distribution of images. From development of websites to the editing of a single photograph on a desktop PC, people are using digital images in many business contexts. However, important business ethics issues are emerging concerning the malleability and veracity of digital images as well as their rapid dissemination on the Internet. Activities with digital video and photography in business ethics (...) classrooms can underscore a number of philosophical and moral concerns involving the nature of perception and documentation as well as surveillance. The era of video and photography as reliable “witnesses” to human interaction is gradually passing; they are becoming recognized as highly malleable media that give photographers wide leeway in modification, leading to issues involving the trustworthiness of photographic documentation in business contexts. Various exercises and scenarios that explore image modification issues are included in this article. Hands-on exercises can also be effective; students who create and subsequently edit digital portraits of themselves in the context of a business ethics class can gain valuable perspectives on role-taking and the ethical implications of deceptive communications. (shrink)

A radically empirical exploration of movement and technology and the transformations of choreography in a digital realm. Digital technologies offer the possibility of capturing, storing, and manipulating movement, abstracting it from the body and transforming it into numerical information. In Moving without a Body, Stamatia Portanova considers what really happens when the physicality of movement is translated into a numerical code by a technological system. Drawing on the radical empiricism of Gilles Deleuze and Alfred North Whitehead, she argues (...) that this does not amount to a technical assessment of software's capacity to record motion but requires a philosophical rethinking of what movement itself is, or can become. Discussing the development of different audiovisual tools and the shift from analog to digital, she focuses on some choreographic realizations of this evolution, including works by Loie Fuller and Merce Cunningham. Throughout, Portanova considers these technologies and dances as ways to think—rather than just perform or perceive—movement. She distinguishes the choreographic thought from the performance: a body performs a movement, and a mind thinks or choreographs a dance. Similarly, she sees the move from analog to digital as a shift in conception rather than simply in technical realization. Analyzing choreographic technologies for their capacity to redesign the way movement is thought, Moving without a Body offers an ambitiously conceived reflection on the ontological implications of the encounter between movement and technological systems. (shrink)

It is often claimed that epistemic bubbles and echo chambers foster post-truth by filtering our access to information and manipulating our epistemic attitude. In this paper, I try to add a further level of analysis by adding the issue of belief formation. Building on cognitive psychology work, I argue for a dual-system theory according to which beliefs derive from a default system and a critical system. One produces beliefs in a quasi-automatic, effortless way, the other in a slow, effortful way. (...) I also argue that digital socio-epistemic environments tend to inculcate disvalues in their agent's epistemic identity, a process that causes the cognitive shortcircuits typical of conspiracy theories. (shrink)

The aim of this study is to analyze the information in the social media which is being produced and included into the stream by mass media in the context of digital ethics and cyber security. The principles of digital ethics includes norms that takes individual’s privacy of life into consideration. In addition to being a concept related to cyberspace, computer, and computer networks, it also includes the whole human-made activities, for this reason manipulation techniques in cyberspace appear (...) as an important cyber threat to users. As it comes to the purpose of coping with cyber threats the development of digital etic rules is essential. As a result of the violation of digital etic rules, wrong and false information is formed and individuals are misinformed. In the study, social media, which aims to bring individuals together on the basis of "being the same", has been evaluated within the scope of the culture industry concept of Adorno and Horkheimer. In this direction, content with a manipulative nature has been analyzed in the context of digital ethical principles. Then, social media threats encountered in cyberspace in general and information manipulation, in particular, are compared in the context of cybersecurity strategies implemented by states. As a result, it has been observed that the manipulative nature of information increases as it moves away from the principles of digital ethics. For this reason, it has been determined that all actors of cyberspace must be effective in order to develop and apply cyber ethics rules. (shrink)

Abstract:This essay follows the recent discourse on two phenomena: the tendency of hegemony to incorporate subversive cultures, and the digital reanimation of prominent dead people. At the intersection of these phenomena lies what we call “cultural necromancy,” a special case of hegemonic incorporation that aesthetically manipulates the physical presence of a deceased figure in the service of power. This essay explores historical analogues to cultural necromancy and how the digital age has accelerated the process through examples ranging from (...) medieval saints to Lenin’s mausoleum to the Tupac hologram. It then examines cultural necromancy’s implications for counterculture and resistance. (shrink)