The paper argues that digital ontology (the ultimate nature of reality is digital, and the universe is a computational system equivalent to a Turing Machine) should be carefully distinguished from informational ontology (the ultimate nature of reality is structural), in order to abandon the former and retain only the latter as a promising line of research. Digital vs. analogue is a Boolean dichotomy typical of our computational paradigm, but digital and analogue are only “modes (...) of presentation” of Being (to paraphrase Kant), that is, ways in which reality is experienced or conceptualised by an epistemic agent at a given level of abstraction. A preferable alternative is provided by an informational approach to structural realism, according to which knowledge of the world is knowledge of its structures. The most reasonable ontological commitment turns out to be in favour of an interpretation of reality as the totality of structures dynamically interacting with each other. The paper is the first part (the pars destruens) of a two-part piece of research. The pars construens, entitled “A Defence of Informational Structural Realism”, is developed in a separate article, also published in this journal. (shrink)

I will analyse Floridi’s rejection of digital ontologies and his positive proposal for an informational structural realism. I intend to show that ISR is still fundamentally a digital ontology, albeit with some different metaphysical commitments to those that Floridi rejects. I will argue that even though Floridi deploys the method of levels of abstraction adapted from computer science, and has established a Kantian transcendentalist conception of both information and structure, ISR still reduces to a discretised binary, and (...) therefore digital, ontology. The digital ontologies that Floridi rejects are John Wheeler’s “It from Bit” conception and computational metaphysics. They’re rejected predominantly on the basis that they rely upon a false dichotomy between digital discrete and continuous metaphysics. ISR involves a Kantian transcendentalist conception of de re relations that is intended to avoid this false dichotomy. However, I’ll argue that the binary, discrete, digital component of digital ontology is retained in ISR, and therefore ISR is still a digital ontology since its conception of information reduces to binary discrete de re relations. As such, ISR comes down on one side of the rejected ontic dichotomy of digital metaphysics, and so an informational metaphysics that is not a digital ontology is still a promissory note in the philosophy of information. (shrink)

I will analyse Floridi’s rejection of digital ontologies and his positive proposal for an informational structural realism. I intend to show that ISR is still fundamentally a digital ontology, albeit with some different metaphysical commitments to those that Floridi rejects. I will argue that even though Floridi deploys the method of levels of abstraction adapted from computer science, and has established a Kantian transcendentalist conception of both information and structure, ISR still reduces to a discretised binary, and (...) therefore digital, ontology. The digital ontologies that Floridi rejects are John Wheeler’s “It from Bit” conception and computational metaphysics. They’re rejected predominantly on the basis that they rely upon a false dichotomy between digital discrete and continuous metaphysics. ISR involves a Kantian transcendentalist conception of de re relations that is intended to avoid this false dichotomy. However, I’ll argue that the binary, discrete, digital component of digital ontology is retained in ISR, and therefore ISR is still a digital ontology since its conception of information reduces to binary discrete de re relations. As such, ISR comes down on one side of the rejected ontic dichotomy of digital metaphysics, and so an informational metaphysics that is not a digital ontology is still a promissory note in the philosophy of information. (shrink)

In the fourteenth chapter of The Philosophy of Information, Luciano Floridi puts forth a criticism of ‘digital ontology’ as a step toward the articulation of an ‘informational structural realism’. Based on the claims made in the chapter, the present paper seeks to evaluate the distinctly Kantian scope of the chapter from a rather unconventional viewpoint: while in sympathy with the author’s doubts ‘against’ digital philosophy, we follow a different route. We turn our attention to the concept of (...) construction as used in the book with the hope of raising some additional questions that might contribute to a better understanding of what is at stake in Floridi’s experimental epistemological response to digital ontology. (shrink)

Digital physics claims that the entire universe is, at the very bottom, made out of bits; as a result, all physical processes are intrinsically computational. For that reason, many digital physicists go further and affirm that the universe is indeed a giant computer. The aim of this article is to make explicit the ontological assumptions underlying such a view. Our main concern is to clarify what kind of properties the universe must instantiate in order to perform computations. We (...) analyse the logical form of the two models of computation traditionally adopted in digital physics, namely, cellular automata and Turing machines. These models are computationally equivalent, but we show that they support different ontological commitments about the fundamental properties of the universe. In fact, cellular automata are compatible with a rather traditional form of physicalism, whereas Turing machines support a dualistic ontology, which could be understood as a realism about the laws of nature or, alternatively, as a kind of panpsychism. (shrink)

In this paper, we argue that the characteristics of digital platforms challenge the fundamental assumptions of value sensitive design (VSD). Traditionally, VSD methods assume that we can identify relevant values during the design phase of new technologies. The underlying assumption is that there is onlyepistemic uncertaintyabout which values will be impacted by a technology. VSD methods suggest that one can predict which values will be affected by new technologies by increasing knowledge about how values are interpreted or understood in (...) context. In contrast, digital platforms exhibit a novel form of uncertainty, namely,ontological uncertainty: even with full information and overview, it cannot be foreseen what users or developers will do with digital platforms. Hence, predictions about which values are affected might not hold. In this paper, we suggest expanding VSD methods to account for value dynamism resulting from ontological uncertainty. Our expansions involve (1) extending VSD to the entire lifecycle of a platform, (2) broadening VSD through the addition of reflexivity, i.e. second-order learning about what values to aim at, and (3) adding specific tools of moral sandboxing and moral prototyping to enhance such reflexivity. While we illustrate our approach with a short case study about ride-sharing platforms such as Uber, our approach is relevant for other technologies exhibiting ontological uncertainty as well, such as machine learning, robotics and artificial intelligence. (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)

The commodification of code demands two preconditions: a belief if the existence of code and a system of ownership for the code. An examination of these preconditions is helpful for resisting the further widening of digital divides. The ontological belief in the relatively independent existence of code is dependent on our understanding of what the “digital” is. Here it is claimed that the digital is not a natural kind, but a concept that is relative to our practices (...) of interpretation. An interpretative system that sees code as something that can or should always be owned implies an increase of social control and threatens vital processes of knowledge creation that are necessary for an open and egalitarian information society. The ontological belief in “digital code” thus provides the backdrop for an ethical view of the information society. Consequently, if we see digital code as an interpretative notion (in the nominalist way), the ethical questions appear in a different light. (shrink)

Could a person ever transcend what it is like to be in the world as a human being? Could we ever know what it is like to be other creatures? Questions about the overcoming of a human perspective are not uncommon in the history of philosophy. In the last century, those very interrogatives were notably raised by American philosopher Thomas Nagel in the context of philosophy of mind. In his 1974 essay What is it Like to Be a Bat?, Nagel (...) offered reflections on human subjectivity and its constraints. Nagel’s insights were elaborated before the social diffusion of computers and could not anticipate the cultural impact of technological artefacts capable of materializing interactive simulated worlds as well as disclosing virtual alternatives to the “self.” In this sense, this article proposes an understanding of computers as epistemological and ontological instruments. The embracing of a phenomenological standpoint entails that philosophical issues are engaged and understood from a fundamentally practical perspective. In terms of philosophical praxis, or “applied philosophy,” I explored the relationship between human phenomenologies and digital mediation through the design and the development of experimental video games. For instance, I have conceptualized the first-person action-adventure video game Haerfest (Technically Finished 2009) as a digital re-formulation of the questions posed in Nagel’s famous essay. Experiencing a bat’s perceptual equipment in Haerfest practically corroborates Nagel’s conclusions: there is no way for humans to map, reproduce, or even experience the consciousness of an actual bat. Although unverifiable in its correspondence to that of bats, Haerfest still grants access to experiences and perceptions that, albeit still inescapably within the boundaries of human kinds of phenomenologies, were inaccessible to humans prior to the advent of computers. Phenomenological alterations and virtual experiences disclosed by interactive digital media cannot take place without a shift in human kinds of ontologies, a shift which this study recognizes as the fundamental ground for the development of a new humanism (I deem it necessary to specify that I am not utilizing the term “humanism” in its common connotation, that is to say the one that emerged from the encounter between the Roman civilization and the late Hellenistic culture. According to this conventional acceptation, humanism indicates the realization of the human essence through “scholarship and training in good conduct” (Heidegger 1998, p. 244). However, Heidegger observed that this understanding of humanism does not truly cater to the original essence of human beings, but rather “is determined with regard to an already established interpretation of nature, history, world, and […] beings as a whole.” (Heidegger 1998, p. 245) The German thinker found this way of embracing humanism reductive: a by-product of Western metaphysics. As Heidegger himself specified in his 1949 essay Letter on Humanism, his opposition to the traditional acceptation of the term humanism does not advocate for the “inhuman” or a return to the “barbaric” but stems instead from the belief that the humanism can only be properly understood and restored in culture as more original way of meditating and caring for humanity and understanding its relationship with Being.). Additionally, this study explicitly proposes and exemplifies the use of interactive digital technology as a medium for testing, developing and disseminating philosophical notions, problems and hypotheses in ways which are alternative to the traditional textual one. Presented as virtual experiences, philosophical concepts can be accessed without the filter of subjective imagination. In a persistent, interactive, simulated environment, I claim that the crafting and the mediation of thought takes a novel, projective (In Martin Heidegger’s 1927 Being and Time, the term “projectivity” indicates the way a Being opens to the world in terms of its possibilities of being (Heidegger 1962, pp. 184–185, BT 145). Inspired by Heidegger’s and Vilem Flusser’s work in the field of philosophy of technology as well as Helmuth Plessner’s anthropological position presented in his 1928 book Die Stufen des Organischen und der Mensch. Einleitung in die philosophische Anthropologie, this study understands the concept of projectivity as the innate openness of human beings to construct themselves and their world by means of technical artefacts. In this sense, this study proposes a fundamental understanding of technology as the materialization of mankind’s tendency to overcome its physical, perceptual and communicative limitations.) dimension which I propose to call “augmented ontology.”. (shrink)

Pervasive digitality reveals us as analogue creatures that are unprepared for a world and a logic generated increasingly through automation. Promulgated by capitalism, digitality has created a new form of alienation, one far more powerful and comprehensive than that envisaged by either Marx or Lukács in the analogue-industrial age. Digital alienation-through-automation is the central process in our digital post-modernity. The effects reach increasing registers and spheres of culture, economy and politics. This essay considers the effects within the production (...) of knowledge within higher education. Through a critique of Clayton Christensen’s concept of ‘disruptive technologies’, it develops the argument that knowledge produced in our higher institutions of learning suffer from two forms of ‘knowledge capture’. The first and most comprehensive is knowledge increasingly oriented toward instrumental outcomes, generated in vocationally oriented and market-pressured contexts, and produced by the general-sector institutions; second is knowledge, much of it profound and potentially world-changing—in economics and climate science in the cases discussed here. These are generated in both prestigious general-sector universities, and in the elite Ivy League and Russell Group universities but are unable to gain traction with an ascendant and alien post-Westphalian, post-modern and post-Enlightenment political context—created by a globalising digitality. I argue that unless we recognise our analogue essence, and that this has been alienated by digital automation, then the aporias of digitality, with knowledge production an important element, then our institution of higher learning will continue to produce much valuable knowledge that has diminishing practical (political) effect. (shrink)

Pervasive digitality reveals us as analogue creatures that are unprepared for a world and a logic generated increasingly through automation. Promulgated by capitalism, digitality has created a new form of alienation, one far more powerful and comprehensive than that envisaged by either Marx or Lukács in the analogue-industrial age. Digital alienation-through-automation is the central process in our digital post-modernity. The effects reach increasing registers and spheres of culture, economy and politics. This essay considers the effects within the production (...) of knowledge within higher education. Through a critique of Clayton Christensen’s concept of ‘disruptive technologies’, it develops the argument that knowledge produced in our higher institutions of learning suffer from two forms of ‘knowledge capture’. The first and most comprehensive is knowledge increasingly oriented toward instrumental outcomes, generated in vocationally oriented and market-pressured contexts, and produced by the general-sector institutions; second is knowledge, much of it profound and potentially world-changing—in economics and climate science in the cases discussed here. These are generated in both prestigious general-sector universities, and in the elite Ivy League and Russell Group universities but are unable to gain traction with an ascendant and alien post-Westphalian, post-modern and post-Enlightenment political context—created by a globalising digitality. I argue that unless we recognise our analogue essence, and that this has been alienated by digital automation, then the aporias of digitality, with knowledge production an important element, then our institution of higher learning will continue to produce much valuable knowledge that has diminishing practical (political) effect. (shrink)

Ontography is intended to represent the epistemological counterpart to the ancestral ontology as well as the genuine functioning of certain media technologies. Using the media technology of digital imaging and processing as an example, the paper discusses the problem of a simple distinction between ontological and ontographic procedures.

The object of the study is the culture of digital society, the subject is the ontological foundations of culture. The aim of the research is to reveal the ontological problems of cyberculture, which becomes the basis for a digital society with a virtual nature. In the modern world, the impact of digital technologies on human life has acquired an irreversible scale. The changes affected not only socio-economic relations, but also affected the sphere of personal relationships, information perception (...) and cognitive processes of the individual. People are spending more and more time on the Internet, using social networks, using applications. We can talk about a new stage in the development of human civilization, the culture of which has its own special features. In this study, the culture of digital society is considered from a philosophical and ontological point of view. The novelty of the research lies in the fact that cyberculture is in the stage of its formation. Digital society is changing, Internet technologies are developing, new applications are appearing. All these processes require philosophical reflection and scientific analysis. A special contribution of the author to the study of the phenomenon of cyberculture and the ontologization of the culture of digital society, which has its own distinctive features, namely crisis, virtuality, technology. The main conclusions of the study are that cyberculture, the culture of communities based on the use of advanced information technologies, is postmodern in nature. The further development of digital technologies gives a chance to a person to overcome the limitations of the individual nature of the personality, but at the same time there is a great danger of losing generic features and ceasing to be a person in the classical sense. (shrink)

The article considers the possibility of using digital scientific art as a tool for philosophical and aesthetic cognition. On the example of games of cellular automata and from the point of view of the paradigm of synergetics, a large-scale analogy of the dynamics of multi-element distributed systems of various natures is revealed. The question is raised about the nature of beauty, which is interpreted as a fundamental cosmic phenomenon. The concept of protoconstruct is viewed as a mental object, the (...) properties of which are transferred to the objects and phenomena under study. As an example of digital protoconstructs, the article discusses the so-called cellular symmetroids. Cellular symmetroids can be considered from the point of view of scientific art as art objects. At the same time, they represent a deep ontological metaphor. A unique property of cellular symmetroids is spontaneous destruction and transition to quasi-chaotic dynamics. This feature can be linked to the idea of historical time, which is very unusual for mathematical objects. Mathematical structures that arise as a result of calculations according to this model are completely unique and inimitable, like the internal states of the soul or psyche of a thinking subject. At the same time, they are to the same extent determined by the previous state. Integrity, internal unity are inherent not only in symmetric structures but also in the chaos that is born after them, which, in contrast to stereotypical statistical intuitive ideas, is deterministic. However, such an abstract digital art, based on the unconventional mathematics of dynamic chaos, is an accurate ontological metaphor, a visualization of the eidos of the beauty in their relationship with the cosmic logos and the nature of the original creative chaos. (shrink)

Genealogy and ontology (paradigms) -- The image in photography and cinema and its digital future.

In recent decades, the internet has become our predominant public space and yet the role of art in this space remains largely unthought. This paper argues that graphic art, and in particular digital graphic art, has great power to shape and transform our thinking and experience. But with that power comes an enormous political and ethical responsibility, a responsibility too often ignored by programmers and computer scientists. This paper uses the work of Denis Schmidt and Jacques Taminiaux as important (...) resources for developing a Heideggerian response to this lack. (shrink)

Cho and Martinez-Martin (2023) provide a thoughtful analysis of the epistemological and ethical implications of digital twin (DT) technology in biomedical research. However, they overlook the profo...

In order to improve the management of copyright in the Internet, known as Digital Rights Management, there is the need for a shared language for copyright representation. Current approaches are based on purely syntactic solutions, i.e. a grammar that defines a rights expression language. These languages are difficult to put into practise due to the lack of explicit semantics that facilitate its implementation. Moreover, they are simple from the legal point of view because they are intended just to model (...) the usage licenses granted by content providers to end-users. Thus, they ignore the copyright framework that lies behind and the whole value chain from creators to end-users. Our proposal is to use a semantic approach based on semantic web ontologies. We detail the development of a copyright ontology in order to put this approach into practice. It models the copyright core concepts for creation, rights and the basic kinds of actions that operate on content. Altogether, it allows building a copyright framework for the complete value chain. The set of actions operating on content are our smaller building blocks in order to cope with the complexity of copyright value chains and statements and, at the same time, guarantee a high level of interoperability and evolvability. The resulting copyright modelling framework is flexible and complete enough to model many copyright scenarios, not just those related to the economic exploitation of content. The ontology also includes moral rights, so it is possible to model this kind of situations as it is shown in the included example model for a withdrawal scenario. Finally, the ontology design and the selection of tools result in a straightforward implementation. Description Logic reasoners are used for license checking and retrieval. Rights are modelled as classes of actions, action patterns are modelled also as classes and the same is done for concrete actions. Then, to check if some right or license grants an action is reduced to check for class subsumption, which is a direct functionality of these reasoners. (shrink)

The concept of digital culture defines a set of values, practices, and expectations regarding the format of human interaction in today’s online society. Predictions of digital culture describe the specifics of the online environment and the general context of social life. The range of interpretations of digital culture varies between two poles: from the recognition of digital technologies as a way of presenting libraries, museums, historical monuments, etc., to the concepts of digital culture as a (...) new socio-anthropological reality, the content of which is not limited to ICT. Culture as a phenomenon means the semantic unity of human activity, the desire to format social life following ideas and values, the movement from existing to obligatory, from actual to potential, and digital culture is an adequate response to the demands and challenges. People worldwide change their placement of everyday activity, and we could admit such huge transformation in the Chinese People’s Republic exactly obvious. (shrink)

Against the background that the top-level semantic framework of Chinese traditional culture is not comprehensive and unified, this study aims to preserve and disseminate cultural heritage information about Chinese traditional culture through the development of a domain ontology which is constructed from ancient books. A combination of top-down and bottom-up approaches was used to construct the ontology for Chinese traditional culture. An investigation of historians’ needs, and LDA topic clustering model were conducted, understanding the specific needs of historians, (...) collecting the topic, concepts and relationships. CIDOC CRM was reused to construct the basic framework of CTCO. Ontology structure and function were adopted to evaluate the effectiveness of CTCO. Evaluation results show that the ontology meets all the quality criteria of OntoMetrics, and the experts agreed on content representation. CTCO contributes to the organization of traditional Chinese culture and the construction of related databases. The study also forms a common path and puts forward proposals for the construction of domain ontology, which has great social relevance. (shrink)

During the Nineties, the diffusion of information and communication technologies allowed a dramatic transformation in art practices. Radically new aesthetic experiences, such as tele-presence, immersivity, responsivity, hyper-mediacy and multimediality, emerge in the framework of the digital arts and call into question not only the traditional status of the work of art but also the fundamental relation with the beholder. The aim of this paper is to define a conceptual framework for the ontology of digital arts by identifying (...) some ontological features that are distinctive to digital idioms. Such an analysis tries to outline how aesthetic and technical innovations affect our cognitive and sensorial relationship with technological artifacts. In the first part, the relation between technogenesis and ontology, as well as the key topics of the ontology of digital arts are discussed. The second part deals with the notion of presence. Despite traditional understandings of digital arts, mainly focused on immateriality, simulation and mediation, my analysis demonstrate how the notion of presence can provide an original perspective in order to understand the ontological status of the mediatized artistic practices. In the last three decades the generalisation of information and telecommunication technologies has played a major role in the transformation of the arts, opening the field to important experiments in the domain of computer graphics, digital audio, robotics and motion capture systems… (Dixon 2007). Peculiar forms of aesthetic experience such as tele-presence, immersivity, responsivity, hyper-mediation and multimediality, progressively arise from digital arts and question not only the status of artwork but also, more generally, the foundational relationship between this latter and the recipient. (shrink)

The paper presents, firstly, a brief review of the long history\nof information ethics beginning with the Greek concept of parrhesia\nor freedom of speech as analyzed by Michel Foucault. The recent concept\nof information ethics is related particularly to problems which arose\nin the last century with the development of computer technology and\nthe internet. A broader concept of information ethics as dealing\nwith the digital reconstruction of all possible phenomena leads to\nquestions relating to digital ontology. Following Heidegger{\textquoteright}s\nconception of the relation between (...) ontology and metaphysics, the\nauthor argues that ontology has to do with Being itself and not just\nwith the Being of beings which is the matter of metaphysics. The\nprimary aim of an ontological foundation of information ethics is\nto question the metaphysical ambitions of digital ontology understood\nas today{\textquoteright}s pervading understanding of Being. The\nauthor analyzes some challenges of digital technology, particularly\nwith regard to the moral status of digital agents. The author argues\nthat information ethics does not only deal with ethical questions\nrelating to the infosphere. This view is contrasted with arguments\npresented by Luciano Floridi on the foundation of information ethics\nas well as on the moral status of digital agents. It is argued that\na reductionist view of the human body as digital data overlooks the\nlimits of digital ontology and gives up one basis for ethical orientation.\nFinally issues related to the digital divide as well as to intercultural\naspects of information ethics are explored {\textendash} and long\nand short-term agendas for appropriate responses are presented. (shrink)

Nel 1956, in piena guerra fredda, una conferenza di scienziati al Dartmouth College negli Stati Uniti annunciò il lancio di un audace progetto scientifico, l’Intelligenza Artificiale (I.A.). Dopo l’iniziale fallimento degli sforzi della “Hard AI” di produrre un’intelligenza simile a quella umana, alla fine del XX secolo è emerso il movimento della “Soft AI”. Invece di essere orientato a imitare il comportamento umano in relazione a compiti specifici, ha preferito cercare modi alternativi di eseguire i compiti basati sulle particolari funzioni (...) e strutture della macchina. Il fattore decisivo è stata la combinazione della tecnologia di apprendimento automatico con le comunicazioni digitali online, l’incontro tra l’IA e Internet. Le applicazioni dell’IA “soft” sono quelle che vediamo nel mondo dei dispositivi automatici “intelligenti” che informano la nostra vita sociale digitale. Nel seguente articolo mi concentrerò su una particolare applicazione dell’IA per le discussioni online con utenti umani, ChatGPT, per mostrare le implicazioni della tecnologia digitale online nelle modalità storico-sociali dell’esistenza umana. ChatGPT è un’applicazione che combina l’IA con Internet, le possibilità della corrispondenza tra macchine e le potenzialità della tele-comunicazione umana. Il mio approccio si concentra sulle implicazioni fenomenologiche e storico-sociali della proliferazione della tecnologia AI per quanto riguarda la coscienza e la socialità umana. -/- Abstract (english) -/- In 1956, amidst the Cold War, a conference of scientists at Dartmouth College in the United States announced the launch of a bold, scientific project, Artificial Intelligence (A.I.). After the initial failure of “Hard AI” efforts to produce a human-like intelligence, the “Soft AI” movement emerged in the late 20th century. Instead of being oriented towards imitating human behaviour concerning specific tasks, it preferred to seek alternative ways of performing tasks based on the particular functions and structures of the machine. The decisive factor was the combination of Machine Learning technology with Digital Online Communications, the meeting between AI and the Internet. The applications of “Soft” AI are those we see in the world of “smart”, “intelligent” automatic devices that inform our digital social life. In the following article, I will focus on a particular application of AI for online discussions with human users, ChatGPT, in order to show the implications of online digital technology in the social-historical modalities of human existence. ChatGPT is an application that combines AI with the Internet, the possibilities of Machine correspondence with the potentialities of human telecommunications. My approach focuses on the phenomenological and social-historical implications of the proliferation of AI technology as regards human consciousness and sociality. (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)

We address an argument by Floridi (Synthese 168(1):151–178, 2009; 2011a), to the effect that digital and analogue are not features of reality, only of modes of presentation of reality. One can therefore have an informational ontology, like Floridi’s Informational Structural Realism, without commitment to a supposedly digital or analogue world. After introducing the topic in Sect. 1, in Sect. 2 we explain what the proposition expressed by the title of our paper means. In Sect. 3, we describe (...) Floridi’s argument. In the following three sections, we raise three difficulties for it, (i) an objection from intuitions: Floridi’s view is not supported by the intuitions embedded in the scientific views he exploits (Sect. 4); (ii) an objection from mereology: the view is incompatible with the world’s having parts (Sect. 5); (iii) an objection from counting: the view entails that the question of how many things there are doesn’t make sense (Sect. 6). In Sect. 7, we outline two possible ways out for Floridi’s position. Such ways out involve tampering with the logical properties of identity, and this may be bothersome enough. Thus, Floridi’s modus ponens will be our (and most ontologists’) modus tollens. (shrink)

In The Onlife Manifesto: Being Human in a Hyperconnected Era Luciano Floridi and his associates examine various aspects of the contemporary meaning of humanity. Yet, their insights give less thought to the political economy of techno-capitalism that in large measure creates ICTs and leads to their further innovation, development and commercialization. This article responses to Floridi’s work and examines political economy of the blurred distinction between human, machine and nature in the postdigital context. Taking lessons from early history of the (...) Internet across the Eastern and the Western Bloc, it examines ideological underpinnings of development of information and communication technologies. The paper points towards the postdigital challenge of the rising importance of biological sciences, their mutual connection with information sciences, and the society at large. It introduces the concept of bio-informational capitalism, and closely examines the relationships between biology and information... (shrink)

The purpose of this paper is to give an outline of digital hermeneutics understood as the encounter between hermeneutics and digital technology, particularly the Internet. In the first part, I want to raise the attention of IT researchers and hermeneuticists to the theoretic and practical relevance of the encounter of their areas of research that are sometimes considered as incompatible to each other. There is still a lot of translation work to be done in order to get these (...) two cultures come closer to and profit from each other. The second part of the paper deals with the foundation of digital hermeneutics on what I call—following Heidegger’s and Vattimo’s paths—digital ontology as opposed to digital metaphysics. (shrink)

How can artists create works of computer art or Internet art in which audience members become genuine artists and collaborate with the original artists on the self-same work that they began? To answer this question, this essay will reflect on the work of philosophers who focus on questions concerning art completion and the ontology of computer art. This essay will also reflect on the artistic work of the trio LaBeouf, Rönkkö & Turner, whose artwork can serve as a model (...) for creating collaborative, digital art. (shrink)

In a global economic landscape of hyper-commodification and financialisation, efforts to assimilate digital art into the high-stakes commercial art market have so far been rather unsuccessful, presumably because digital artworks cannot easily assume the status of precious object worthy of collection. This essay explores the use of blockchain technologies in attempts to create proprietary digital art markets in which uncommodifiable digital artworks are financialised as artificially scarce commodities. Using the decentralisation techniques and distributed database protocols underlying (...) current cryptocurrency technologies, such efforts, exemplified here by the platform Monegraph, tend to be presented as concerns with the interest of digital artists and with shifting ontologies of the contemporary work of art. I challenge this characterisation, and argue, in a discussion that combines aesthetic theory, legal and philosophical theories of intellectual property, rhetorical analysis and research in the political economy of new media, that the formation of proprietary digital art markets by emerging commercial platforms such as Monegraph constitutes a worrisome amplification of long-established, on-going efforts to fence in creative expression as private property. As I argue, the combination of blockchain-based protocols with established ambitions of intellectual property policy yields hybrid conceptual-computational financial technologies (such as self-enforcing smart contracts attached to digital artefacts) that are unlikely to empower artists but which serve to financialise digital creative practices as a whole, curtailing the critical potential of the digital as an inherently dynamic and potentially uncommodifiable mode of production and artistic expression. (shrink)

This is the first monograph to develop a hermeneutic approach to the digital--as both a technological milieu and a cultural phenomenon. While philosophical in its orientation, the book covers a wide body of literature across science and technology studies, media studies, digital humanities, digital sociology, cognitive science, and the study of artificial intelligence. In the first part of the book, the author formulates an epistemological thesis according to which the "virtual never ended." Although the frontiers between the (...) real and the virtual are certainly more porous today, they still exist and endure. In the book's second part, the author offers an ontological reflection on emerging digital technologies as "imaginative machines." He introduces the concept of emagination, arguing that human schematizations are always externalized into technologies, and that human imagination has its analog in the digital dynamics of articulation between databases and algorithms. The author takes an ethical and political stance in the concluding chapter. He resorts to the notion of "digital habitus" for claiming that within the digital we are repeatedly being reconducted to an oversimplified image and understanding of ourselves. Digital Hermeneutics will be of interest to scholars across a wide range of disciplines, including those working on philosophy of technology, hermeneutics, science and technology studies, media studies, and the digital humanities. (shrink)

Functionally graded materials (FGMs) have been used in many different kinds of applications in recent years and have attracted significant research attention. However, we do not yet have a commonly accepted way of representing the various aspects of FGMs. Lack of standardised vocabulary creates obstacles to the extraction of useful information relating to pertinent aspects of different applications. A standard resource is needed for describing various elements of FGMs, including existing applications, manufacturing techniques, and material characteristics. This motivated the creation (...) of the FGM Ontology (FGMO) in 2016. Here, we present a revised and expanded version of the FGM Ontology, which includes enrichments along four dimensions: (1) documenting recent FGMs applications; (2) reorganising the framework to incorporate an updated representation of types of manufacturing processes; (3) enriching the axioms of the ontology; and (4) importing mid-level ontologies from the Common Core Ontologies (CCO) and Product Life Cycle (PLC) Ontologies. The work is being carried out within the framework of the Industry Ontology Foundry (IOF), and the ontology is conformant to Basic Formal Ontology (BFO). (shrink)

“Feminicity” is the term for a predicate register that enables feminist work be accounted for as relational “active-points” that collectively can be seen through what they have achieved. But going further, it marks where those active-points contribute to the dynamic field of feminist epistemologies and where change occurs. This article contributes to my larger project’s discussion of this concept. Broadly, feminicity argues that the active-points of feminist practices need to be understood within their situated fields as materialist informatics. In the (...) digital era, examples of the affects of digital feminicity are as identified in works such as those by Wajcman ; Haraway, Hayles, VNSMatrix, Adam, Plant. Collectively, such authors and artists opened a creative, and sometimes radical discourse of the digital field as multidirectional, multidimensional, multitemporal platform of “gender actions”. Taken as a predicated field sense of the term “predicate”), this work contributes to the feminist materialist reappraisal of feminist epistemology, and larger radical feminist deconstructive projects. Thus conceived, the genealogy of digital feminicity problematizes the monopolitical terms of feminism in its collation of actions, enabling a re-situation of feminist practices as positive material interventions and expressions of the ontological constitution of the political sphere. Feminicity does not propose a chronological account of the active-points, but processually and systemically addresses the terms of generational epistemological political change. This article describes the ways in which a materialist constructed register – “feminicity”– can be used to think about encounters between the domains of gender, politics and technology, as manifested by materialist informatics. For reasons of brevity, this article focuses on just two aspects of feminicity: the terms of predication of the female as gendered, and the issue of the image, as digital informatics, comprised of activitypoints of feminist practice. Consequently, these are measurable and offer practical resources for the general problem of gendering politics that operate in governance, resource distribution and a non-equal opportunity social/cultural power structure, under which minorities are disadvantaged. Feminist practice here refers to forms produced through feminist activities, ie, forms generated through relations with the matter of life through specific modalities of needs-based practices. (shrink)

Today, there is an emerging interest for the potential role of hermeneutics in reflecting on the practices related to digital technologies and their consequences. Nonetheless, such an interest has neither given rise to a unitary approach nor to a shared debate. The primary goal of this paper is to map and synthetize the different existing perspectives to pave the way for an open discussion on the topic. The article is developed in two steps. In the first section, the authors (...) analyze digital hermeneutics “in theory” by confronting and systematizing the existing literature. In particular, they stress three main distinctions among the approaches: between “methodological” and “ontological” digital hermeneutics; between data- and text-oriented digital hermeneutics; and between “quantitative” and “qualitative” credos in digital hermeneutics. In the second section, they consider digital hermeneutics “in action”, by critically analyzing the uses of digital data for studying a classical object such as the political opinion. In the conclusion, we will pave the way to an ontological turn in digital hermeneutics. Most of this article is devoted to the methodological issue of interpreting with digital machines. The main task of an ontological digital hermeneutics would consist instead in wondering if it is legitimate, and eventually to which extent, to speak of digital technologies, or at least of some of them, as interpretational machines. (shrink)

On the Existence of Digital Objects conducts a philosophical examination of digital objects and their organizing schema by creating a dialogue between Martin Heidegger and Gilbert Simondon, which Yuk Hui contextualizes within the history of computing. How can digital objects be understood according to individualization and individuation? Hui pursues this question through the history of ontology and the study of markup languages and Web ontologies; he investigates the existential structure of digital objects within their systems (...) and milieux. With this relational approach toward digital objects and technical systems, the book addresses alienation, described by Simondon as the consequence of mistakenly viewing technics in opposition to culture. (shrink)

In this article, the author deals with the status of the self and personal identity in the digital milieu. In the first section, he presents his general approach to digital media and technologies, which he has called “digital hermeneutics”. He distinguishes between three perspectives in digital hermeneutics, namely the deconstructive, epistemological, and ontological approaches. In the second part, he focuses on digital hermeneutics as hermeneutics of the self. He compares Paul Ricoeur’s narrative identity to Pierre (...) Bourdieu’s habitus. His first thesis is that the habitus can be seen as a concept of subjectivation that neglects an important part of the subject. Narrative identity offers, in this sense, a remedy to such negligence. His second thesis is that today’s digital media and technologies are closer to the Bourdieusian habitus than to the Ricoeurian narrative identity. In other words, digital machines and technologies are “habitus machines” both in their structure and in their effects. In the conclusion, the author accounts for three potential responses to the habituation of our selves online. He also introduces the concepts of “digital agency” and “digital citizenship”. (shrink)

In this article I will show that the problem of embodiment goes back to the question of the mind-body split, as this has been established and discussed by the philosophical tradition. With the digital turn and the advent of ubiquitous computing the problem of embodiment has taken new forms that have led scholars to introduce the notion of a “new digital Cartesianism.” Subjectivation processes within digital culture have mostly been explained by resorting to what I will call (...) the “E-D-R scheme,” which assumes that a real detachment between the body and the mind really occurs in digital processes. Since—as I will show—this is not actually the case, I will suggest replacing this epistemological scheme with a new one, which I will call the “double-embodiment scheme,” in order to acquire a more fitting epistemological account of the underlying digital ontology. Finally, I will discuss the distinction between bodily extension and the incorporation of non-bodily objects introduced by Helena De Preester in order to show that, in the digital realm, this distinction is much more blurred and complex than she acknowledges: digital interaction requires both bodily extension and the incorporation of objects as complementary processes. (shrink)

The way we access dance is changing as the form is now widely viewed via digital transmission and documentation. This paper considers the ontological impact of this cultural shift. It sets out to challenge the view that dance works are accessible only through live performance. Adopting a non-realist ontological perspective,, I suggest that the way we relate to screenings and recordings of dance works impacts on the ontological status of the form, thus problematising existing schemata and calling for further (...) philosophical consideration. (shrink)

This commentary is an attempt to begin to identify and think through some of the ways in which sociocultural theory may contribute to understandings of the relationship between humans and digital data. I develop an argument that rests largely on the work of two scholars in the field of science and technology studies: Donna Haraway and Annemarie Mol. Both authors emphasised materiality and multiple ontologies in their writing. I argue that these concepts have much to offer critical data studies. (...) I employ the tropes of companion species, drawn from Haraway, and eating data, from Mol, and demonstrate how these may be employed to theorise digital data–human assemblages. (shrink)

The paper outlines a new interpretation of informational privacy and of its moral value. The main theses defended are: (a) informational privacy is a function of the ontological friction in the infosphere, that is, of the forces that oppose the information flow within the space of information; (b) digital ICTs (information and communication technologies) affect the ontological friction by changing the nature of the infosphere (re-ontologization); (c) digital ICTs can therefore both decrease and protect informational privacy but, most (...) importantly, they can also alter its nature and hence our understanding and appreciation of it; (d) a change in our ontological perspective, brought about by digital ICTs, suggests considering each person as being constituted by his or her information and hence regarding a breach of one’s informational privacy as a form of aggression towards one’s personal identity. (shrink)

The recently rising field of Critical Data Studies is still facing fundamental questions. Among these is the enigma of digital subjectivation. Who are the subjects of Big Data? A field where this question is particularly pressing is finance. Since the 1990s traders have been steadily integrated into computerized data assemblages, which calls for an ontology that eliminates the distinction between human sovereign subjects and non-human instrumental objects. The latter subjectivize traders in pre-conscious ways, because human consciousness runs too (...) slow to follow the volatility of the market. In response to this conundrum Social Studies of Finance has drawn on Actor-Network Theory to interpret financial markets as technically constructed networks of human and non-human actors. I argue that in order to develop an explicitly critical data study it might be advantageous to refer to Maurizio Lazzarato’s theory of machinic subjugation instead. Although both accounts describe financial digital subjectivation similarly, Lazzarato has the advantage of coupling his description to a clear critique of and resistance to finance. (shrink)

This article proposes a guideline to develop an ontology of software. The first section gives a brief introduction to the importance of such ontology as a possible conceptual grounding for the philosophy of software, philosophy of computing and philosophy of information. The second section presents the background of the scope of this article in terms of both a symbolic and materialistic approach to software. The third section deploys the basic guidelines with the expositions of the two dimensions of (...) software: the serial dimension and the structural dimension. The first dimension consists of three series, while the second in the exposition of the structure of any program. The fourth and last section will deal with a better understanding of what we can call the digital universe. (shrink)

As is well known, speech acts such as acts of promising can have ontological consequences. For example an act of promising can give rise to a mutually correlated claim and obligation. Increasingly, speech acts in the narrow sense are being augmented by the use of documents of multiple different sorts. In this paper we analyze the results of this augmenta-tion from the ontological point of view, considering especially the domains of law and com-merce. We show how document acts are not (...) isolated phenomena, but rather form large and complex systems with other entities, including occurrent entities such as acts of signing and inspecting, as well as speech acts for example of instructing people to sign or complete a doc-ument. The paper concludes with a consideration of some of the special problems associated with the use of digital documents, for example as concerns issues of security and provenance. (shrink)

Digital Rights Management (DRM) covers the description, identification, trading, protection, monitoring and tracking of all forms of rights over both tangible and intangible assets. The Digital Object Identifier (DOI) system provides a framework for the persistent identification of entities involved in this domain. Although the system has been very well designed to manage object identifiers, some important questions relating to the creation and assignment of identifiers are left open. The paradigm of a Referent Tracking System (RTS) recently advanced (...) in the healthcare and life sciences environment is able to fill these gaps. This is demonstrated by pointing out inconsistencies in the existing DOI models and by showing how they can be corrected using an RTS. (shrink)