In this paper, I argue for three claims. The first is that the difference between analog and digital representation lies in the format and not the medium of representation. The second is that whether a given system is analog or digital will sometimes depend on facts about the user of that system. The third is that the first two claims are implicit in Haugeland's (1998) account of the distinction.

The ‘received view’ of the analog–digital distinction holds that analog representations are continuous while digital representations are discrete. In this paper I first provide support for the received view by showing how it (1) emerges from the theory of computation, and (2) explains engineering practices. Second, I critically assess several recently offered alternatives, arguing that to the degree they are justified they demonstrate not that the received view is incorrect, but rather that distinct senses of the terms have (...) become entrenched specific fields, perhaps most notably in the cognitive psychology of mental imagery. (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)

For the better part of the past decade, global social movements have drawn popular attention to the power of image production and acts of representation, particularly the ways ubiquitous cameras challenge the exercise of power This essay lays out a theoretical schema for interrogating a broader “politics of visibility” at work in the early twenty-first century, most readily apparent through the activities of smartphone-enabled and visually-savvy activists. As new media technologies have opened up new strategies of representation, these (...) modes of representation have been incorporated into existing media practices that delimit the ways in which the consequentiality of various movements and political projects can be understood. Theoretically revisiting the concept of visibility, this essay critiques the relationship between technology and the production of knowledge in media studies before arguing that the visibility of an event presages a consequentiality partially determined by the ways in which it is rendered perceptible and thus, intelligible. (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)

Digital Twins are conceptualised in the academic technical discourse as real-time realistic digital representations of physical entities. Originating from product engineering, the Digital Twin quickly advanced into other fields, including the life sciences and earth sciences. Digital Twins are seen by the tech sector as the new promising tool for efficiency and optimisation, while governmental agencies see it as a fruitful means for improving decision-making to meet sustainability goals. A striking example of the latter is the (...) European Commission who wishes to delegate a significant role to Digital Twins in addressing climate change and supporting Green Deal policy. As Digital Twins give rise to high expectations, ambitions, and are being entrusted important societal roles, it is crucial to critically reflect on the nature of Digital Twins. In this article, we therefore philosophically reflect on Digital Twins by critically analysing dominant conceptualisations, the assumptions underlying them, and their normative implications. We dissect the concept and argue that a Digital Twin does not merely fulfil the role of being a representation, but is in fact a steering technique used to direct a physical entity towards certain goals by means of multiple representations. Currently, this steering seems mainly fuelled by a reductionist approach focused on efficiency and optimisation. However, this is not the only direction from which a Digital Twin can be thought and, consequently, designed and deployed. We therefore set an agenda based on a critical understanding of Digital Twins that helps to draw out their beneficial potential, while addressing their potential issues. (shrink)

Digital images of cultural heritage (CH) contain rich semantic information. However, today’s semantic representations of CH images fail to fully reveal the content entities and context within these vital surrogates. This paper draws on the fields of image research and digital humanities to propose a systematic methodology and a technical route for semantic enrichment of CH digital images. This new methodology systematically applies a series of procedures including: semantic annotation, entity-based enrichment, establishing internal relations, event-centric enrichment, defining (...) hierarchy relations between properties text annotation, and finally, named entity recognition in order to ultimately provide fine-grained contextual semantic content disclosure. The feasibility and advantages of the proposed semantic enrichment methods for semantic representation are demonstrated via a visual display platform for digital images of CH built to represent the Wutai Mountain Map, a typical Dunhuang mural. This study proves that semantic enrichment offers a promising new model for exposing content at a fine-grained level, and establishing a rich semantic network centered on the content of digital images of CH. (shrink)

This article examines popular cinema’s interactions with digital culture, focusing on cinema and social structure. A product of technological and social developments, digital culture has introduced the creation of cyberspace, the emergence and spread of social media, and the formation of virtual communities. This article focuses on a specific period (1980 – 2010) to examine the evolution in cinema of portrayals of digital culture. The analysis includes four influential films: WarGames (1983, by John Badham), Perfect Blue (1997, (...) by Satoshi Kon), Pulse (2001, by Kiroshi Kurosawa), and Life in a Day (2011, by Kevin Macdonald, Loressa Clisby, and Tegan Bukowski). The article provides a guide to popular cinema's interaction with and use of the possibilities offered by digital culture, revealing how the four selected films reflect digital culture themes. Each film demonstrates different aspects and dynamics of digital culture at a particular time, offering a unique look at that period's social and technological landscape through its portrayal of technological developments, human relations, cultural values, and social norms. Each film evaluates the impact of the digitization process on cinema from different perspectives, depicting how cinema adapts and responds to technological changes. (shrink)

This article presents a model and a case study of the narrative structures that are present in the interactive media design of multimedia applications in the mass media. As basic categories for the history and structure of media, we employ the model of the modes of the physical, analog, and digital presentation/representation. In this case study of the online edition of the New York Times, we have the case of a newspaper that in the digital edition employs (...) multi-media applications. Contrasting the traditional concept of “narrativity” with the current status quo of the digital media outlets, we will examine the specific conditions of the multimedia applications in the mass media with this sample case of the New York Times. As narrative structure of interactive design in multimedia for mass communication, we analyze the types of narrative media and general narrativity in the New York Times with the background of its processes of interactivity and media convergence. (shrink)

Taking technological developments in urban mapping and the megacity phenomena of rapid change and sprawling space as its starting point, this essay provides a history of the present through a genealogy of maps of Montpellier in France, a rapidly growing modern city that provides examples from the earliest printed maps of the 16th century through to the most recent innovations in public-sponsored 3D mapping. By tracing the shifting correlations of narrative elements, it places in historical perspective the relationship between those (...) concepts, such as verticality and horizontality, and perception and representation, which are problematized in the contemporary contexts of megacities and digital technology. (shrink)

This study examines the complex dynamics of communication in the changing field of journalism influenced by the use of media. It specifically focuses on how thoughts and perceptions are expressed in this evolving landscape. Information and communication technologies significantly influence journalism by rapidly disseminating news, updates, and societal impacts. Utilizing critical discourse analysis, the study aims to reveal systematic language usages and uncover latent meanings beyond news texts. Focused on the 2023 Turkish Presidential Election, news texts from four prominent international (...) newslets Al Jazeera, BBC, CNN, and Euronews are analyzed. The comprehensive analysis of international media coverage investigates the interplay of linguistic and thematic choices in shaping narratives. With a dual focus on macro and micro levels of discourse, the study uncovers diverse approaches among foreign media outlets. Each outlet adopts a distinctive thematic approach at the macro level, emphasizing key figures and sociopolitical contexts. Al Jazeera spotlights competition, BBC underscores post-election polarization, CNN focuses on Erdogan's victory, and Euronews provides insights into national challenges. Visual elements, like photographs, contribute significantly to framing events, offering nuanced political messaging. Micro-level analysis explores linguistic choices, syntax, and rhetoric, emphasizing the active voice to underscore leaders' agency. Deliberate use of the passive voice in presenting election results maintains a neutral tone. The way sentences are structured and the cause-and-effect connections help readers understand political developments by providing context. The study underscores the importance of media literacy in decoding political event representations, emphasizing the multifaceted complexities of media discourse. (shrink)

3D digitization of social legacy has been utilized to safeguard data about colonial legacy items like design, craftsmanship, and trinkets. The 3-d unfolding of gadgets via improvements including elevated reality, augmented reality, and 3-d printing have affected the fields of expertise records and social legacy and features grow to be extra normal. However, concentrates on that go past the specialized parts of 3D innovation and treat such points as their importance for reclamation, protection, commitment, schooling, exploration, and morals scarcely exist. (...) The point of this paper is twofold: from one perspective, it expects to get a superior comprehension of the materialness of every innovation for various purposes gallery show, and, then again, it centers on the discernment of these innovations. This exploration was completed by joining a writing survey with quantitative and subjective investigations of the information procured through a study of SIX inquiries a. Given the analysis of this quantitative and personal information, we give a few measures to utilizing 3D digitized and printed multiplications to upgrade social encounters. The outcomes show the significance of cautiously planning 3D collaborations in the individual and social settings of end-clients and colonial establishments in a request to make genuine social encounters_._. (shrink)

ABSTRACT Social media has given way to information and prosumption-oriented discursive fields wherein individuals construct their own social identities. Although interactivity, multimodality, user-centeredness and accessibility are the unique aspects of digital media but the fact that digital media as effective spaces for representing extreme self/other representation while being anonymous and free from following social norms, can cause dysfunctional social behaviours such as cyber hate. Mirroring the normative notions of femininity, masculinity and gender stereotype allows groups and individuals (...) to connect and express similar manifestations of hate, which, often result in the emergence of a ‘discursive spiral of hate’, misogyny and sexism. This paper draws on the important caveats discussed around Social Media-Critical Discourse Studies understanding of the contemporary digital discourses to deconstruct the complex relations between gender, hate speech and celebrities’ discourses on social media. In particular, how Lena Dunham, American celebrity, portrays herself on her Instagram page by going against the hegemonic views and how the audiences, i.e. the digital prosumers perceive that portrayal. Analysing 2000 user-generated comments deconstruct how women are required to suppress their feeling and limit their authentic online presentation to maintain the outward countenance that matches the stereotypical gender roles in audiences’ state of mind. (shrink)

The technological revolution and appropriation of internet tools began to reshape the material basis of society and the urban space in collaborative, grassroots, leaderless, and participatory actions. The protest squares’ representation on Television screens and mainstream media has been broad. Various health, governmental, societal, and urban challenges have marked the advent of the Covid-19 virus. Inequalities have become more salient as poor people and minorities are more affected by the virus. Social distancing makes the typical forms of protest impossible (...) to carry out. Under social distancing, some state-led policies took advantage of social media to focus on the Covid-19 pandemic to silence social and political activities, censor criticism, and control the press. However, during the pandemic era, the movements for social justice have been particularly active, focusing on defending workers’ rights, mutual aid and solidarity, monitoring policymakers, and popular education. These progressive movements combined concrete practices and experiences to confront the reactionary, capitalist, and governmental actors that sought to shape and envision the world. Through different case studies of protest movements during the pandemic in Europe, the UK, and Asia, this paper argues that at the time of rising racial, social, and economic inequalities, the social activities adapted to the circumstances determined by the social distancing and the impossibility of people gathering in physical spaces. Subsequently, the people in different countries had various individual and collective responses to the support of health workers, systemic inequalities, loss of jobs, and other societal and financial challenges imposed by the governments. It means that, rather than disappearing, the social movements have adapted to the unexpected situations during the pandemic outbreak. The pandemic broke the new digital global wave of protests in this sense. (shrink)

Representation is central to contemporary theorizing about the mind/brain. But the nature of representation--both in the mind/brain and more generally--is a source of ongoing controversy. One way of categorizing representational types is to distinguish between the analog and the digital: the received view is that analog representations vary smoothly, while digital representations vary in a step-wise manner. I argue that this characterization is inadequate to account for the ways in which representation is used in cognitive (...) science; in its place, I suggest an alternative taxonomy. I will defend and extend David Lewis's account of analog and digital representation, distinguishing analog from continuous representation, as well as digital from discrete representation. I will argue that the distinctions available in this four-fold account accord with representational features of theoretical interest in cognitive science more usefully than the received analog/digital dichotomy. (shrink)

The quasi-ubiquity of ICT is transforming contemporary politics and seems to deteriorate democracy, for the technologies undermine debates, contest the grounds of reason and truth, and influence people’s votes. Donald Trump’s election and Brexit are good examples of their effects on public opinion. More fundamentally, these technologies cause theoretical problems to the way we traditionally conceive public opinion. Thus, I seek to rethink public opinion beyond conventional approaches. Departing from Deleuze and Guattari’s work, I develop the first steps of a (...) post-representational theory of public opinion as a regime of political truths that has new dimensions of truth production with information and communications technologies. (shrink)

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

Marginalized communities are confronted with issues resulting from their marginalization, such as exclusion, invisibility, misrepresentation, and hate speech, not only offline but – due to digital change – increasingly online. Our research project DigitalDialog21 aims at evaluating the effects of digital change on society and how digital change, and the risks and possibilities that come with it, is perceived by the population. Digital change is understood as a factor of social change in this project. By investigating (...) digital change and its effects on society, we are able to draw more general inferences on how societies change socially and what needs to be done in education to establish digital trust. In 2017 the Digital Evolution Index observed an increasing trust deficit and skepticism towards digitalization in both very industrialized and lesser industrialized countries. We will draw inferences from these observations here and hypothesize the following: It seems that especially in marginalized communities, that is: in communities that are structurally and systemically disadvantaged and that experience societal marginalization, this trust deficit and skepticism towards digitalization is prevalent. This could be so because, as a member of a marginalized community, one might quickly find issues resulting from marginalization to be present in digital spaces just like they are present in non-digital spaces. This paper will examine critically how attitudes in marginalized communities towards digital media are influenced by digital change. Do the risks of digitalization outweigh the advantages for marginalized communities? Are digital media perceived to provide advantages such as increased visibility and representation or are they perceived to fuel discrimination against marginalized people? Our research project brings together secondary analyses of existing studies with the results of our own qualitative interview study on marginalized people's perceptions of digital change. The paper will portray some example interviews, and thereby analyze if and how attitudes in the margins towards digital media change, what this change consists of, and how we can understand the changing attitudes within an ethical and educational framework. Our findings will point at a necessity to increase ethically based digital literacy (PEAT) in the German education system, starting in early education. Marginalized groups in particular must be empowered to become digitally competent through problem-oriented education. Independent self-efficacy can increase digital trust in fragmented societies. The paper concludes by introducing media ethics tools that are being developed as part of the project. (shrink)

Historically, recordkeeping has been an essential task for health professionals. Today, this mandatory task increasingly takes place as digital documentation. This study critically examines problem constructions in practical documents on digital documentation strategies in Danish municipal healthcare and how these problem constructions imply particular solutions. A document analysis based on the approach presented in Bacchi's “What's the problem represented to be?” was applied. Forty practical documents in the form of guidelines, strategies, and quality control documents were included. The (...) analysis uncovered three problem representations: lack of coherence between health services in a complex healthcare system, lack of assessable data for management and political prioritization, and inefficiency in the healthcare system. The proposed solution is a digitalized and standardized practice that transforms recordkeeping in the municipalities. However, municipal healthcare is at risk of being fragmented due to digital documentation's focus on the organizational management of health with task‐oriented practices supplied by an anonymous health professional. We find that digital documentation functions as an organizational micromanagement approach that assigns the health professional a subject position as an employee acting according to the organization's framework rather than the profession's normative framework. (shrink)

Abstract: The purpose of this article is to highlight the aesthetic layout created by the digital device in the ontological autonomy of the digital representation. As a result, in the digital screen, as a simulated immersive area, the object is alienated through the hyper-representation of a hyper-reproduction: a hyper-reproduction which causes the data and its image to be the monadic support that multiplies it in always livable creases by interactivity. A digitally-represented world would become the (...) ultimate alienation of the modern representational area in terms of excess of closeness. Thus, this question would cause the simulacral strategy of post-modernity through its digitization. -/- Resumen: Este artículo se propone evidenciar, en la autonomía ontológica de la representación digital, la disposición estética abierta por el dispositivo digital. Como consecuencia, en la pantalla digital, en cuanto super cie inmersiva simu- lacral, se logra enajenar el objeto por medio de la hiper-representación de una hiper-reproductibilidad. Una hiper-reproductibilidad que hace del data y su «ima- gen» el sustento monádico que lo multiplica en pliegues siempre habitables por la interactividad. El mundo representado digitalmente se haría «espectáculo» de la enajenación de nitiva de la super cie representacional moderna en cuanto exceso de cercanía. Cuestión que provocaría la estrategia simulacral de la modernidad en lo postmoderno por medio de su digitalización. (shrink)

Typical accounts of imagistic content have focused on the apparent analog character or continuous variability of images. In contrast, I consider the distinctive features of digital images, those composed of finite sets of discrete pixels. A rich source of evidence on digital imagistic content is found in the content-preserving algorithms that resize and reproduce digital images on computer screens and printers. I argue that these algorithms reveal a distinctive structural feature: digital images are always compositional (their (...) parts contribute systematically to overall content), but never inverse compositional (atomic parts may be replaced nonsynonymously without changing content). This indicates a sharp contrast with linguistic representations, which may or may not be compositional, and may or may not be inverse compositional. I argue this result sheds new light on the claim that imagistic content is inherently perspectival. (shrink)

Many theories about human number representation stress the importance of a central semantic representation that includes the magnitude information of small integer numbers, and that is conceived as an abstract, compressed number line. However, thus far there has been little or no direct evidence that units and teens are represented on the same number line. In two masked priming experiments, we show that single-digit and two-digit Arabic numerals are equally well primed by an Arabic numeral with the same (...) number of digits as by an equally distant Arabic numeral with a different number of digits (e.g. the priming effect of 7 on the target 9 is the same as the priming effect of 11 on the target 9). The finding was obtained both with a number naming task and with a parity judgement task. This is in line with the hypothesis that units and teens are part of a continuous number line. (shrink)

Characterizing different kinds of representation is of fundamental importance to cognitive science, and one traditional way of doing so is in terms of the analog–digital distinction. Indeed the distinction is often appealed to in ways both narrow and broad. In this paper I argue that the analog–digital distinction does not apply to representational schemes but only to representational systems, where a representational system is constituted by a representational scheme and its user, and that whether a representational system (...) is analog or non-analog depends on facts about that user. This aspect of the distinction has gone unnoticed, and I argue that the failure to notice it can be an impediment to scientific progress. (shrink)

Digital twinning in medicine refers to the idea of simulating a person’s organs, muscles or perhaps their entire body, in order to arrive more effectively at accurate diagnoses, to make treatment recommendations that reflect chances of success and possible side-effects, and to better understand the long-term trajectory of an individual’s overall condition. Digital twins, in these ways, build on the recent movement toward personalised medicine,1 and they undoubtedly present us with exciting opportunities to advance our health. Of course, (...) the opportunities are accompanied by newfound challenges—a common refrain in discussions surrounding emerging technologies. In a recent article, Matthias Braun surveys numerous problems, including the precision of simulations, ownership and consent to the use of digital models, and issues of justice in assuring equitable access to novel medical systems.2 In particular, he places special emphasis on the notion of representation. According to Braun, proper representation naturally calls for correspondence—namely a precise model offering dynamic, real-time feedback as well as transparency, both for the patient and the practitioner, in terms of the data being employed. While technical challenges remain, these goals are quite clear and relatively uncontroversial. Where a host of questions arise, however, is in the discussion on the interaction between the represented persons and their simulations. Alongside questions regarding ownership of one’s digital twin, Braun raises the concern that ‘giving …. (shrink)

ITC technologies have come to comprehensively represent images and expectations of the future. Hopes of ongoing progress, economic growth, skill upgrading and possibly also democratisation are attached to new ICTs as well as fears of totalitarian control, alienation, job loss and insecurity. Currently, with the terms "Industry 4.0." and ‘Fourth Industrial Revolution”, public institutions, private institutions, and literature refer to the inchoate transformation of production of goods and services resulting from the application of a new wave of technological innovations: interconnected (...) collaborative robots; machine learning; Artificial Intelligence; 3D printers connected to digital development software; simulation of interconnected machines; integration of the information flow along the value chain; multidirectional communication between manufacturing processes and products. According to the main representations of Industry 4.0. by private and public institutions, its effects are expected to be mainly positive, for what regards productivity, economic opportunities and the future of work. The positive potentials now attributed to the new cycle of innovation evoke and expand those attributed to the previous waves of innovation linked to ITC technologies, and, even before, to the transition from Fordism to Post-Fordism. However, these transformations have so far not achieved any of the promises they raised. Improvements for workers in terms of work conditions, work performance and work relationships cannot be determined by any technical innovation in itself, being technological innovation always socially shaped. (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)

Cameras, microphones, and other sensors continue to proliferate in the world around us. I offer a new metaphor for conceptualizing these technologies: they are _digital wormholes_, transmitting representations of human persons between disparate points in space–time. We frequently cannot tell when they are operational, what kinds of data they are collecting, where the data may reappear in the future, and how the data can be used against us. The wormhole metaphor makes the mysteriousness of digital sensors salient: digital (...) sensors have brought us to a strange place. If humans are to be capable of making sensible decisions while under observation by digital sensors, we must improve the epistemic position of potential sensor subjects. (shrink)

This article examines the relationship between technology and aesthetics in contemporary Hollywood, using experiments with frame rates and shutter speeds to show how deep, systemic changes in cinematic technologies can alter our relation to the image’s referential functions. For eighty years, cinema’s registration of movement relied upon a standardized frame rate and shutter speed, meaning that cinema’s sense of motion was constant. With the proliferation of ever more powerful digital capture systems, however, these formerly inflexible options are made variable (...) and put into question. By changing the registration of movement, the high frame rate experiments in The Hobbit and the open-shutter cinematography of Miami Vice offer an estranged relation to cinema’s presentation of worldly motion. I argue here that this altered sense of the image’s referentiality is well suited to depictions of our contemporary reality, which, being profoundly bound up in digital technologies, seems similarly disorienting, estranging, and aesthetic. In the first section of the article, I trace out the origins of this style of movement in the logics of the corporate tech industry, which rolls out continual upgrades in audio-visual technologies in order to justify new product lines. According to industry rhetoric, these upgrades ostensibly lead to a heightened sense of realism, but viewer response has been torn over whether this new sense of motion is realistic or unrealistic. In the second section, I closely analyze The Hobbit and the recent work of Michael Mann to show how established film form shifts in relation to this problem in digital cinema’s representation of worldly movement. In The Hobbit’s case, film form is altered in order to assimilate the HFR’s unfamiliar sense of motion, but the cinematography in Miami Vice embraces a productive aesthetic estrangement which is both realistic and hyperaestheticized, leaving the divide between immanent experience and technologized disorientation an open question. (shrink)

The advancement of Artificial Intelligence (AI) poses challenges in the field of bioethics, especially concerning issues related to life and death. AI has permeated areas such as health and research, generating ethical dilemmas and questions about privacy, decision-making, and access to technology. Life and death have been recurring human concerns, particularly in connection with depression. AI has created systems like Thanabots or Deadbots, which digitally recreate deceased individuals and allow interactions with them. These systems rely on information generated by AI (...) users during their lifetime, raising ethical and emotional questions about the authenticity and purpose of these recreations. AI acts as a mediator between life, death, and the human being, enabling a new form of communication with the deceased. However, this raises ethical issues such as informed consent from users and the limits of digital recreation. Companies offer services like the Digital Resurrection of deceased individuals and the generation of hyper-realistic avatars. Still, concerns arise about the authenticity of these representations and their long-term emotional impact. Interaction with Thanabots may alter perceptions of death and finitude, leading to a potential “postmortal society” where death is no longer viewed as a definitive end. Nevertheless, this raises questions about the value of life and the authenticity of human experiences. AI becomes a bridge between the living and the dead, partially replacing rituals and mystical beliefs. As technology advances, there will be a need for greater transparency in interacting with AI systems and ethical reflections on the role of these technologies in shaping perceptions of life and death. Ultimately, the question arises of whether we should allow the dead to rest in peace and how to balance the pursuit of emotional relief with authenticity and respect for the memory of the deceased. A deeper ethical consideration is needed on how AI alters traditional notions of life, death, and communication in contemporary society. In this research, an interdisciplinary approach was utilized to conduct a comprehensive systematic review of the recent academic literature, followed by a detailed analysis of two key texts. Central ideas were extracted, and recurring themes were identified. Finally, a reflective analysis of the findings was conducted, yielding significant conclusions and recommendations for future research. (shrink)

What is a “historical” video game, let alone a successful one? It is difficult to answer this question because all our definitions of history have been constructed in a linear-narrative cultural context that is currently being challenged and in large part displaced by digital media, especially video games. I therefore consider this question from the point of view of historical semantics and in relation to the impact of digital technology on all aspects of the historiographical operation, from the (...) establishment of digital archives, to the production of e-texts, to the digital remediation of visual modes of historical representation. Seen from this dual perspective, video games appear to participate in a process of spatialization and virtualization of historical semantics. In the first place, video games have begun to detach the notion of history from its double reference to the past and to the real—“what essentially happened”—that it had acquired at the end of the eighteenth century. Second, they also challenge the semiotic production of “historic events” that has characterized the construction of modern historical consciousness. Historical video games, in other words, replace representation with simulation and presence with virtuality, thereby marginalizing the oscillation of the modern historical imagination between historical facts and historic events, transcendence and immanence, representation and presence. Although digital reworkings of historical semantics have not produced any grammatical transformation of the signifier, history—nor does this essay propose one—I do argue that the impact of video games on our contemporary historic culture is of paradigmatic proportions similar to those described by Reinhart Koselleck for the dawn of the modern age. Focusing on one of the most successful contemporary video games, Sid Meier’s Civilization, I show how the remediation of cinematic genres by video games is pushing the processes of de-temporalization and de-referentialization of history toward the formation of a new notion of the historical that may be conceptualized as the inversion of the classic Aristotelian paradigm: history has replaced poetry and philosophy as the realm of the possible. (shrink)

An examination of the ways human movement can be represented as a formal language and how this language can be mediated technologically. In Motion and Representation, Nicolás Salazar Sutil considers the representation of human motion through languages of movement and technological mediation. He argues that technology transforms the representation of movement and that representation in turn transforms the way we move and what we understand to be movement. Humans communicate through movement, physically and mentally. To record (...) and capture integrated movement (both bodily and mental), by means of formal language and technological media, produces a material record and cultural expression of our evolving kinetic minds and identities. Salazar Sutil considers three forms of movement inscription: a written record (notation), a visual record (animation), and a computational record (motion capture). He focuses on what he calls kinetic formalism—formalized movement in such pursuits as dance, sports, live animation, and kinetic art, as well as abstract definitions of movement in mathematics and computer science. He explores the representation of kinetic space and spatiotemporality; the representation of mental plans of movement; movement notation, including stave notation (Labanotation) and such contemporary forms of notation as Choreographic Language Agent; and the impact of digital technology on contemporary representations of movement—in particular motion capture technology and Internet transfer protocols. Motion and Representation offers a unique cultural theory of movement and of the ever-changing ways of representing movement. (shrink)

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Digital technology has transformed the way that we visualise the natural world, the art we create and the stories we tell about our environments. Exploring contemporary digital art and literature through an ecocritical lens, Digital Vision and the Ecological Aesthetic (1968-2018) demonstrates the many ways in which critical ideas of the sublime, the pastoral and the picturesque have been renewed (...) and shaped in digital media, from electronic literature to music and the visual arts. The book goes on to explore the ecological implications of these new forms of cultural representation in the digital age and in so doing makes a profound contribution to our understanding of digital art practice in the 21st century. (shrink)

With the development of computer hardware and software, digital art is a new discipline. It uses computers and digital technology as tools to perform artistic expression. It can be expanded to various binary numerical codes with computers as the center and can also be refined to various categories of creation with computers. The research scope is set in the field of digital art, and all kinds of accidental factors of digital art creation based on the machine (...) learning algorithm are mined and analyzed for feature correlation. Based on the hidden association relationship of massive data, the study focuses on the implicit association mining of digital art features of data for the recommendation algorithm. The classification and continuous data feature attributes are introduced and discretized, and the binary representation of data features is extended to ensure the diversity of data feature attributes. In order to mine some correlation features in data, a heuristic feature mining method based on minimum support was studied to discover the frequency of correlation features and construct the optimal feature subset. Based on the frequent items of data features, this study observes the heuristic algorithm of digital art feature association mining based on minimum confidence and carries out feature matching based on digital art feature association mining under different situation modes. The validity of the proposed algorithm is verified by using the experimental data of health and medical situations in the machine learning library. (shrink)

Cognitive representations are typically analysed in terms of content, vehicle and format. While current work on formats appeals to intuitions about external representations, such as words and maps, in this paper we develop a computational view of formats that does not rely on intuitions. In our view, formats are individuated by the computational profiles of vehicles, i.e., the set of constraints that fix the computational transformations vehicles can undergo. The resulting picture is strongly pluralistic, it makes space for a variety (...) of different formats, and is intimately tied to the computational approach to cognition in cognitive science and artificial intelligence. (shrink)

In this paper, we examine the practice and promises of digital phenotyping. We build on work on the ‘data self’ to focus on a medical domain in which the value and nature of knowledge and relations with data have been played out with particular persistence, that of Alzheimer's disease research. Drawing on research with researchers and developers, we consider the intersection of hopes and concerns related to both digital tools and Alzheimer's disease using the metaphor of the ‘data (...) shadow’. We suggest that as a tool for engaging with the nature of the data self, the shadow is usefully able to capture both the dynamic and distorted nature of data representations, and the unease and concern associated with encounters between individuals or groups and data about them. We then consider what the data shadow ‘is’ in relation to ageing data subjects, and the nature of the representation of the individual's cognitive state and dementia risk that is produced by digital tools. Second, we consider what the data shadow ‘does’, through researchers and practitioners’ discussions of digital phenotyping practices in the dementia field as alternately empowering, enabling and threatening. (shrink)

The paper explores the semiotic and legal semiotic perspectives related to posthumous digital face. In doing so, the contribution also seeks to explore the complex relationship between AI-generated faces, including deep fakes, mourning, and posthumous rights. The article has five parts. In the introduction, we discuss the challenges of _posthumous existence_ and the issues related to respecting the deceased. We also examine some examples of ‘digital personhood’. In part two, we present three case studies and use semiotics to (...) help us distinguish between _posthumous existence_ and _digital resurrection_. In part three, we provide a semiotic classification of representation in the context of digital faces and our case studies. We suggest that there is a difference between the _phenomenological presence_ of a hologram and the _cognitive value_ of recreating someone’s identity, including their biography, face, and voice. In part four, we explore the topic of digital spectra and mourning, including the concept of _imputability_. In part five, we analyse how the law offers new insights into the ontology of the face of the deceased and posthumous existence in hologram form. In the conclusion, we summarise the article’s key findings and highlight open issues and potential future developments. (shrink)

Relative to digital computation, analogue computation has been neglected in the philosophical literature. To the extent that attention has been paid to analogue computation, it has been misunderstood. The received view—that analogue computation has to do essentially with continuity—is simply wrong, as shown by careful attention to historical examples of discontinuous, discrete analogue computers. Instead of the received view, I develop an account of analogue computation in terms of a particular type of analogue representation that allows for discontinuity. (...) This account thus characterizes all types of analogue computation, whether continuous or discrete. Furthermore, the structure of this account can be generalized to other types of computation: analogue computation essentially involves analogue representation, whereas digital computation essentially involves digital representation. Besides being a necessary component of a complete philosophical understanding of computation in general, understanding analogue computation is important for computational explanation in contemporary neuroscience and cognitive science. (shrink)