Inspired by Helen Longino’s ‘critical contextual empiricism’, in this paper I argue that art arises from social epistemic procedures that encompass both aesthetic functions and institutional practices. Within these procedures, aesthetic functions are developed, validated, and enforced through institutional practices, rather than being solely tied to the artistic outcomes of those practices. I call this approach ‘critical contextual aestheticism’.

Motivating this article is an interest in how postphenomenological technical relations participate in aesthetic experiences. Introducing aesthetic experience into our analyses of technical relations allows us to better tease apart the distinction between our relationship with the artefact, and how we experience that relationship. However, the sublime poses a unique set of complications for postphenomenologists. Thanks to the overwhelming qualities of the sublime, it is unclear where sublimity fits within the Ihdean relational taxonomy—or indeed, if it can at all, given (...) that sublime experience would in principle overwhelm and dissolve the extant relation. This article resolves this apparent tension, and offers an accounts of how sublime experience is able to be reconciled with Ihdean postphenomenology. (shrink)

In her paper “Human Flourishing and Technology Affordances”, Avigail Ferdman argues that our descriptions and analyses of the relationship between digital technology, and the capacities approach to human flourishing, can be enriched by building ‘affordances’ into those descriptions and analyses. This commentary article serves as a supplement to Ferdman’s paper. Here I argue that, in building affordances into the capacities approach, Ferdman has developed the foundations of a method by which perfectionist ethics can be built into action-theoretic accounts of technical (...) function. However, this is possible only if she is willing to expand the ambit of her theory beyond digital technologies and into technology more generally. (shrink)

In this chapter, I argue that the films of Andrei Tarkovsky are particularly suitable for inducing feelings of the numinous. This suitability is a formal rather than semantic feature of his films, and is tied indelibly to what film scholars call ‘suture’. I with a summary of what film theorists mean by ‘suture’, before providing a principled defence of the Merleau-Pontian suture theory outlined by George Butte. Second, I will demonstrate that, in spite of the strength of Butte’s formulation, the (...) numinousness of Tarkovsky’s films pose an analytical challenge to his suture theory. Finally, I will then provide my own extension of Butte’s suture theory, arguing that, by virtue of the formal properties they possess, we encounter Tarkovsky’s films more like religious objects than ordinary films. The tenor of these encounters is why Tarkovsky’s films are appropriate loci for feelings of the numinous. (shrink)

In this paper, we propose that an increasingly regarded theoretical framework in neuroscience—the predictive processing framework—can help to advance an understanding of the foundations of critical thinking as well as provide a mechanistic hypothesis for how education may increase a learner’s subsequent use of critical thinking outside of an educational context. We begin by identifying a lacuna in the understanding of critical thinking: a causal account of the internal triggers to think critically. We then introduce the predictive processing framework to (...) address this lacuna, and unpack the implications of this framework for understanding the deployment of critical thinking skills in situ, in the real world. (shrink)

Love for a country has come to be linked with two terms: patriotism and nationalism. The conceptual distinction between these two ideas has been a matter of controversy. In this chapter we propose that one way of thinking about and distinguishing between patriotism and nationalism is via the very concept of love. We make the claim that what distinguishes patriotism and nationalism is not the quality of love but the type of love invoked. We argue that love in patriotism is (...) similar to familial love whereas love in nationalism resembles intense passionate romantic love. We furthermore argue that love involved in our conception of patriotism can be harmless, while the kind of love associated with the relevant conception of nationalism can be dangerous and easily involves “bad faith,” a deceptive faith in the superior goodness of one’s country. To substantiate our claim, we draw from literature across different disciplines: philosophy, political psychology, and biology. (shrink)

Barry Allen, in his 2005 Knowledge and Civilization and his 2008 Artifice and Design, argues in favor of an epistemic system that is both praxical and performative; knowledge, rather than being expressed propositionally, is a kind of performance that is expressed in artifacts of all kinds, of which propositions are but an example. However, although he makes a compelling case, it is rather less clear the extent to which we are able to make judgments about the world beneath the artifacts. (...) That is to say: it seems clear that we need to provide some account of how the world is, if only so that we have some kind of coherent characterization of what it is exactly that an artifact captures. Accordingly, if we are to buy into Allen’s model, what can we subsequently say about Allen’s metaphysics? This paper is an attempt to tease out some of these concerns. (shrink)

A shared goal amongst most educators, we argue, is to supplant students’ raw or “naive” intuitions with more refined intuitions about a particular domain. Educators want students, and people more generally, to recognize when ideas, frameworks, and processes don’t “look right”. When we know that something does not look right, sound right, or feel right, we investigate further. We seek to fill in the gaps between our knowledge and we attempt to learn new approaches for solving problems. Lifelong learning, in (...) other words, builds from a recognition of incoherence. We hope students will be more likely to recognize flawed reasoning or rhetorical appeals, even if they have long forgotten the details of logic, statistics, and argumentation. They have acquired a refined (one might even say “aesthetic”) sense of what is likely correct or incorrect; what is likely promising or empty. This sense is “aisthesis”. -/- Aisthesis is a marker of education. Although it doesn’t refer to particular sets of knowledge or particular skills in analyzing and evaluating problems, it provides a overarching framework that binds educators in both literature and science. Consequently, aisthesis provides a novel lens for pedagogy. Insofar as we are correct that education is about the cultivation of an aesthetic discrimination between good and bad work, aisthesis could be more explicitly targeted. Educators hope to instill in students an aisthetic sense of how to recognize when statements, issues, or artifacts are problematic and require further engagmeent. (shrink)

The question of what and how artworks mean things is conventionally satisfied by appealing to literature from either philosophy of art or philosophy of language. This book offers an alternative by positioning art as a type of meaning-making tool whose function can only be understood through the application of the philosophy of technology.

This dissertation examines the relationship that exists between two distinct and seemingly incompatible bodies of scholarship within the field of contemporary philosophy of technology. The first, as argued by postmodern pragmatist Barry Allen, posits that our tools and what we make with them are epistemically important; disputing the idea that knowledge is strictly sentential or propositional, he claims instead that knowledge is the product of a performance that is both superlative and artefactual, rendering technology importantly world-constituting. The second, as argued (...) by Heidegger and his inheritors, is that technology is ontologically problematic; rather than technology being evidence of performative knowledge, it is instead existentially threatening by virtue of the fact that it changes the tenor of our relationship with the world-as-given. Despite the fact that these claims seem prima facie incompatible, I argue that they may be successfully reconciled by introducing a third body of scholarship: the philosophy of photography. For it is the case, I argue, that although we, qua human beings, occupy lifeworlds that are necessarily constituted by technology, technology also induces a kind of phenomenological scepticism: a concern that mediated action precludes us from the possibility of authentic experience. Arguing in favour of the sentiment that photographs serve as a kind of phenomenal anchor—a kind of machine for living—I claim that photographic images provide a panacea to this existential concern: despite being epistemically problematic, it is this selfsame epistemic “specialness” of photographs that forces us to phenomenologically recommit, if only temporarily, to the world in a serious way. Consequently, it is my belief that an analysis of our artefacts and the way they function is fundamentally incomplete without an analysis of the epistemic and ontological problems introduced of the photographic image; as I will demonstrate, the photographic image casts an extremely long shadow over the philosophy of technology. (shrink)

In this paper, I attempt to question the very idea of "enhancement" itself. Given the tool-using nature of human beings, does the idea of enhancement have any critical traction, when it could be argued that all tool use is an attempt to enhance experience? This has grave ramifications for the public ethics that surrounds any discussion about the application of transhuman technologies. If, as I argue, there is nothing special about "enhancement" - indeed, if it is that very thing that (...) makes us human - then the vocabulary of the discourse itself may be occluding a genuine and honest appraisal of these issues. (shrink)