This article critiques Eric Katz’s claim that technology and artifacts are intrinsically anthropocentric, and thus essentially aimed at controlling and dominating nature. Drawing on Martin Heidegger’s philosophy of technology, I argue Katz’s position is founded on a narrow ‘means-end’ concept of technology. Building on Heidegger’s work, I propose rethinking technology through the broader ancient Greek concept of techne. I then claim the concept of techne enables us to develop an understanding of technology that is not (...) intrinsically anthropocentric and dominating. Finally, I argue an analysis of art provides a model for this non-anthropocentric concept of technology. (shrink)

The Iconic, Indexical and Intellective are conceptions derived from Charles Sanders Peirce's use of his sign theory. In characterizing different kinds of interpretative activity, they can be used to address certain problems in science, technology and the arts.

Intelligence augmentation was one of the original goals of computing. Artificial Intelligence (AI) inherits this project and is at the leading edge of computing today. Computing can be considered an extension of brain and body, with mathematical prowess and logic fundamental to the infrastructure of computing. Multimedia computing—sensing, analyzing, and translating data to and from visual images, animation, sound and music, touch and haptics, as well as smell—is based on our human senses and is now commonplace. We use data visualization (...) and sonification, as well as data mining and analysis, to sort through the complexity and vast volume of data coming from the world inside and around us. It helps us ‘see’ in new ways. We can think of this capacity as a new kind of “digital glasses”. The Internet of Living Things (IOLT) is potentially an even more profound extension of ourselves to the world: a network of electronic devices embedded into objects, but now with subcutaneous, ingestible devices, and embedded sensors that include people and other living things. Like the Internet of Things (IOT), living things are connected; we call those connections “ecology”. As the IOT becomes increasingly synonymous with the IOLT, the question of ethics that is at the centre of aesthetics and the arts will move to the forefront of our experience of and regard for the world in and around us. (shrink)

Over the last few decades an increasingly pressing social demand for access to assisted reproductive technologies (ART) has emerged. Alongside the use of reproductive technologies, relevant bioethical and biolegal issues arise, such as the claim of a “right” to have a child, the so-called “reproductive rights”, of the prospective parents and the rights of children. This paper explores these and further challenges, both old and new, calling for a transformation of parenthood and filiation, from the perspective of the different theories (...) of the contemporary pluralistic debate, with a descriptive and critical analysis of the recent Report on ART of the Unesco International Bioethics Committee, the first global document on these topics. (shrink)

Technological advancements often lead to revolutions in the creation of art; but, what is unclear is whether such advancements always correspond to revolutions regarding the artistic medium. The notion of an artistic medium is central to our thinking about, engagement with, and appreciation of art. Accounts of the interpretation, understanding, and experience of art must at some point grapple with the role of the artistic medium against such endeavors. Moreover, artists do not choose their medium by accident, but presumably do (...) so with an eye to the specific and unique affordances of their chosen medium. This chapter will explore the ways in which technology affects these issues. One question we could ask is, when does some technology itself become a new artistic medium? Some technological advancements result in the creation of a new artistic medium—like photography—while others do not—like procedural music. Finding “technology” itself to be too broad of a concept to define a distinctive and theoretically useful notion of an artistic medium, this chapter will examine generally what sort of barriers or challenges one might face when thinking of different technologies as themselves constituting an artistic medium. Specific attention will be paid to the notion of the medium and the theoretical and aesthetic work that such a notion plays in regard to works of computer art. (shrink)

This essay considers the relationship between the work of contemporary artist Torsten Lauschmann and themes in a growing area of research: philosophy of technology. Themes considered include relations between technology and contemporary urban dwelling, technology and the “everyday,” and Heidegger’s problematic but canonical understanding of technology not as a set of “mere means” but as a “way of revealing.” I argue that Lauschmann’s art renders these themes relevant for our increasingly technologically mediated forms of everyday experience (...) by engaging in a paradoxical practice of creating what McLuhan called “anti-environments.” Part One relates Lauschmann’s art to three concepts surfacing in McLuhan’s late work: “figure,” “ground,” and “anti-environment.” Part Two relates Lauschmann’s art to Merleau-Ponty’s critique of photography in terms of the ontology of dynamic movement. Part Three relates Lauschmann’s art to Heidegger, implying a form of “affective critique” that — by questioning the environmental conditions that constitute works of art — points beyond vexed aspects of Heidegger’s approach, such as its apparent pessimism and tendency to homogenize disparate technologies. The essay’s broader argument is that Lauschmann’s art, like the philosophical reflections to which it is related, is engaged in a practice of challenging settled common-sense notions regarding technologically mediated experience. (shrink)

Art as Capital addresses the role of art and creative practices in contemporary society.

The book brings together leading contemporary thinkers of war to outline the aesthetic dimension of warfare across art, technology, and politics.

In this article we seek to lay bare a couple of potential conceptual and methodological issues that, we believe, are implicitly present in contemporary philosophy of technology. At stake are the sustained pertinence of and need for coping strategies as to ‘how to live with technology ’ notwithstanding PhilTech’s advancement in its non-essentialist analysis of ‘technology’ as such; the issue of whether ‘living with technology’ is a technological affair or not ; and the tightly related question (...) concerning the status of the methodological bedrock of contemporary PhilTech, the ‘empirical turn.’ These matters are approached from the perspective of the philosophical notion of the ‘art of living,’ and our argumentation is developed both as a context for and on the basis of the contributions to the special issue ‘The Art of Living with Technology.’. (shrink)

SummaryHistorians have explored the continuities between science and the arts in the Industrial Revolution, with much recent historiography emphasizing the hybrid nature of the activities of men of science around 1800. Chemistry in particular displayed this sort of hybridity between the philosophical and practical because the materials under investigation were important across the research spectrum. Inflammable gases were an example of such hybrid objects: pneumatic chemists through the eighteenth century investigated them, and in the process created knowledge, processes and instruments (...) essential for the creation of a new gaslight industry from 1800. Once this industry began to expand and mature, the interests and experiments of the gas industry stimulated new research work which in turn had relevance for theoretical debates.This paper explores how the emergence of the gas industry from 1800 provided an impetus for new work in theoretical chemistry. Boulton & Watt, important pioneers of the gas industry, explored the compositions of inflammable gases for practical purposes: the composition of these gases had an important effect on the luminosity of gaslights, and hence the economics of the new technology compared to older forms of lighting. As they explored these questions in their engineering work, they stimulated their friend William Henry to explore the nature of these gases further, and he carried out a series of experiments to determine their composition more exactly than Boulton & Watt had done. Henry published a series of paper between 1805 and 1820 where he made arguments about the compositions of inflammable airs, and further related these to contemporary debates about the laws of multiple and definite proportions, as well as John Dalton's atomism. Henry's research was also a hybrid of the theoretical and practical in that he tried to develop results useful for the fledgling gas industry. Specifically, he suggested the best kind of coal to use, and showed how gas quality varied with distillation time and temperature. (shrink)

Usually technological innovation and artistic work are seen as very distinctive practices, and innovation of technologies is understood in terms of design and human intention. Moreover, thinking about technological innovation is usually categorized as “technical” and disconnected from thinking about culture and the social. Drawing on work by Dewey, Heidegger, Latour, and Wittgenstein and responding to academic discourses about craft and design, ethics and responsible innovation, transdisciplinarity, and participation, this essay questions these assumptions and examines what kind of knowledge and (...) practices are involved in art and technological innovation. It argues that technological innovation is indeed “technical”, but, if conceptualized as techne, can be understood as art and performance. It is argued that in practice, innovative techne is not only connected to episteme as theoretical knowledge but also has the mode of poiesis: it is not just the outcome of human design and intention but rather involves a performative process in which there is a “dialogue” between form and matter and between creator and environment in which humans and non-humans participate. Moreover, this art is embedded in broader cultural patterns and grammars—ultimately a ‘form of life’—that shape and make possible the innovation. In that sense, there is no gap between science and society—a gap that is often assumed in STS and in, for instance, discourse on responsible innovation. It is concluded that technology and art were only relatively recently and unfortunately divorced, conceptually, but that in practices and performances they were always linked. If we understand technological innovation as a poetic, participative, and performative process, then bringing together technological innovation and artistic practices should not be seen as a marginal or luxury project but instead as one that is central, necessary, and vital for cultural-technological change. This conceptualization supports not only a different approach to innovation but has also social-transformative potential and has implications for ethics of technology and responsible innovation. (shrink)

The famous 1893 Chicago World’s Fair celebrated the dawn of corporate capitalism and a new Machine Age with an exhibit of the world’s largest engine. Yet the noise was so great, visitors ran out of the Machinery Hall to retreat to the peace and quiet of the Japanese pavilion’s Buddhist temples and lotus ponds. Thus began over a century of the West’s turn toward an Asian aesthetic as an antidote to modern technology. From the turn-of-the-century Columbian Exhibition to the (...) latest Zen-inspired designs of Apple, Inc., R. John Williams charts the history of our embrace of Eastern ideals of beauty to counter our fear of the rise of modern technological systems. In a dazzling work of synthesis, Williams examines Asian influences on book design and department store marketing, the commercial fiction of Jack London, the poetic technique of Ezra Pound, the popularity of Charlie Chan movies, the architecture of Frank Lloyd Wright, and the design of the latest high-tech gadgets. Williams demonstrates how, rather than retreating from modernity, writers, artists, and inventors turned to traditional Eastern technê as a therapeutic means of living with—but never abandoning—Western technology. (shrink)

This collection of essays is a genuinely interdisciplinary exploration of the changing relationship of pedagogy, technology, and human beings in contemporary educational and cultural settings. The authors draw upon the most recent theoretical developments in education, the arts, the human body, and technology to interrogate changing pedagogical practices both inside and beyond educational institutions. Their focus on new forms of cultural exchange constitutes a radical re-thinking of the nature of pedagogical events beyond the boundaries of the traditional educational (...) disciplines. (shrink)

Jax Teller, Clay Morrow, and the other members of SAMCRO are first and foremost bikers and mechanics who fix bikes. Many bikers experience riding as therapeutic, since a good ride can help a suffering soul to forget the worries of life. Martin Heidegger argues that practical skills, such as the ones Tig needs to repair bikes, are the most fundamental form of knowledge. Many bike owners don't feel confident when they have to do repairs and finally face the dreaded encounter (...) with the un‐ready‐to‐hand. In Zen and the Art of Motorcycle Maintenance Robert Pirsig notes, that many bike owners are afraid to get their hands dirty with engine oil. Caring for a piece of technology is exactly the opposite of treating it instrumentally. As Pirsig explains, even fixing a mechanical problem can become an occasion of participation, unity, and reconciliation with the world. (shrink)

_Screen-Based Art_ Edited by Annette W. Balkema and Henk Slager Series of Philosophy of Art and Art Theory _Lier en Boog_, vol. 15, 2000 ISBN 90-420-0801-6 192 pp.

The Dark Posthuman: Dehumanization, Technology, and the Atlantic World explores how liberal humanism first enlivened, racialized, and gendered global cartographies, and how memory, ancestry, expression, and other aspects of social identity founded in its theories and practices made for the advent of the category of the posthuman through the dimensions of cultural, geographic, political, social, and scientific classification. The posthuman is very much the product of world-building narratives that have their beginnings in the commercial franchise and are fundamentally rooted (...) in science, governance, and economics around the hegemonic appropriation of environments and commodification of bodies that initially fuelled white settler life worlds and continue to be operational in the way we conceive of these worlds as continuous ontological formations. The want has always been for ownership of any of these dimensions of being without regard to condition, to not remain stranded as the subsidiary of another's being, to another's claim to humanity, and finally, to escape the suffocating confines of an instrumental ontology that suggests a subcategory of humanity without rights onto itself. The Dark Posthuman distinguishes the posthuman's place within both the liberal and neoliberal imaginary and reveals how its appearance first entrenched itself through the avarice of English settler colonialism, and subsequently, through the paranoia of American slavery. This same figure of the posthuman played a crucial role in the functional adaptation of Cold War behavioural cybernetics, and thereafter, in the fetishization of technology within the era of global financialization. The shadowing of this arrangement during and beyond the long duration of humanity's domination of this world becomes the structural web work of this book. Stephanie Polsky is an interdisciplinary writer and academic working in the areas of Media Studies and Visual Culture. Her work explores the confluence of power around race and gender as technologies of governance. She has lectured widely in media and cultural studies, critical theory, and visual culture at a number of prestigious institutions including Goldsmiths University, Regent's University London, University of Greenwich, and Winchester School of Art. Most recently she has worked at California College of the Arts in Critical Studies and Diversity Studies. She holds a PhD in Visual Cultures from Goldsmiths, University of London and an MA in Media Studies from the University of Sussex. Her books include The End of the Future: Governing Consequence in the Age of Digital Sovereignty (Academica Press, 2019), Ignoble Displacement: Dispossessed Capital in Neo-Dickensian London (Zero Books, 2015), and Walter Benjamin's Transit: A Destructive Tour of Modernity (Academica Press, 2009). (shrink)

In my opinion, the so-called revolution in science and technology has virtually no influence on art.

In this contribution the author tries to formulate an approach to the art of living with technology based on Heidegger’s The Principle of Reason, a work often overlooked by contemporary commentators in the philosophy of technology. This approach couples the concept of releasement to insights hailing from Wolfgang Schirmacher concerning Heidegger’s nihilism.

N. G. de Bruijn, now professor emeritus of the Eindhoven University of Technology, was a pioneer in the field of interactive theorem proving. From 1967 to the end of the 1970’s, his work on the Automath system introduced the architecture that is common to most of today’s proof assistants, and much of the basic technology. But de Bruijn was a mathematician first and foremost, as evidenced by the many mathematical notions and results that bear his name, among them (...) de Bruijn sequences, de Bruin graphs, the de Bruijn-Newman constant, and the de Bruijn-Erd¨. (shrink)

Andrew Marr has built this masterful study of Mutio Oddi on a set of ironies. He begins with a bitter blow of fortune: Oddi, in the middle of an apparently promising life as mathematician and architect in his native Urbino, had fallen afoul of his lord the Duke, accused of participating in a plot to depose him. After years of apparently unjust imprisonment, he was released in 1610, but into exile. Yet Oddi managed to recast his career in Milan and (...) then in Lucca, building upon a varied set of skills, and even returned eventually to Urbino. That varied set of skills had resulted from yet another, earlier, set of reversals and recoveries: he had turned to mathematics only after first training as an artist in the studio of Federico Barocci, a field he had been forced to abandon due to problems with his eyesight. Oddi was widely respected in his day, not only for his achievements themselves but also for his persistence and ingenuity in overcoming such obstacles. Yet to modern historians of .. (shrink)

So far aesthetics has played a limited role in our understanding of business activity, focused mainly on evaluating product quality and the character qualities (virtues) of the firm that produced them We draw on Heidegger’s fuller account of aesthetic value to show how a firm—like a work of art – can disclose the way human projects and technologies are already at work in a given context. In this way, we show that firms play an essential role in human self-understanding—a role (...) that Heidegger assigns primarily to works of art. We then apply the Heideggerian approach to the contemporary turn to artisanal products such as personalized handcrafts, craft beer and the “third wave” coffee movement. (shrink)

Half a century into the digital era, the profound impact of information technology on intellectual and cultural life is universally acknowledged but still poorly understood. The sheer complexity of the technology coupled with the rapid pace of change makes it increasingly difficult to establish common ground and to promote thoughtful discussion. Responding to this challenge, _Switching Codes _brings together leading American and European scholars, scientists, and artists—including Charles Bernstein, Ian Foster, Bruno Latour, Alan Liu, and Richard Powers—to consider (...) how the precipitous growth of digital information and its associated technologies are transforming the ways we think and act. Employing a wide range of forms, including essay, dialogue, short fiction, and game design, this book aims to model and foster discussion between IT specialists, who typically have scant training in the humanities or traditional arts, and scholars and artists, who often understand little about the technologies that are so radically transforming their fields. _Switching Codes_ will be an indispensable volume for anyone seeking to understand the impact of digital technology on contemporary culture, including scientists, educators, policymakers, and artists, alike. (shrink)

By now it is clear that the word postmodern has a settled into an insurmountable usage in the field of architecture and this in addition to its continuing currency for art critics and theorists, social analysts, and political and literary theorists, not to mention journalists and philosophers. Nevertheless no one less influential for the real or built presence of postmodernism than Charles Jencks could complain that with respect to architecture, critics apply the term as a kind of catchall, so that (...) postmodernism is used for "everything that was different from high modernism, and usually this meant skyscrapers with funny shapes, brash colors, and exposed technology."1. (shrink)

Buber’s distinction between the ‘I-It’ mode and the ‘I-Thou’ mode is seminal for dialogic education. While Buber introduces the idea of dialogic space, an idea which has proved useful for the analysis of dialogic education with technology, his account fails to engage adequately with the role of technology. This paper offers an introduction to the significance of the I-It/I-Thou duality of technology in relation with opening dialogic space. This is followed by a short schematic history of educational (...) technology which reveals the role technology plays, not only in opening dialogic space, but also in expanding dialogic space. The expansion of dialogic space is an expansion of what it means to be ‘us’ as dialogic engagement facilitates the incorporation, into our shared sense of identity, of aspects of reality that are initially experienced as alien or ‘other’. Augmenting Buber with an alternative understanding of dialogic space enables us to see how dialogue mediated by technology, as well as dialogue with monologised fragments of technology, can, through education, lead to an expansion of what it means to be human. (shrink)

AbstractThe world we live in is shaped by technology and its development. This process is observed and debated in the humanities as well as in computer science and cognitive sciences. Narratives of human life being merged with and transcended by technology not only belong to science fiction but also to science: Theorists like Katherine Hayles or Mark B. N. Hansen speak of a technogenesis of consciousness. These accounts hold that our cognitive abilities are deeply influenced by technology (...) and digital media. The digitalization of the lifeworld is a global phenomenon, which unfolds regardless of local cultures. It is art which seeks to explore the experiential aspects of technologically shaped life-worlds. In my contribution I will present examples of artworks which focus on the possibility of aesthetic experiences with new technologies and getting in touch with the so-called technological unconscious. I attempt to investigate the potential of art to unfold experiential aspects of human rapport with technology and thereby develop aisthetic practices for understanding the cultural and political dimensions of digitalized life-worlds. (shrink)

The article deals with the self-education of future specialists in the field of culture and art within the context of philosophical, psychological, and pedagogical studies of the postmodern era. This substantiates the need to use e-learning in professional training. The use of cloud computing technologies is one of the educational process’ innovations. As shown by our research and personal experience implementing cloud computing technologies into the educational process proves to be feasible for training future professionals in the field of culture (...) and art, including their self-education. The article shows that the aim of self-education of the future professionals in the field of culture and art is personal and professional perfection, and also achievement, at the maximum possible level, of the creative ideal. Today their professional training is focused on self-perfection, ability to self-educate, skill to foresee the consequences of their professional activity and search for the new ways to solve their professional tasks using ICT. The article justifies that cloud computing technologies allow spreading content in the Internet, they facilitate posting the text messages, photographs, pictures and musical files. Accessibility, openness, interactivity of the cloud computing technologies cause their wide use for both on-line and off-line communication, data sharing of text, multimedia and audio resources for all participants of the educational process that enriches the self-education of future professionals in the field of culture and art and makes it rich in content, practically-oriented and enhances professional competence. The article concludes that e-learning best meets methodological requirements of the postmodern society. (shrink)

The remarkable growth in the application of information and communications technologies indicates a great shift toward a globally integrated society. The urban metropolises are turning into intersections of transit and migration of goods, capital, services, cultures, knowledge and especially people. Moreover the flow of bodies, information and money is changing the rules of what defines national territory, space and identity. Social realities with specific qualities are appearing, implying a new spatial correlation between the local and the global. International airports and (...) within emerging extraterritorial zones have become an important threshold controlling the flow of people in a free market economy. The airport border mutates into an abstract space permeating the physical territory of the airport and beyond. This abstract border space, within which mobile bodies operate, is created by a bureaucratic system of inclusion and exclusion particular to transition states. Transit zones at airports emerge because of a complex set of factors: border crossing as well as increasingly stringent security and safety regulations. The innumerable thresholds within these transit zones are points of congestion governed and increasingly supported by technological systems of identification. Within the transnation state, the movement of bodies is the constant subject of streaming and proceduralization. Increasingly, the conventional system of control based on face-to-face interaction between the controlling and the controlled is being replaced by the algorithmic precision of database logic. The paradigm of pattern matching ensures precise verification of the uniqueness of the body, in turn offering new potentials for permeability and flux. These different orders of legal and economic categorization create manifold sub-territories accessible to select groups of travellers. Nowadays, the airport is a transnation state spatialized through a new order of architecture, a manifestation of technology of abstract procedures of transition, inclusion and exclusion, adopting emergent patterns of socio-spatial mobility in a globalized network. (shrink)

이 논문은 알파고 충격 이후 등장할 미래 사회인 포스트휴먼 시대의 예술의 가능성을 살펴보려는 것이다. 인간의 형상이 기술적으로, 혹은 탈생물학적으로 다시 그려질 때 기존 인간(휴먼 시대)의 예술과 포스트휴먼 시대의 예술은 어떤 차이가 있을까? 물론 예술의 역사는 부친살해의 역사였다. 기존 전통을 해체하고 늘 새로움을 추구한 것이 예술사였다. 그렇다면 포스트휴먼 시대에도 휴먼 시대의 예술과 같이 부친 살해의 전통을 따르는 새로움이 있을 것인가? 그 새로움은 휴머니즘 예술에 기초한 것일까? 아니면 전혀 새로운 차원의 예술인가? 혹은 예술의 개념이 전혀 달라지는 것인가? 따라서 예술에 대한 기본적 이해와 (...) 포스트휴먼 시대를 조망해보고, 이후 포스트휴먼 시대의 예술을 ‘인간의 능력에서 기술적 상상력으로 재편되어 공간에서 시간의 예술로 변화되는 것’, ‘인공지능의 딥드림’을 통해 기존 초현실주의와 관련이 되는 것으로서 포스트휴먼의 예술을, 마지막으로 최근 신경과학의 발전과 그 영향으로 인공지능의 예술을 기존 개념 예술과 연관하여 ‘새개념 예술’의 출현으로 살펴보고자 한다. 결국 어원적으로 예술은 기술과 동일한 속성을 지니기에 포스트휴먼 시대에도 예술은 기술의 힘으로, 또한 기술은 예술의 창조성으로 서로 소통하며 발전할 것이라고 조망해 졸 것이다. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reduction's FutureTheology, Technology, and the Order of KnowledgeKevin L. HughesLet me begin with something of a confession. When as a young undergraduate I first encountered medieval texts, and so, for the first time, began to know something of the medieval "way of seeing," I was intoxicated. And I was intoxicated, in part, by the comprehensiveness and unity of this worldview, where God, humans, the cosmos, science, theology, philosophy, (...) nature, supernature – all of these elements fit. So often in my thinking I have repaired to those famous last lines of Dante's Comedy, to the "Love which moves the sun and other stars," as the epitome of the comprehension, coherence, and harmony of the medieval worldview.Perhaps this is one of the reasons I have been attracted to the work of St. Bonaventure. We may all be familiar with the statements that now have become almost truisms, that to know Bonaventure at all, one needs to know the whole system, and that the whole system is found in every kind of work that he had done. "Procession, exemplarity, return, this is the whole of our metaphysics."1 This principle of Order in Bonaventure, as described and analyzed by Wayne Hellmann, is a kind of keystone to all of Bonaventure's work.2 [End Page 227]If you understand the "order," you understand Bonaventure. Such admirable consistency and harmony! Such remarkable unity of perspective! And, at least by many accounts, the Reduction of the Arts to Theology3 is a perfect concise instance of Bonaventure's synthetic vision.It is precisely this unity, as found in the Reduction of the Arts to Theology, that Dieter Hattrup finds problematic. For Hattrup, the notion of unity itself is not problematic; rather, it is the unity of knowledge as conveyed in the Reduction that approaches a deeply problematic modern understanding of knowledge. Hattrup believes he has discovered in this brief treatise the seeds of what we might call a technological or manipulative knowledge. Whatever the limits of Dieter Hattrup's historical and textual brief against the authenticity of the Reduction, his theological queries should put us all on guard if we are to imagine a future for any "reduction of the arts to theology," Bonaventurean or otherwise.A Theological QuestionBonaventura zwischen Mystik und Mystifikation4 begins with a basic theological premise: Christian theology is interested in the relationship between faith and reason, and this interest follows from the even more basic Christian claim that God is distinct from the world. If one has an intra-cosmic notion of the divine, wherein gods are the greatest or most powerful beings among all other beings, then the question between faith and reason does not arise. Gods who are beings can be known in the way we know all other beings, i.e., through reason. Faith, on the other hand, describes the kind of knowledge we can have of the One who is not part but [End Page 228] Maker of the created order. From the time of Philo on, Jewish and Christian believers5 have drawn this careful distinction and explored how faith and reason might be related without being reduced one into the other. Hattrup suggests that this perpetual question is raised with particular intensity with the revival of Aristotelian philosophy in the High Middle Ages, and Bonaventure stands as a major figure in scholastic inquiry. But, he tells us, this question remains crucial to our own time under the sign of "secularization."6It is important to note this opening overture, as it tells us that Hattrup is exploring what he takes to be first and foremost a theological puzzle: Does the Reduction of the Arts to Theology faithfully represent Bonaventure's understanding of the relationship between faith and reason as ways of knowing? Is it consistent with what we find (and what Hattrup has studied elsewhere)7 in his Sentence Commentary, Disputed Questions on the Knowledge of Christ, and the Collations on the Hexaëmeron? Most importantly, and more theologically, does the Reduction distinguish properly between faith and reason, as would befit this Doctor of the Church? Or is it the beginning of the collapse of this classic distinction... (shrink)

This paper extends Mori’s (IEEE Robot Autom Mag 19:98–100, 2012) uncanny valley-hypothesis to include technologies that fail its basic criterion that uncanniness arises when the subject experiences a discrepancy in a machine’s human likeness. In so doing, the paper considers Mori’s hypothesis about the uncanny valley as an instance of what Heidegger calls the ‘challenging revealing’ nature of modern technology. It introduces seeming autonomy and heteronomy as phenomenological categories that ground human being-in-the-world including our experience of things and people. (...) It is suggested that this categorical distinction is more foundational than Heidegger’s existential structures and phenomenological categories. Having introduced this novel phenomenological distinction, the paper considers the limits of Mori’s hypothesis by drawing on an example from science fiction that showcases that uncanniness need not only be caused by machines that resemble human beings. In so doing, it explores how the seeming autonomy-heteronomy distinction clarifies (at least some of) the uncanniness that can arise when humans encounter advanced technology which is irreducible to the anthropocentrism that shapes Mori’s original hypothesis. (shrink)

The theme of Aesthetics in Present Future concerns the new chances the arts have and the deep changes they are undergoing, due to the new media, and the digital world in which we are growingly immersed. That this world is to be understood from an aesthetic point of view, become clear if we think of how much of what we produce, and observe and study is offered through images in particular and perceptual means in general.

In this article, we discuss the importance of emotions for ethical reflection on technological developments, as well as the role that art can play in this. We review literature that argues that emotions can and should play an important role in the assessment and acceptance of technological risk and in designing morally responsible technologies. We then investigate how technologically engagedartcan contribute to critical, emotional-moral reflection on technological risks. The role of art that engages with technology is unexplored territory and (...) gives rise to many fascinating philosophical questions that have not yet been sufficiently addressed in the literature. (shrink)

In this article, I explore the promise and pitfalls of medium as environment by tracking the twin developments of environmental thinking and set design in China, considering it as a problematic of epistemology, technology, and aesthetics. I treat huanjing (environment) as a neologism, a new episteme, a dispositif, and a mode of power, taking set design as the companion medium that reconnects art and technology, aesthetics and politics. Reconceptualizing set, design, and environment at the intersection of industrial design (...) and progressive education, I focus on modernist and propagandistic practice of set design in China in the 1930s and ’40s, moving from set design in film and theater to the design and practice of human/environment that constitutes the landscape of the social. How these aesthetic and technical experiments rework the social will help us reconfigure the human in the reassemblage of our medium/environment complex. (shrink)

This essay reviews one of the most recent books in a trend of new publications proffering evolutionary theorising about aesthetics and the arts—themes within an increasing literature on aspects of human life and human nature in terms of evolutionary theory. Stephen Davies’ The Artful Species links some of our aesthetic sensibilities with our evolved human nature and critically surveys the interdisciplinary debate regarding the evolutionary status of the arts. Davies’ engaging and accessible writing succeeds in demonstrating the maturity and scope (...) of the field and his critique is timely and unparalleled. A laudable effort, however it may have benefited from espousing a co-evolutionary model more explicitly. Moreover there may be reason to question the usefulness of the standard set of distinctions (‘adaptation’, ‘spandrel’, ‘technology’) that Davies appeals to. (shrink)

Lack begins with a discussion of Max Weber's analysis of the disenchantment of the world and proceeds to develop Heidegger's philosophy in a way that suggests a "re-enchantment" of the world that faces the modern condition squarely, without nostalgia.