The emergence of new computational media is radically changing the practices of science, particularly in the way computational models are built and used to understand and engineer complex biological systems. These new practices present a novel variation of model-based reasoning, based on dynamic and opaque models. A new cognitive account of MBR is needed to understand the nature of this practice and its implications. To develop such an account, I first outline two cases where the building and use of (...) computational models led to discoveries. A theoretical model of the possible cognitive and neural mechanisms underlying such discoveries is then presented, based on the way the body schema is extended during tool use. This account suggests that the process of building the computational model gradually ‘incorporates’ the external model as a part of the internal imagination system, similar to the way tools are incorporated into the body schema through their active use. A central feature of this incorporation account is the critical role played by tacit and implicit reasoning. Based on this account, I examine how computational modeling would change model-based reasoning in science and science education. (shrink)

In response to the ever-increasing spread of online disinformation and misinformation, several human–computer interaction tools to enhance data literacy have been developed. Among them, many employ elements of gamification to increase user engagement and reach out to a broader audience. However, there are no systematic criteria to analyze their relevance and impact for building fake news resilience, partly due to the lack of a common understanding of data literacy. In this paper we put forward an operationalizable definition of data (...) literacy as a form of multidimensional critical thinking. We then survey 22 existing tools and classify them according to a framework of 10 criteria pointing to their gameful design and educational features. Through a comparative/contrastive analysis informed by a focus group, we provide a principled set of guidelines to develop more efficient human–computer interaction tools to teach how to critically think in the current media ecosystem. (shrink)

Over the past two decades urban social life has undergone a rapid and pervasive geocoding, becoming mediated, augmented and anticipated by location-sensitive technologies and services that generate and utilise big, personal, locative data. The production of these data has prompted the development of exploratory data-driven computing experiments that seek to find ways to extract value and insight from them. These projects often start from the data, rather than from a question or theory, and try to imagine and identify their potential (...) utility. In this paper, we explore the desires and mechanics of data-driven computing experiments. We demonstrate how both locative media data and computing experiments are ‘staged’ to create new values and computing techniques, which in turn are used to try and derive possible futures that are ridden with unintended consequences. We argue that using computing experiments to imagine potential urban futures produces effects that often have little to do with creating new urban practices. Instead, these experiments promote Big Data science and the prospect that data produced for one purpose can be recast for another and act as alternative mechanisms of envisioning urban futures. (shrink)

This book introduces the critical concepts and debates that are shaping the emerging field of game studies. Exploring games in the context of cultural studies and media studies, it analyses computer games as the most popular contemporary form of new media production and consumption. The book: Argues for the centrality of play in redefining reading, consuming and creating culture Offers detailed research into the political economy of games to generate a model of new media production Examines (...) the dynamics of power in relation to both the production and consumption of computer games This is key reading for students, academics and industry practitioners in the fields of cultural studies, new media, media studies and game studies, as well as human-computer interaction and cyberculture. (shrink)

Features of consciousness difficult to understand in terms of conventional neuroscience have evoked application of quantum theory, which describes the fundamental behavior of matter and energy. In this paper we propose that aspects of quantum theory (e.g. quantum coherence) and of a newly proposed physical phenomenon of quantum wave function "self-collapse"(objective reduction: OR -Penrose, 1994) are essential for consciousness, and occur in cytoskeletal microtubules and other structures within each of the brain's neurons. The particular characteristics of microtubules suitable for quantum (...) effects include their crystal-like lattice structure, hollow inner core, organization of cell function and capacity for information processing. We envisage that conformational states of microtubule subunits (tubulins) are coupled to internal quantum events, and cooperatively interact (compute) with other tubulins. We further assume that macroscopic coherent superposition of quantum-coupled tubulin conformational states occurs throughout significant brain volumes and provides the global binding essential to consciousness. We equate the emergence of the microtubule quantum coherence with pre-conscious processing which grows (for up to 500 milliseconds) until the mass-energy difference among the separated states of tubulins reaches a threshold related to quantum gravity. According to the arguments for OR put forth in Penrose (1994), superpositioned states each have their own space-time geometries. When the degree of coherent massenergy difference leads to sufficient separation of space-time geometry, the system must choose and decay (reduce, collapse) to a single universe state. In this way, a transient superposition of slightly differing space-time geometries persists until an abrupt quantum classical reduction occurs. Unlike the random, "subjective reduction"(SR, or R) of standard quantum theory caused by observation or environmental entanglement, the OR we propose in microtubules is a self-collapse and it results in particular patterns of microtubule-tubulin conformational states that regulate neuronal activities including synaptic functions. Possibilities and probabilities for post-reduction tubulin states are influenced by factors including attachments of microtubule-associated proteins (MAPs) acting as "nodes"which tune and "orchestrate"the quantum oscillations.. (shrink)

The confrontations of stakeholder visions about agriculture and food production has become a focal point in the public sphere, coinciding with a diversification of agrifood models. This study analyzes the debates stemming from the coexistence of these models, particularly during the initial term of neoliberal-centrist Emmanuel Macron’s presidency in France. Employing collective monitoring from 2017 to 2021, a corpus of 958 online news and blog articles was compiled. Using a computational analysis, we reveal the framings and controversies emerging from this (...) media discourse. The macro-structuring of discourse on model coexistence revolves around scientific, economic and political framings. Coexistence is a complex of debates based on specific frames associated with specific arenas and actor configurations: growth of organic agriculture, transformations of agrifood systems, sciences of production and impacts, livestock and meat diet controversies, agroecological innovations, CAP reform criticism, discourse of peasant agriculture and State-Profession _co-gestion_. Employing global sentiment analysis and focusing on salient controversies, namely EGAlim law, pesticide regulations, and agribashing, we show the shift from conciliation to a hardening of debates. Finally, we discuss the causes and consequences of this trend. The political will to support the transition of agriculture remains influenced by the _co-gestion_ system, an inherited configuration of decision-makers instrumental in the agricultural modernization. As a consequence, significant agricultural challenges, particularly highlighted in the scientific macro-frame, persist unresolved. This lock-in of the agrifood system is based on defensive strategies that challenge the democratic debate about food and agricultural practices. (shrink)

Media argumentation is a powerful force in our lives. From political speeches to television commercials to war propaganda, it can effectively mobilize political action, influence the public, and market products. This book presents a new and systematic way of thinking about the influence of mass media in our lives, showing the intersection of media sources with argumentation theory, informal logic, computational theory, and theories of persuasion. Using a variety of case studies that represent arguments that typically occur (...) in the mass media, Douglas Walton demonstrates how tools recently developed in argumentation theory can be usefully applied to the identification, analysis, and evaluation of media arguments. He draws upon the most recent developments in artificial intelligence, including dialogical theories of argument, which he developed, as well as speech act theory. Each chapter presents solutions to problems central to understanding, analyzing, and criticizing media argumentation. (shrink)

Media argumentation is a powerful force in our lives. From political speeches to television commercials to war propaganda, it can effectively mobilize political action, influence the public, and market products. This book presents a new and systematic way of thinking about the influence of mass media in our lives, showing the intersection of media sources with argumentation theory, informal logic, computational theory, and theories of persuasion. Using a variety of case studies that represent arguments that typically occur (...) in the mass media, Douglas Walton demonstrates how tools recently developed in argumentation theory can be usefully applied to the identification, analysis, and evaluation of media arguments. (shrink)

Students often multitask with technologies such as computers, laptops, tablets and smartphones during class. Unfortunately, numerous empirical studies firmly establish a significant drop in academic performance caused by this media multitasking. In this paper it is argued that cognitive studies may have clarified the negative consequences of this activity, yet they struggle to address the processes involved in it. A cognitive characterization of attention as a mental phenomenon neglects the interaction between bodies and technologies, and it is suggested that (...) a postphenomenological understanding is necessary to account for the materiality of practice. Notions of embodied habits and technical mediation are introduced, and an example of a postphenomenological account of media multitasking is introduced. It is argued that this approach enables researchers to investigate media multitasking as it occurs in everyday educational practice. (shrink)

Imagine you are an editor at a well respected national magazine with a rich history in photojournalism. The magazine is ready for publication but there is a problem with the cover. The photograph chosen for the cover does not quite fit the vertical format of the magazine and no other picture has all the qualities to best illustrate the cover story. No problem! With a computer, an operator simply moves the objects in the photograph closer together to fit the (...) magazine format perfectly. The finished product is virtually undetectable, even by experts. (shrink)

Ethical objections to the use of mass media and the internet help explain why the Plain People of North America avoid new communication technologies. Each subgroup of plain folk-including Amish, Mennonites, and Brethren adopt differing amounts of new technology, and the use variesfrom region to region or even,from community to community. Old media such as the radio and telephone and newer media such as television and the internet introduce diferent and unwelcome moral values into plain communities, although (...) the telephone is often a borderline case. The ethical systems of the Old Order groups provide a unique and pragmatic critique of the widespread acceptance of mass media and the internet in the larger social world. (shrink)

_Evil Media_ develops a philosophy of media power that extends the concept of media beyond its tried and trusted use in the games of meaning, symbolism, and truth. It addresses the gray zones in which media exist as corporate work systems, algorithms and data structures, twenty-first century self-improvement manuals, and pharmaceutical techniques. _Evil Media _invites the reader to explore and understand the abstract infrastructure of the present day. From search engines to flirting strategies, from the value (...) of institutional stupidity to the malicious minutiae of databases, this book shows how the devil is in the details. The title takes the imperative "Don't be evil" and asks, what would be done any differently in contemporary computational and networked media were that maxim reversed. Media here are about much more and much less than symbols, stories, information, or communication: media do things. They incite and provoke, twist and bend, leak and manage. In a series of provocative stratagems designed to be used, Evil Media sets its reader an ethical challenge: either remain a transparent intermediary in the networks and chains of communicative power or become oneself an active, transformative medium. (shrink)

PurposeThis study aims to determine the impact of social media usage on university student’s academic performance in Ghana.Design/methodology/approachA quantitative research method was used for the study. With the aid of a simple random sampling technique, quantitative data were obtained from 373 out of 400 respondents representing 93 per cent of volunteered participants. Data collected was analysed using structural equation modelling to establish the relationship among social media information, social media entertainment, social media innovation, social media (...) knowledge generation and student performance.FindingsThe findings of this study indicate that social media information, social media innovation and social media entertainment all had a significant positive influence on social media knowledge generation, which has wide learning and knowledge management implications. Also, the study indicated that information computer technology knowledge moderates the relationship between social media and student performance.Research limitations/implicationsThe sample taken was mainly cross-sectional in nature rendering the inference of causal relationships between the variables impossible. Future researchers should adopt a longitudinal research design to examine causality. Finally, the study was limited to only university students in Accra, Ghana. Future research can extend to a bigger student population and to other West African and African countries.Practical implicationsThis paper will serve as a profitable source of information for managers and researchers who may embark on future research on social media and academic performance. The findings that social media information, innovation and entertainment can likewise enhance social media knowledge generation can help managers and university teachers to use the vehicle of innovation and entertainment to communicate knowledge.Social implicationsThe findings of this study will help policymakers in education and other industries that engage the youth to realise the important factors that can make them get the best in the social media space.Originality/valueSocial media usage in academic performance is increasingly prevalent. However, little is known about how social media knowledge generation mediates between social media usage and academic performance and, furthermore, whether the information computer technology knowledge level of students moderates the relationship between social media knowledge generation and academic performance of university students in sub-Saharan Africa, particularly Ghana. Theoretically, the findings of this study provide clear research evidence to guide various investigations that can be done on the relationships of the variables under social media usage, knowledge generation and university student performance, which advances the diffusion of new knowledge. (shrink)

This paper explores the application of an affective content analysis to a selection of nanotechnology news articles gathered from selected newspapers. Thematic content analyses dominate current efforts to mine large text collections of popular science media; the addition of an affective analysis element can yield useful information to supplement future content analysis efforts. Using Whissell’s Dictionary of Affect in Language , the analysis rates news articles gathered over a twenty-two year period for their pleasantness, activeness, and imagery, determining the (...) mean affective tone in each category for the entire collection, four ‘content themes’ (business, national security, health, and environment), and the change in affective tone over the twenty-two year period these articles represent. Whereas the entire collection analyzed as a whole rates very similarly to the average found for everyday English language use and the ‘content themes’ show similar results, the change in affective tone over the years has been both significant and striking. A sample of results from three years of the twenty-two year period is then qualitatively explored to demonstrate to the reader the connection between the quantitative results of the Dictionary and the qualitative effect of the article’s word use and phrasing. The paper ends with a review of the technique’s success, implications for policymaking and public dialogue, and avenues for future use. (shrink)

Many philosophical and public discussions of the ethical aspects of violent computer games typically centre on the relation between playing violent videogames and its supposed direct consequences on violent behaviour. But such an approach rests on a controversial empirical claim, is often one-sided in the range of moral theories used, and remains on a general level with its focus on content alone. In response to these problems, I pick up Matt McCormick’s thesis that potential harm from playing computer (...) games is best construed as harm to one’s character, and propose to redirect our attention to the question how violent computer games influence the moral character of players. Inspired by the work of Martha Nussbaum, I sketch a positive account of how computer games can stimulate an empathetic and cosmopolitan moral development. Moreover, rather than making a general argument applicable to a wide spectrum of media, my concern is with specific features of violent computer games that make them especially morally problematic in terms of empathy and cosmopolitanism, features that have to do with the connections between content and medium, and between virtuality and reality. I also discuss some remaining problems. In this way I hope contribute to a less polarised discussion about computer games that does justice to the complexity of their moral dimension, and to offer an account that is helpful to designers, parents, and other stakeholders. (shrink)

Corpus-based word frequencies are one of the most important predictors in language processing tasks. Frequencies based on conversational corpora are shown to better capture the variance in lexical decision tasks compared to traditional corpora. In this study, we show that frequencies computed from social media are currently the best frequency-based estimators of lexical decision reaction times. The results are robust and are still substantial when we control for corpus size.

This article takes inspiration from Kittler’s claim that philosophy has neglected the means used for its production. Kittler’s argument for media ontology will be compared to the post-Kantian project of re-inventing philosophy through the medium of thought. The article discusses these views in the context of the automation of logical thinking where procedures, tasks, and functions are part of the instrumental processing of new ends evolving a new mode of reasoning. In particular, the article suggests that in constructivist logic (...) and information theory, the temporal gap between truth and proof, between input and output, can be taken to argue that the means of thought expose the indetermination or the incomputability of proof. The automation of reasoning in logical processing coincides not with mindless correlations of data, replacing axioms with data, truths with self-validating proofs. Instead, the problem of the indeterminacy of proof within automated logic re-habilitates techne or instrumentality, and the relation between means and ends away from classical idealism and analytic realism. By following John Dewey’s argument for instrumentality, it will be argued that the task of thinking today needs to re-invent a logic of techne away from the teleological view of ends or the crisis of finality. If the post-Kantian preoccupations about the task of thinking already announced that the medium of thought could offer possibilities for a non-human philosophy, this article envisions a machine philosophy originating from within computational media. (shrink)

In the 20th century, the term “media logic” was introduced to denote the influence of independent mass media on political systems and other institutions. In recent years the idea has been reworked and labeled “mediatization” to widen the framework by including new media and new areas of application. In Section Two the paper discusses different conceptualizations. It is argued that even if they bring new insights, they cannot be unified into one concept, and that they also lack (...) a consistent definition of digital media. Section three provides a definition of digital media in order to identify new trajectories made possible by these media, which have led into a new media matrix built around the internet and mobile devices. It will be argued that the new media matrix cannot be understood from a point of view defined by the framework of 20th century mass media because digital media open new trajectories and because in the new matrix the previously existing media have had to transform themselves. (shrink)

The second edition of Jussi Parikka’s Digital Contagions: A Media Archaeology of Computer Viruses is both a welcome reissue of a canonical text in media archaeology and an important intervention into contemporary techno-political crises like cyberwarfare. Parikka’s book shows how viruses are central to the history of networked computing, while articulating their social connections to political, medical, and cultural discourses. For him, the notion of contagion in digital networks is inseparable from the rise of the computing security (...) industry and the spread of what he calls ‘viral capitalism’: a system of value that leverages viral methodologies to colonize new markets and appropriate revolutionary impulses. Against the purity and commercialism of contemporary consumer electronics, Digital Contagions instead looks to the experiments of early viral programming as offering alternative histories of digital media. (shrink)

University of Pennsylvania, USA, el322{at}nyu.edu ' + u + '@' + d + ' '//--> One of the most consistent findings in experimental studies of social dilemmas is the positive influence of face-to-face communication on cooperation. The face-to-face `communication effect' has been recently explained in terms of a `focus theory of norms': successful communication focuses agents on pro-social norms, and induces preferences and expectations conducive to cooperation. 1 Many of the studies that point to a communication effect, however, do not (...) further explore whether and to what extent the communication medium affects cooperative behavior. In this article, we ask if pro-social behavior can emerge and survive in computer-mediated environments. We show that, like face-to-face communication, computer-mediated communication also positively affects cooperation in social dilemmas, but cooperation is more difficult to establish and maintain. We argue that the discrepancy between the computer-mediated and the face-to-face communication effects is a consequence of the distinct capabilities of different media to focus agents on pro-social norms and to allow them to develop mutual expectations about future behavior. Key Words: social dilemmas • laboratory experiments • communication • social norms • cooperation • computer-mediated communication. (shrink)

‘@AP: Breaking: Two Explosions in the White House and Barack Obama is injured’. So read a tweet sent from a hacked Associated Press Twitter account @AP, which affected financial markets, wiping out $136.5 billion of the Standard & Poor’s 500 Index’s value. While the speed of the Associated Press hack crash event and the proprietary nature of the algorithms involved make it difficult to make causal claims about the relationship between social media and trading algorithms, we argue that it (...) helps us to critically examine the volatile connections between social media, financial markets, and third parties offering human and algorithmic analysis. By analyzing the commentaries of this event, we highlight two particular currents: one formed by computational processes that mine and analyze Twitter data, and the other being financial algorithms that make automated trades and steer the stock market. We build on sociology of finance together with media theory and focus on the work of Christian Marazzi, Gabriel Tarde and Tony Sampson to analyze the relationship between social media and financial markets. We argue that Twitter and social media are becoming more powerful forces, not just because they connect people or generate new modes of participation, but because they are connecting human communicative spaces to automated computational spaces in ways that are affectively contagious and highly volatile. (shrink)

There have been different approaches to the study of the relations between mass media on the one hand and science and technological activities on the other. In this article, I summarize consumption approaches, point out some of their limitations, and then show how these limitations can be addressed by drawing on an ethnographic study I conducted of an academic engineering research laboratory. I analyze the discursive practices lab members use to interpret mass media. One practice treats media (...) as reference points that mark a lab member’s growing alignment with the profession of electrical and computer engineering, and this constructs an engineering self by providing an opportunity for lab members to display knowledge of the prevalence and shapes of robots and align themselves with the firsthand knowledge prized in engineering culture. Another practice uses the discourse-in-practice of religion to construct an engineering self by aligning the speaker with things that are valued in engineering culture such as objectivity, science, evolution, and literature reviews. The final practice I analyze involves repurposing media technologies in ways that are helpful for both current and future lab research projects, which constructs selves by giving lab members an opportunity to show they know which features of media are relevant for engineering and how these features can be used to address engineering problems. I conclude with a discussion of how this contributes to studies of engineering identity and the relations between science, technology, and media. (shrink)

In _The World Computer_ Jonathan Beller forcefully demonstrates that the history of commodification generates information itself. Out of the omnipresent calculus imposed by commodification, information emerges historically as a new money form. Investigating its subsequent financialization of daily life and colonization of semiotics, Beller situates the development of myriad systems for quantifying the value of people, objects, and affects as endemic to racial capitalism and computation. Built on oppression and genocide, capital and its technical result as computation manifest as racial (...) formations, as do the machines and software of social mediation that feed racial capitalism and run on social difference. Algorithms, derived from for-profit management strategies, conscript all forms of expression—language, image, music, communication—into the calculus of capital such that even protest may turn a profit. Computational media function for the purpose of extraction rather than ameliorating global crises, and financialize every expressive act, converting each utterance into a wager. Repairing this ecology of exploitation, Beller contends, requires decolonizing information and money, and the scripting of futures wagered by the cultural legacies and claims of those in struggle. (shrink)

Scientists, engineers, and healthcare professionals are currently developing a variety of new devices under the category of brain-computer interfaces (BCIs). Current and future applications are both medical/assistive (e.g., for communication) and non-medical (e.g., for gaming). This array of possibilities comes with ethical challenges for all stakeholders. As a result, BCIs have been an object of both hope and concern in various media. We argue that these conflicting sentiments can be productively understood in terms of personhood, specifically the impact (...) of BCIs on what it means to be a person and to be recognized as such by others. To understand the dynamics of personhood in the context of BCI use and investigate whether ethical guidance is required, a meeting entitled "BCIs and Personhood: A Deliberative Workshop" was held in May 2018. In this article, we describe how BCIs raise important questions about personhood and propose recommendations for BCI development and governance. (shrink)

Logic and Proofs, developed at Carnegie Mellon, is the only instructional program that can support a computer-taught course (not just a computer-assisted course) in modern symbolic logic. I describe and assess the program. Then, drawing on my twenty years of experience, initially with Patrick Suppes’ Valid (no longer available), recently with Logic and Proofs, I discuss the very substantial benefits, as well as the challenges, when offering symbolic logic via a computer-taught course.

Logic and Proofs, developed at Carnegie Mellon, is the only instructional program that can support a computer-taught course in modern symbolic logic. First I provide a description and an assessment of the program. Then, drawing on my twenty years of experience, initially with Patrick Suppes’ Valid, recently with Logic and Proofs, I discuss the benefits and challenges, both sizable, when offering symbolic logic via a computer-taught course.

Against Transmission introduces the technical history and phenomenology of media, a field of study that explains the characteristics of contemporary life by looking to the technical properties of machines. By studying the engineering of signal processing, the book interrogates how the understanding of media-as-machine exposes us to a particular phenomenological relationship to the world, asking: what can the hardware of machines that segment information into very small elements tell us about experiences of time, memory and history? This book (...) offers both a detailed and radical investigation of the technical architecture of media such as television, computers, cameras, and cinematography. It achieves this through in-depth archive research into the history of the development of media technology, combined with innovative readings of key concepts from philosophers of media such as Harold A. Innis, Marshall McLuhan, Friedrich Kittler, Siegfried Zielinski and Wolfgang Ernst. Teaming philosophical inquiry with thorough technical and historical analysis, in a broad range of international case studies, from early experimental cinema and television to contemporary media art and innovative hardware developments, Barker shows how the technical discoveries made in these contexts have engineered the experiences of time in contemporary media culture. (shrink)

David Berry and Michael Dieter: Introduction -- Florian Cramer: What is post-digital? -- Malcolm Levy and Christine Paul: Genealogies of the new aesthetic -- David Berry: The post-digital constellation -- Lukacs Mirocha: Communication models, aesthetics and ontology of the computational age revealed -- Katja Kwastek: How to be theorized: a f*** academic essay on the new aesthetic -- Daniel Pinkas: A hyperbolic new aesthetic -- Stamatia Portanova: The genius and the algorithm: reflections on the new aesthetic as a computer's (...) vision -- Lev Manovich and Alise Tifentale: Selfiecity: exploring photography and self-fashioning in social media -- David Golumbia: Judging like a machine -- Caroline bassett: Not now? : feminism, technology, postdigital -- Geoff Cox: Postscript on the problem of temporality in the post-digital -- Michael Dieterdark: Patterns: interface design, augmentation and crisis -- Sean Cubitt: Data visualisation and the subject of political aesthetics -- Mercedes Bunz: School will never end: on infantilization in digital environments: amplifying empowerment or propagating stupidity? -- Jussi Parikkathe : City and the city: London 2012 visual (un)commons -- Shintaro Miyazaki: Going beyond the visible: new aesthetic as an aesthetic of blindness? -- Thomas Apperley: Glitch sorting: minecraft, curation and the postdigital -- Marc Tuters: Through glass darkly: Google's gnostic governance -- Vito Campanelli: New aesthetic in the perspective of social photography -- Søren Bro Pold and Christian Ulrik Andersen: Aesthetics of the banal: "new aesthetics" in an era of diverted digital revolutions -- Wendy Chunnet: Works now: belated too early. (shrink)

Our technological lifeworld has become an info-computational media populated by data and algorithms, an artificial environment for life and shared experiences. In this chapter, I tried to sketch three new assumptions for bioethics – it is hardly possible to substantiate ethical guidelines or an idea of normativity in an aprioristic manner; moral status is a function of data entities, not something solely human; agency is plural and thus is shared or sometimes delegated – in order to chart a proposal (...) for a posthuman bioethics. Posthuman is perhaps not the best expression available, but it covers the idea of a shift from a world centered on self-contained and exclusively human agency to a more comprehensive and relational way of thinking. The “posthuman” label should be understood as a rebuttal of biocentrism and anthropocentrism by moving closer to conceptions we encounter in population ethics or in discourse about biosocial and technical systems. Posthuman bioethics is “environmentalist” without losing the humanistic stance. The question regarding how suitable an infocentric bioethics is in practice remains to be settled. The moral principles in bioethics could be reconceived as relying on these new assumptions, in a postindividualistic manner that accepts formal primacy of causal digital artifacts in affording actions in a world of ambient algorithmic intelligence. (shrink)

Marshall McLuhan understood television as a tactile medium. This understanding implied what Bruno Latour might call a ‘symmetrical’ conception of tactility. According to McLuhan, not only human actors are endowed with the sense of touch. In addition, TV, digital computers and other ‘electric media’ use light beams and similar scanning techniques for ceaselessly ‘caressing the contours’ of their surroundings. This notion of tactility was crucially shaped by the holistic aesthetics of the early Bauhaus. To get at the specific features (...) of the TV image, McLuhan relied on the writings of László Moholy-Nagy and Sigfried Giedion, in particular their use of photography for capturing and highlighting the ‘texture’ of surfaces. However, he hardly reflected the social and political factors that, in the age of electric media, contribute to the ‘symmetricization’ of touch. (shrink)

Online dispute resolution (ODR) is an alternative to traditional litigation that can both significantly reduce the disadvantages suffered by litigants unable to afford an attorney and greatly improve court efficiency and economy. An important aspect of many ODR systems is a facilitator, a neutral party who guides the disputants through the steps of reaching an agreement. However, insufficient availability of facilitators impedes broad adoption of ODR systems. This paper describes a novel model of facilitation that integrates two distinct but complementary (...) knowledge sources: cognitive task analysis of facilitator behavior and corpus analysis of ODR session transcripts. This model is implemented in a decision-support system that (1) monitors cases to detect situations requiring immediate attention and (2) automates selection of standard text messages appropriate to the current state of the negotiations. This facilitation model has the potential to compensate for shortages of facilitators by improving the efficiency of experienced facilitators, assisting novice facilitators, and providing autonomous facilitation. (shrink)

Analysis of the material properties of the Internet reveals its true weight: the mass of component routers, switches, cables, satellites, cellnet masts, and of course computers, and the vast network of resource extraction, manufacturing, energy generation, and waste in which its functioning is embedded. Equally important is understanding the massless but highly regulated system of software and legislation affecting the ostensibly free and open evolution of network media. The chapter traces some exemplary standards bodies responsible for the design of (...) key features such as protocols and codecs, and discusses the vexed dialectic of intellectual property rights and the notion of an information commons, arguing that the Internet bears the hallmarks of three major types of institutional construction, those proper to the nation-state, to commerce, and to network systems themselves. It concludes with a critical challenge to future archaeology: the ephemerality of digital files. (shrink)

What is the most important reason for using Computer Vision methods in humanities research? In this article, I argue that the use of numerical representation and data analysis methods offers a new language for describing cultural artifacts, experiences and dynamics. The human languages such as English or Russian that developed rather recently in human evolution are not good at capturing analog properties of human sensorial and cultural experiences. These limitations become particularly worrying if we want to compare thousands, millions (...) or billions of artifacts—i.e. to study contemporary media and cultures at their new twenty-first century scale. When we instead use numerical measurements of image properties standard in Computer Vision, we can better capture details of a single artifact as well as visual differences between a number of artifacts–even if they are very small. The examples of visual dimensions that numbers can capture better then languages include color, shape, texture, contours, composition, and visual characteristics of represented faces, bodies and objects. The methods of finding structures and relationships in large numerical datasets developed in statistics and machine learning allow us to extend this analysis to very big datasets of cultural objects. Equally importantly, numerical image features used in Computer Vision also give us a new language to represent gradual and continuous temporal changes—something which natural languages are also bad at. This applies to both single artworks such as a film or a dance piece and also to changes in visual characteristics in millions of artifacts over decades or centuries. (shrink)

The computer is a threat to the intellectual and moral education of students. It reduces words to their most abstract meaning, thereby objectifying meaning. Moreover, the computer promotes logical thought at the expense of dialectical thinking. The computer is behind the proliferation of random information, all of which is at the disposal of the individual user. This fosters a cynical worldview that information is random and exists to be exploited. Finally, the computer turns us into consumers (...) of information that fragments the personality and makes moral responsibility increasingly difficult. It allows for anonymous discourse and substitutes information for judgment. Teachers should resist the use of the mass media—especially the computer and television—as much as possible. (shrink)

A. N. Turing’s 1936 concept of computability, computing machines, and computable binary digital sequences, is subject to Turing’s Cardinality Paradox. The paradox conjoins two opposed but comparably powerful lines of argument, supporting the propositions that the cardinality of dedicated Turing machines outputting all and only the computable binary digital sequences can only be denumerable, and yet must also be nondenumerable. Turing’s objections to a similar kind of diagonalization are answered, and the implications of the paradox for the concept of a (...) Turing machine, computability, computable sequences, and Turing’s effort to prove the unsolvability of the Entscheidungsproblem, are explained in light of the paradox. A solution to Turing’s Cardinality Paradox is proposed, positing a higher geometrical dimensionality of machine symbol-editing information processing and storage media than is available to canonical Turing machine tapes. The suggestion is to add volume to Turing’s discrete two-dimensional machine tape squares, considering them instead as similarly ideally connected massive three-dimensional machine information cells. Three-dimensional computing machine symbol-editing information processing cells, as opposed to Turing’s two-dimensional machine tape squares, can take advantage of a denumerably infinite potential for parallel digital sequence computing, by which to accommodate denumerably infinitely many computable diagonalizations. A three-dimensional model of machine information storage and processing cells is recommended on independent grounds as better representing the biological realities of digital information processing isomorphisms in the three-dimensional neural networks of living computers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology (...) experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology (...) experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

In the twenty-first century, there has been a resurgence of ecologically conscious art among artists using new technologies. Like Eco-art, this recent movement, which might be called Eco-media, is interdisciplinary. Eco-media is heavily influenced by developments in environmental science, in particular developments in remote imaging and other kinds of remote Earth sensing (for example, the widespread use of satellite imaging and GPS) and developments in computer modelling (for example, detailed global models of climate that not only model (...) the physics of the Earth and solar system, but also explore the chemistry and biology of the Earth). This article will discuss developments in media art related to the computerized interpretation of complex data sets describing and modelling the natural world. It will explore work that has historically straddled artistic and scientific development, specifically Marey's work in the nineteenth century in photography and motion pictures and give examples of artists who are working in the area in-between art and science today. It will also discuss connections between this work and the historical Romantic sublime and the political dimension of this work as advocating for the preservation of the natural world, and give examples of some of the author's artworks in this area. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"New" Media, Art, and Intercultural CommunicationBart Vandenabeele (bio)It is fairly common — but perhaps not altogether innocent — to avoid addressing new media and intercultural aspects of communication in one and the same essay. Here, however, both issues are treated together. I shall investigate, in a perhaps somewhat unusual way, the phenomenon of "new" artistic media and some related issues such as virtual reality, computer (...) and telecommunications technology, and cyberspace. I offer some philosophical remarks, especially of an epistemological kind, that are important to every debate in which terms like multimedia art, "new" media art, and screen based art occur. I argue that the novelty of some changes in the use of artistic media tends to be overemphasized and dramatized. Furthermore, I shall point to the lack of interest in intercultural aspects of artistic communication and to the relevance an intercultural orientation can have for reflection on the phenomenon of so-called "new" media in art.1It has often been claimed that art is the best possible window into another community. Art would be a universal language and contact with works of art supposedly offers the best direct or immediate internal access to another community. This is purported to be a kind of access that cannot possibly be matched by knowledge about the geography, religion, and history. Even John Dewey believes that "au fond, the aesthetic quality is the same for Greeks, Chinese, Americans."2 This idea is surprisingly reminiscent of Clive Bell's "discovery" of Significant Form in so-called primitive art.3 Dewey says thatbarriers are dissolved, limiting prejudices melt away, when we enter into the spirit of Negro or Polynesian art. This insensible melting is far more efficacious than the change effected by reasoning, because it enters directly into attitude."4To this contention one could object in the following way. Immediate contact with for example, Congolese Nkisi nkondi fetish statues (in the museum of [End Page 1] African Art and History in Tervuren), which are bristling with nails are quite shocking to Europeans — such as Joseph Conrad in the Congo.5 Only by acquaintance with facts that are external to the artwork can one get real access to and understanding of them. One has to know that the nails are meant to seal dispute resolutions and that the statues "were considered so powerful that they were sometimes kept outside the village."6 Only when I know this, will my first perception be seriously altered. It is an objection that is often made against the privilege enjoyed by the immediate contact with the senses: knowledge of the "context" can enhance our appreciation of the art of the foreign community.Both the universalist view and the objection are flawed.7 First of all, we have to ask whether we can make such a sharp distinction between internal and external information and, second, whether it is correct to presuppose a typical proper aesthetics to make artistic communication possible. Is not every form of life already the (not fully definable) outcome of conscious or unconscious influence by other forms of life? What would be the so-called "own" internal aesthetics by which we should judge the famous "Turkish" Iznik tiles that reflect especially the Ottoman rulers' interest in Chinese porcelain, or the "Japanese" aesthetics of Zen Buddhism that is the result of a century-long historical interaction between Japanese culture and the new, foreign religion of Buddhism, which traveled from Japan to India via China and Korea? What would be the "typical" English garden, which was realized on the basis of travel reports from the Far East? And what of the Eastern influence on so-called typical Western painters as Matisse, Whistler, and Degas or composers such as Debussy, Messiaen, Ravel, Rimski-Korsakow and Puccini? What is clear is that it is completely unclear what is "own," "typical," or "authentic." Live communities are never isolated islands developing by themselves. It is as impossible to demarcate strictly the "proper" from the "foreign" as it is to find a universal language that would make artistic communication possible in an absolutely definitive way.Just as it is not necessary to share a language to communicate8 — this holds both for people... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"New" Media, Art, and Intercultural CommunicationBart Vandenabeele (bio)It is fairly common — but perhaps not altogether innocent — to avoid addressing new media and intercultural aspects of communication in one and the same essay. Here, however, both issues are treated together. I shall investigate, in a perhaps somewhat unusual way, the phenomenon of "new" artistic media and some related issues such as virtual reality, computer (...) and telecommunications technology, and cyberspace. I offer some philosophical remarks, especially of an epistemological kind, that are important to every debate in which terms like multimedia art, "new" media art, and screen based art occur. I argue that the novelty of some changes in the use of artistic media tends to be overemphasized and dramatized. Furthermore, I shall point to the lack of interest in intercultural aspects of artistic communication and to the relevance an intercultural orientation can have for reflection on the phenomenon of so-called "new" media in art.1It has often been claimed that art is the best possible window into another community. Art would be a universal language and contact with works of art supposedly offers the best direct or immediate internal access to another community. This is purported to be a kind of access that cannot possibly be matched by knowledge about the geography, religion, and history. Even John Dewey believes that "au fond, the aesthetic quality is the same for Greeks, Chinese, Americans."2 This idea is surprisingly reminiscent of Clive Bell's "discovery" of Significant Form in so-called primitive art.3 Dewey says thatbarriers are dissolved, limiting prejudices melt away, when we enter into the spirit of Negro or Polynesian art. This insensible melting is far more efficacious than the change effected by reasoning, because it enters directly into attitude."4To this contention one could object in the following way. Immediate contact with for example, Congolese Nkisi nkondi fetish statues (in the museum of [End Page 1] African Art and History in Tervuren), which are bristling with nails are quite shocking to Europeans — such as Joseph Conrad in the Congo.5 Only by acquaintance with facts that are external to the artwork can one get real access to and understanding of them. One has to know that the nails are meant to seal dispute resolutions and that the statues "were considered so powerful that they were sometimes kept outside the village."6 Only when I know this, will my first perception be seriously altered. It is an objection that is often made against the privilege enjoyed by the immediate contact with the senses: knowledge of the "context" can enhance our appreciation of the art of the foreign community.Both the universalist view and the objection are flawed.7 First of all, we have to ask whether we can make such a sharp distinction between internal and external information and, second, whether it is correct to presuppose a typical proper aesthetics to make artistic communication possible. Is not every form of life already the (not fully definable) outcome of conscious or unconscious influence by other forms of life? What would be the so-called "own" internal aesthetics by which we should judge the famous "Turkish" Iznik tiles that reflect especially the Ottoman rulers' interest in Chinese porcelain, or the "Japanese" aesthetics of Zen Buddhism that is the result of a century-long historical interaction between Japanese culture and the new, foreign religion of Buddhism, which traveled from Japan to India via China and Korea? What would be the "typical" English garden, which was realized on the basis of travel reports from the Far East? And what of the Eastern influence on so-called typical Western painters as Matisse, Whistler, and Degas or composers such as Debussy, Messiaen, Ravel, Rimski-Korsakow and Puccini? What is clear is that it is completely unclear what is "own," "typical," or "authentic." Live communities are never isolated islands developing by themselves. It is as impossible to demarcate strictly the "proper" from the "foreign" as it is to find a universal language that would make artistic communication possible in an absolutely definitive way.Just as it is not necessary to share a language to communicate8 — this holds both for people... (shrink)

This book is an edited collection of original research papers on the digital revolution of the public and governance. It covers cyber governance in Finland, and the securitization of cyber security in Finland. It investigates the cases of Brexit, the 2016 US presidential election of Donald Trump, the 2017 presidential election of Volodymyr Zelensky, and Brexit. It examines the environmental concerns of climate change and greenwashing, and the impact of digital communication giving rise to the #MeToo and Incel movements. It (...) considers how digitilization can serve to emancipate women through ride-sharing, and how it leads to the question of robot rights. It considers fake news and algorithmic governance with respect to case studies of the Chinese social credit system, the US FICO credit score, along with Facebook, Twitter, Cambridge Analytica and the European effort to regulate and protect data usage. (shrink)

The production of mathematical formalism on state of the art computers is quite different than by pen and paper. In this paper, I examine the question of how different media influence mathematical writing. The examination is based on an investigation of professional mathematicians' use of various media for their writing. A model for describing mathematical writing through turn-takings is proposed. The model is applied to the ways mathematicians use computers for writing, and especially it is used to understand (...) how interaction with the computer system LaTeX is different in the case of formulas than in the case of diagrams. (shrink)

Technologies of communication condition human sense-making. They do so by creating the social environment we inhabit and extending their structural biases and logics through human use. As such, this essay inquires into the prevailing habits of mind in the digital era. Employing a media ecology of communication, I argue that digital computers and microprocessors are defined by three structural properties and, hence, underlying logics: digitization (binary code), algorithmic execution (input/output), and efficiency (machine logic). Repeated exposure to these logics cultivates (...) a digital mind, a model of thinking, communicating, and sense-making characterized by intransigence, impertinence, and impulsivity. I conclude the essay by exploring the broader implications of a digital mind, paying particular attention to the challenges it poses to democratic politics. (shrink)

A popular claim is that social media is a cause of contemporary high levels of political polarization. In this paper, I consider three of the most common kinds of arguments for the thesis. One type lays out a narrative of causes, tracing the causal steps between logging on to social media and later becoming more polarized. Another type uses computer modeling to show how polarized effects can arise from systems that are analogous to use of social (...) class='Hi'>media. The final type considers straightforward experimental evidence for the polarizing effect. I reject each of these arguments and explain why they are unconvincing. (shrink)

Could it be that Deleuze's most lasting legacy will lie in his ‘Postscript on Control Societies’, a mere 2,300-word essay from 1990? While he discussed computers and new media infrequently, Deleuze admittedly made contributions to the contemporary discourse on computing, cybernetics and networks, particularly in his late work. From the concepts of the rhizome and the virtual, to his occasional interjections on the digital versus the analogue, there is a case to be made that the late Deleuze has not (...) only influenced today's discourse on new media but also proposes an original set of arguments about society and politics at the turn of the new millennium. Focusing on the ‘Postscript on Control Societies’ and a handful of texts that surround it, we will reconstruct an image of what it means to live in the information age. This will have consequences for how we define the digital and the analogue, what the computer means, and ultimately provide some insight into one of the more elusive terms in all of Deleuze, the superfold. (shrink)