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

This groundbreaking, open access volume analyses and compares data practices across several fields through the analysis of specific cases of data journeys. It brings together leading scholars in the philosophy, history and social studies of science to achieve two goals: tracking the travel of data across different spaces, times and domains of research practice; and documenting how such journeys affect the use of data as evidence and the knowledge being produced. The volume captures the opportunities, challenges and concerns involved in (...) making data move from the sites in which they are originally produced to sites where they can be integrated with other data, analysed and re-used for a variety of purposes. The in-depth study of data journeys provides the necessary ground to examine disciplinary, geographical and historical differences and similarities in data management, processing and interpretation, thus identifying the key conditions of possibility for the widespread data sharing associated with Big and Open Data. The chapters are ordered in sections that broadly correspond to different stages of the journeys of data, from their generation to the legitimisation of their use for specific purposes. Additionally, the preface to the volume provides a variety of alternative “roadmaps” aimed to serve the different interests and entry points of readers; and the introduction provides a substantive overview of what data journeys can teach about the methods and epistemology of research. (shrink)

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

The advent of the Web is one of the defining technological events of the twentieth century, yet its impact on the fundamental questions of philosophy has not yet been explored, much less systematized. The Web, as today implemented on the foundations of the Internet, is broadly construed as the space of all items of interest identified by URIs. Originally a space of linked hypertext documents, today the Web is rapidly evolving as a universal platform for data and computation. Even swifter (...) is the Web-driven transformation of many previously unquestioned philosophical concepts of privacy, belief, intelligence, cognition, and even embodiment in surprising ways. The ensuing essays in this collection hope to explore the philosophical foundation of the World Wide Web and open the debate on whether or not the changes caused by the Web to technology and society warrant the creation of a philosophy of the Web. (shrink)

Bynum (Putting information first: Luciano Floridi and the philosophy of information. NY: Wiley-Blackwell, 2010) identifies Floridi’s focus in the philosophy of information (PI) on entities both as data structures and as information objects. One suggestion for examining the association between the former and the latter stems from Floridi’s Herbert A. Simon Lecture in Computing and Philosophy given at Carnegie Mellon University in 2001, open problems in the PI: the transduction or transception, and how we gain knowledge about the world as (...) a complex, living, information environment. This paper addresses PI across a model of interoperating levels: perception (P)—intuition (N)—computation (C)—information (I), as factored by cognitive continuity (1), temporality (2), and constitution (3). How might we begin to characterize our experience of an abstract information object across such a matrix? Chudnoff’s rationalist distinctions between perception and intuition serve as a first rung of the ladder. Turing’s brief references to the utility of intuition, in an allied, rationalist-Cartesian sense, provide the next step up to computation. Floridi provides the final link from computation to information. (shrink)

While today there is much discussion about the ethics of artificial intelligence, less work has been done on the philosophical nature of AI. Drawing on Bergson and Ricoeur, this paper proposes to use the concepts of time, process, and narrative to conceptualize AI and its normatively relevant impact on human lives and society. Distinguishing between a number of different ways in which AI and time are related, the paper explores what it means to understand AI as narrative, as process, or (...) as the emergent outcome of processes and narratives. It pays particular attention to what it calls the “narrator” and “time machine” roles of AI and the normative implications of these roles. It argues that AI processes and narratives shape our time and link past, present, and future in particular ways that are ethically and politically significant. (shrink)

In the current social and technological scenario, the term digital is abundantly used with an apparently transparent and unambiguous meaning. This article aims to unveil the complexity of this concept, retracing its historical and cultural origin. This genealogical overview allows to understand the reason why an instrumental conception of digital media has prevailed, considering the digital as a mere tool to convey a message, as opposed to a constitutive conception. The constitutive conception places the digital phenomenon in the broader ground (...) of media studies, and it considers digital technologies as an interface between the subject and the world. In this perspective, the media is not added to the experience of the person, but it shapes it from within on a cognitive, expressive and communicative level. The article makes use of two powerful examples to show the shortcomings of an instrumental conception of the digital, and to affirm the value of a constitutive conception for current media studies regarding digital interfaces. (shrink)

When radiocarbon dating techniques were applied to archaeological material in the 1950s they were hailed as a revolution. At last archaeologists could construct absolute chronologies anchored in temporal data backed by immutable laws of physics. This would make it possible to mobilize archaeological data across regions and time-periods on a global scale, rendering obsolete the local and relative chronologies on which archaeologists had long relied. As profound as the impact of 14C dating has been, it has had a long and (...) tortuous history now described as proceeding through three revolutions, each of which addresses distinct challenges of capturing, processing and packaging radiogenic data for use in resolving chronological puzzles with which archaeologists has long wrestled. In practice, mobilizing radiogenic data for archaeological use is a hard-won achievement; it involves multiple transformations that, at each step of the way, depend upon a diverse array of technical expertise and background knowledge. I focus on strategies of triangulation and traceability that establish the integrity of these data and their relevance as anchors for evidential reasoning in archaeology. (shrink)

The writings of Yuk Hui, bringing together technical and philosophical insights, provides new theory for the digital, something desired by many in archival research. The aim of this study is to assess the use of Hui’s theories on digital objects and web ontologies as a unifying theory for archival studies, looking at the concept of digital records in particular. Two types of ontology are needed in order to understand digital objects according to Hui: ontologies which relates to the technical language (...) and hierarchies of knowledge representation, like metadata; Ontology, which is the question of Being in the tradition of Heidegger’s phenomenology, the understanding of what it is to be in the world. Both of these ontologies are needed to account for the nature of the digital object. Further, digital objects are produced and constituted through their relations, which can be divided into discursive and existential relations. Digital objects must be approached both as technical formal entities, and as beings in the world. The first register is common, the second – more existential approach – is rarely applied. Using a metatheoretical and hermeneutic method, different conceptions of digital records are discussed, in order to find commonalities and possibilities in relation to Hui’s theory. The digital record as: a process of becoming, information as affordance, context, temporality and evidence are all related to and structured through the application of Hui’s perspective. The thesis ends with the contribution of a possible redefinition of digital records: A digital record is constituted and concretised as material by discursive and existential relations, that taken together function as a persistent representation. Further, Hui’s digital object theory is suggested as a structuring and unifying theory. In relation to digital records Hui’s theory on digital objects can function as a metatheoretical measure, and a method of critical reading. (shrink)