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  1.  57
    The Active Inference Approach to Ecological Perception: General Information Dynamics for Natural and Artificial Embodied Cognition.Adam Linson, Andy Clark, Subramanian Ramamoorthy & Karl Friston - 2018 - Frontiers in Robotics and AI 5 (21):1-22.
    The emerging neurocomputational vision of humans as embodied, ecologically embedded, social agents—who shape and are shaped by their environment—offers a golden opportunity to revisit and revise ideas about the physical and information-theoretic underpinnings of life, mind, and consciousness itself. In particular, the active inference framework makes it possible to bridge connections from computational neuroscience and robotics/AI to ecological psychology and phenomenology, revealing common underpinnings and overcoming key limitations. AIF opposes the mechanistic to the reductive, while staying fully grounded in a (...)
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  2.  16
    Zoocentrism in the weeds? Cultivating plant models for cognitive yield.Adam Linson & Paco Calvo - 2020 - Biology and Philosophy 35 (5):1-27.
    It remains at best controversial to claim, non-figuratively, that plants are cognitive agents. At the same time, it is taken as trivially true that many animals are cognitive agents, arguably through an implicit or explicit appeal to natural science. Yet, any given definition of cognition implicates at least some further processes, such as perception, action, memory, and learning, which must be observed either behaviorally, psychologically, neuronally, or otherwise physiologically. Crucially, however, for such observations to be intelligible, they must be counted (...)
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  3. Machine Art or Machine Artists? Dennett, Danto, and the Expressive Stance.Adam Linson - 2016 - In Vincent Müller (ed.), Fundamental Issues of Artificial Intelligence (Synthese Library). Berlin: Springer. pp. 441-456.
    As art produced by autonomous machines becomes increasingly common, and as such machines grow increasingly sophisticated, we risk a confusion between art produced by a person but mediated by a machine, and art produced by what might be legitimately considered a machine artist. This distinction will be examined here. In particular, my argument seeks to close a gap between, on one hand, a philosophically grounded theory of art and, on the other hand, theories concerned with behavior, intentionality, expression, and creativity (...)
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  4.  7
    On plants and principles: Invited commentary on Birch, Ginsburg and Jablonka’s target article Unlimited Associative Learning and the Origins of Consciousness: A Primer and Some Predictions.Adam Linson, Aditya Ponkshe & Paco Calvo - 2021 - Biology and Philosophy 36 (2):1-4.
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  5.  30
    The Expressive Stance: Intentionality, Expression, and Machine Art.Adam Linson - 2013 - International Journal of Machine Consciousness 5 (2):195-216.
    This paper proposes a new interpretive stance for interpreting artistic works and performances that is relevant to artificial intelligence research but also has broader implications. Termed the expressive stance, this stance makes intelligible a critical distinction between present-day machine art and human art, but allows for the possibility that future machine art could find a place alongside our own. The expressive stance is elaborated as a response to Daniel Dennett's notion of the intentional stance, which is critically examined with respect (...)
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