Philosophy of science is expanding via the introduction of new digital data and tools for their analysis. The data comprise digitized published books and journal articles, as well as heretofore unpublished material such as images, archival text, notebooks, meeting notes, and programs. The growth in available data is matched by the extensive development of automated analysis tools. The variety of data sources and tools can be overwhelming. In this article, we survey the state of digital work in (...) the philosophy of science, showing what kinds of questions can be answered and how one can go about answering them. (shrink)

A radically empirical exploration of movement and technology and the transformations of choreography in a digital realm. Digital technologies offer the possibility of capturing, storing, and manipulating movement, abstracting it from the body and transforming it into numerical information. In Moving without a Body, Stamatia Portanova considers what really happens when the physicality of movement is translated into a numerical code by a technological system. Drawing on the radical empiricism of Gilles Deleuze and Alfred North Whitehead, she argues (...) that this does not amount to a technical assessment of software's capacity to record motion but requires a philosophical rethinking of what movement itself is, or can become. Discussing the development of different audiovisual tools and the shift from analog to digital, she focuses on some choreographic realizations of this evolution, including works by Loie Fuller and Merce Cunningham. Throughout, Portanova considers these technologies and dances as ways to think—rather than just perform or perceive—movement. She distinguishes the choreographic thought from the performance: a body performs a movement, and a mind thinks or choreographs a dance. Similarly, she sees the move from analog to digital as a shift in conception rather than simply in technical realization. Analyzing choreographic technologies for their capacity to redesign the way movement is thought, Moving without a Body offers an ambitiously conceived reflection on the ontological implications of the encounter between movement and technological systems. (shrink)

-/- For all that digital methods—including network visualization, text analysis, and others—have begun to show extensive promise in philosophical contexts, a tension remains between two uses of those tools that have often been taken to be incompatible, or at least to engage in a kind of trade-off: the discovery of new hypotheses and the testing of already-formulated positions. This paper presents this basic distinction, then explores ways to resolve this tension with the help of two interdisciplinary case studies, taken (...) from preregistration in contemporary science and the debate over whig history in the history of science. These case studies, the paper argues, refocus our attention from a mutually exclusive testing/discovery binary to the relationship between our background data or philosophical views and the empirical generalizations that we might draw from the data. Finally, it develops a set of three challenges for philosophers and corresponding avenues for future work that will, it is hoped, allow us to better justify our use of these methods. (shrink)

What is it for a philosophical account to be atomist? What is the attraction of an atomistic metaphysics? These questions are best approached by considering representative varieties of atomism. The present paper offers a preliminary account of atomism in general and then, in order to shed light on atomism in general and its appeal, considers two very different varieties of atomism: that of Democritus and that of Fredkin’s “digital ontology.” Atomistic accounts are philosophically attractive for two related reasons. First, (...) on an atomistic account, the units of explanation are determinate, and for that reason are in principle ultimately intelligible, as are the complexes derived from them. Both examples of atomism that the author takes as examples display these features. Second, atomism is reductionistic. Ancient atomism has this feature, but it is not an inevitable result of an atomistic strategy. It is absent from Fredkin’s digital ontology. (shrink)

The present paper deals with the problem of the digital-culture-public-philosophy as a possible response of those philosophers who see the need to face the challenges of the Internet and the visual culture that constitutes an important part of the Internet cultural space. It claims that this type of philosophy would have to, among many other things, modify and broaden philosophers’ traditional mode of communication. It would have to expand its textual, or mainly text-related, communication mode into the (...) aesthetic and visual communication mode. More precisely, philosophers would have to learn how to aestheticize and visualize their ethical narratives by using some digital tools – YouTube clips for example. (shrink)

Our world is under going an enormous digital transformation. Nearly no area of our social, informational, political, economic, cultural, and biological spheres are left unchanged. What can philosophy contribute as we try to under- stand and think through these changes? How does digitization challenge past ideas of who we are and where we are headed? Where does it leave our ethical aspirations and cherished ideals of democracy, equality, privacy, trust, freedom, and social embeddedness? Who gets to decide, control, (...) and harness the powers of digitization and for which purposes? Epistemologically, do most of us understand these new mediations – and thus fabrics – of our new world? Lastly – how is the new technological landscape shaping not only our living conditions but also our collective imaginary and our self-identities? (shrink)

Social media is full of dead people. Untold millions of dead users haunt the online world where we increasingly live our lives. What do we do with all these digital souls? Can we simply delete them, or do they have a right to persist? Philosophers have been almost entirely silent on the topic, despite their perennial focus on death as a unique dimension of human existence. Until now. -/- Drawing on ongoing philosophical debates, Digital Souls claims that the (...) digital dead are objects that should be treated with loving regard and that we have a moral duty towards. Modern technology helps them to persist in various ways, while also making them vulnerable to new forms of exploitation and abuse. This provocative book explores a range of questions about the nature of death, identity, grief, the moral status of digital remains and the threat posed by AI-driven avatars of dead people. In the digital era, it seems we must all re-learn how to live with the dead. (shrink)

Empirical philosophers of science aim to base their philosophical theories on observations of scientific practice. But since there is far too much science to observe it all, how can we form and test hypotheses about science that are sufficiently rigorous and broad in scope, while avoiding the pitfalls of bias and subjectivity in our methods? Part of the answer, we claim, lies in the computational tools of the digital humanities, which allow us to analyze large volumes of scientific literature. (...) Here we advocate for the use of these methods by addressing a number of large-scale, justificatory concerns—specifically, about the epistemic value of journal articles as evidence for what happens elsewhere in science, and about the ability of DH tools to extract this evidence. Far from ignoring the gap between scientific literature and the rest of scientific practice, effective use of DH tools requires critical reflection about these relationships. (shrink)

This paper argues that the ubiquitous digital networks in which we are increasingly becoming immersed present a threat to our ability to exercise free will. Using process philosophy, and expanding upon understandings of causal autonomy, the paper outlines a thematic analysis of diary studies and interviews gathered in a project exploring the nature of digital experience. It concludes that without mindfulness in both the use and design of digital devices and services we run the risk of (...) allowing such services to direct our daily lives in ways over which we are increasingly losing control. (shrink)

This book is a critical introduction to code and software that develops an understanding of its social and philosophical implications in the digital age. Written specifically for people interested in the subject from a non-technical background, the book provides a lively and interesting analysis of these new media forms.

How can artists create works of computer art or Internet art in which audience members become genuine artists and collaborate with the original artists on the self-same work that they began? To answer this question, this essay will reflect on the work of philosophers who focus on questions concerning art completion and the ontology of computer art. This essay will also reflect on the artistic work of the trio LaBeouf, Rönkkö & Turner, whose artwork can serve as a model for (...) creating collaborative, digital art. (shrink)

How philosophy transformed human knowledge and the world we live in Philosophical investigation is the root of all human knowledge. Developing new concepts, reinterpreting old truths, and reconceptualizing fundamental questions, philosophy has progressed—and driven human progress—for more than two millennia. In short, we live in a world philosophy made. In this concise history of philosophy's world-shaping impact, Scott Soames demonstrates that the modern world—including its science, technology, and politics—simply would not be possible without the accomplishments of (...) philosophy. Firmly rebutting the misconception of philosophy as ivory-tower thinking, Soames traces its essential contributions to fields as diverse as law and logic, psychology and economics, relativity and rational decision theory. Beginning with the giants of ancient Greek philosophy, The World Philosophy Made chronicles the achievements of the great thinkers, from the medieval and early modern eras to the present. It explores how philosophy has shaped our language, science, mathematics, religion, culture, morality, education, and politics, as well as our understanding of ourselves. Philosophy's idea of rational inquiry as the key to theoretical knowledge and practical wisdom has transformed the world in which we live. From the laws that govern society to the digital technology that permeates modern life, philosophy has opened up new possibilities and set us on more productive paths. The World Philosophy Made explains and illuminates as never before the inexhaustible richness of philosophy and its influence on our individual and collective lives. (shrink)

This important book, which results from a series of presentations at American Philosophical Association conferences, explores the major ways in which computers ...

https://plato.stanford.edu/entries/digital-art/.

Digital materiality (digimat) proposes a set of basic principles for how we understand the world through digital processes. This short book sets out a methodical materialist understanding of digital technologies, where they come from, how they work, and what they do.

In the age of digitization, the world seems to be reducible to a digital computer. However, mathematically, modern quantum field theories do not only depend on discrete, but also continuous concepts. Ancient debates in natural philosophy on atomism versus the continuum are deeply involved in modern research on digital and computational physics. This example underlines that modern physics, in the tradition of Newton’s Principia Mathematica Philosophiae Naturalis, is a further development of natural philosophy with the rigorous (...) methods of mathematics, measuring, and computing. We consider fundamental concepts of natural philosophy with mathematical and computational methods and ask for their ontological and epistemic status. The following article refers to the author’s book, “The Digital and the Real World. Computational Foundations of Mathematics, Science, Technology, and Philosophy.”. (shrink)

Nietzsche promises to “translate man back into nature,” but it remains unclear what he meant by this and to what extent he succeeded at it. To help come to grips with Nietzsche’s conceptions of drive (Trieb), instinct (Instinkt) and virtue (Tugend and/or Keuschheit), I develop novel digital humanities methods to systematically track his use of these terms, constructing a near-comprehensive catalogue of what he takes these dispositions to be and how he thinks they are related. Nietzsche individuate drives and (...) instincts by the type of actions they motivate. One way in which the “translation” of man back into nature might succeed is through naturalistic explanation and reduction of moral notions such as virtue in terms of amoral, naturalistic notions, such as drives and instincts. I go on to show that this is indeed Nietzsche’s project: for him, a virtue is a well-calibrated drive. Such calibration relates both to the rest of the agent’s psychic economy (her other drives) and to her social context (what’s considered praiseworthy and blameworthy in her community). (shrink)

In 1932 Moritz Schlick, the founder of the Vienna Circle, published an article on "The Future of Philosophy". Schlick's understanding of philosophy helps us to explore some ideas about the future of philosophy in the digital humanities. I distinguish a 'wide' and a 'strict' conception of philosophy in relation to DH, namely as a discipline of the digital humanities that engages with philosophical texts from the perspective of the humanities at large or as an (...) activity that aims to clarify our use of terms through 'operationalisation'. This leads to the possibly surprising conclusion that every digital humanist is engaged in a philosophical activity and therefore a philosopher. (shrink)

In The Flesh of Images, Mauro Carbone analyzed Merleau-Ponty's interest in film as it relates to his aesthetic theory. Philosophy-Screens broadens the work undertaken in this earlier book, looking at the ideas of other twentieth-century thinkers concerning the relationship between philosophy and film, and also extending that analysis to address the wider proliferation of screens in the twenty-first century. In the first part of the book, Carbone examines the ways that Sartre, Merleau-Ponty, Lyotard, and Deleuze grappled with the (...) philosophical significance of cinema as a novel aesthetic medium unfolding in the twentieth century. He then considers the significance of this philosophical framework for understanding the digital revolution, in particular the extent to we are increasingly and comprehensively connected with screens. Smart phones, tablets, and computers have become a primary referential optical apparatus for everyday life in ways that influence the experience not only of seeing but also of thinking and desiring. Carbone's Philosophy-Screens follows Deleuze's call for "a philosophy-cinema" that can account for these fundamental changes in perception and aesthetic production, and adapts it to twenty-first century concerns. (shrink)

The relevance of this study's topic is supported by the argument that a philosophical understanding of the fundamental concepts of epistemology as they pertain to the educational process is crucial as the educational setting becomes increasingly digitalised. This paper aims to explore the epistemological component of the philosophy of learning in light of the educational process digitalisation. The research comprised a sample of 462 university students from Kazakhstan, with 227 participants assigned to the experimental and 235 to the control (...) groups. The research employed a scientific methodology that encompassed various scientific methods, including sociological, socio-philosophical, and culturological analysis. In addition, philosophical methods such as system analysis, structural and functional analysis, and comparative and hermeneutical approaches were utilised for the philosophical and epistemological interpretation of the cognitive activity mechanism of students and its dynamics in light of digitalising education. Furthermore, psychological diagnostic methods such as SAMOAL personality self-actualisation diagnostics, personality volitional potential diagnostics, and psychodiagnostic methods were employed. This study offers a theoretical rationale for the integration of digital technology in the realm of education, grounded in philosophical and epistemological principles. In addition, it challenges the null hypothesis that the philosophical and epistemological framework of the educational process does not influence its cognitive and personal aspects. Digital learning has been found to improve both cognitive and personal aspects of the learning process. All indicators of self-realization increased statistically significantly (p 0.05). The positive impact of digital technologies on increasing the communicative competence of students can be considered as a factor in mitigating epistemic risks in the learning process.The findings can be used to avoid epistemological risks and improve learning effectiveness in a digital learning environment. There are plans to investigate the gender dimension of digital learning epistemology in the future. (shrink)

이 글은 현대의 디지털 미디어를 매클루언의 형식주의 매체철학적 논의 내에서는 일종 의 형용모순처럼 보이는 ‘촉각적이고 뜨거운 매체’로 해석할 근거를 셀리에의 스트레스 이 론과의 상관관계 속에서 찾고, 이러한 논의를 기반으로 그의 매체철학을 디지털 미디어 중 독에 대한 치료 이론으로 활용하는 것을 목표로 한다. 그리고 이러한 논의를 기반으로, 노 르베르트 볼츠와 같은 현대 매체철학자나 디지털 평론가 및 IT 기업들이 제시하고 있는 디 지털 미디어 중독을 해결하기 위한 방법론을 평가하는 것을 목표로 한다. 본 연구의 중심 주장은 다음과 같다. 매클루언과 셀리에 사이의 상관관계를 밝힐 (...) 경우, 주류 해석과 달리 매체가 인간 감각기관에 전달하는 자극의 정도, 즉 정세도는 그 매체에 대한 참여도와 반비례 관계를 반드시 맺지는 않는다. 즉, 여러 감각기관을 자극하면서도 높은 정세도를 가진 매체에 대한 논의가 가능하다는 것이다. 결론적으로, 매클루언을 셀리 에와의 연관관계 속에서 해석할 경우 디지털 매체를 다감각을 낮은 정세도로 자극하는 매 체가 아니라 촉각적이면서도 뜨거운 매체로 해석할 수 있다. 매클루언의 이론을 이렇게 해 석한다면, 그의 이론은 디지털 미디어 중독을 특정 미디어에 대한 병리적인 과집중, 과몰 입 현상으로 정의하고 있는 현대의 사회과학 및 실증연구와 배치되지 않을 뿐만 아니라, 여러 분야에서 제시되고 있는 디지털 미디어 중독 해결책을 평가하고 진단할 수 있는 툴 (Tool)로서 활용될 수 있을 것이다. (shrink)

This important book, which results from a series of presentations at American Philosophical Association conferences, explores the major ways in which computers ...

ABSTRACT This article, invited for presentation to the North American Nietzsche Society at the 2020 Pacific Division Meeting of the American Philosophical Association, is a commentary on Mark Alfano's 2019 monograph, Nietzsche's Moral Psychology. It critically discusses Alfano's synoptic digital humanities approach and examines the efficacy of two aspects of his argument about Nietzsche's philosophy developed using this methodology: the connection between life and will to power, and the role of speech acts.

This collection of articles from both distinguished and emerging authors working at the intersections of philosophy, literary theory, media, and technology does not intend to fix new moral rules. Instead, the volume explores the ethos of digital environments, asking how we can orient ourselves in them and inviting us to renewed moral reflection in the face of dilemmas they entail.

Playing in counterpoint with the general theoretical orientation of the book, this chapter does not focus its attention on the recording and archiving capabilities of the digital medium. Instead, it proposes an understanding of the digital medium that focuses on its disclosing various forms of “doing.” Gualeni’s chapter begins by offering an understanding of “doing in the digital” that methodologically separates “doing as acting” from “doing as making.” After setting its theoretical framework, the chapter discusses an “interactive (...) thought experiment” designed by the author that is analyzed as a digital artifact leveraging both dimensions of “doing in the digital” for philosophical purposes. In extreme synthesis, one could say that this chapter is about several kinds of soups. (shrink)

Introduction : schizoanalysis, digital screens and new brain circuits -- Schizoid minds, delirium cinema and powers of machines of the invisible -- Illusionary perception and powers of the false -- Surveillance screens and powers of affect -- Signs of time : meta/physics of the brain-screen -- Degrees of belief : epistemology of probabilities -- Powers of creation : aesthetics of material-force -- The open archive : cinema as world-memory -- Divine in(ter)vention : micropolitics and resistance -- Logistics of perception (...) 2.0 : multiple screens as affective weapons -- Conclusion : the neuro-image : brain-screens from the future. (shrink)

Introduction -- Chapter 1: Digital cinema's conquest of space -- Chapter 2: The nonanthropocentric character of digital cinema -- Chapter 3: From temporalities to time in digital cinema -- Chapter 4: The film-spectator-world assemblage -- Chapter 5: Concluding with love.

This book uses the conceptual tools of philosophy to shed light on digital media and on the way in which they bear upon our existence. At the turn of the century, the rise of digital media significantly changed our world. The digitizing of traditional media has extraordinarily increased the circulation of texts, sound, and images. Digital media have also widened our horizons and altered our relationship with others and with ourselves. Information production and communication are still (...) undoubtedly significant aspects of digital media and life. Recently, however, recording, registration and keeping track have taken the upper hand in both online practices and the imaginaries related to them. The essays in this book therefore focus primarily on the idea that digital media involve a significant overlapping between communication and recording. (shrink)

Social media is full of dead people. What should we do with all these digital souls? Can we delete them, or do they have a right to persist? Patrick Stokes claims that we have a moral duty towards the digital dead. Modern technology helps them to persist in various ways, but - with such developments as AI-driven chatbots simulating the dead - it also makes them vulnerable to new forms of exploitation and abuse. This provocative book explores a (...) range of questions about the nature of death, identity, grief, and the moral status of digital remains. (shrink)

Definition of the problem Organizations, being important intermediaries of modern, highly differentiated, and pluralistic societies, are a key place of decision making. This especially applied to health care organizations. Arguments Organizations and their processes are reconceptualized and eminently challenged by digitization and cross-linking in the World Wide Web. Thus, organizational ethics also needs to be reconceptualized. Conclusion The paper provides scenarios of some of the crucial issues of organizational ethics in light of digitization.

The middle chapters of Soames’s The World Philosophy Made are briefly summarized and examined. There are some local slips, but globally the work displays an impressive knowledge of and a distinctive viewpoint on a wide range of important intellectual disciplines and their original roots in and continuing connections with philosophy.

In many ways, digital practices have precipitated remarkable changes in the global accessibility of art. However, the digital revolution has also radically influenced the conservation processes surrounding art, including archiving, preserving, and remembering. This paper explores the conservation of digital artworks for the future benefit of culture, with particular peference to creators and viewers of art, as well as participants in interactive artworks. More specifically, this paper focuses on the philosophical and technical approaches adopted by creators, conservators, (...) and philosophers involved in the preservation of variable media artworks. Issues of programming, interoperability between archival systems, and enhanced public access increasingly inform the design of digital archives. Indeed, the continuously shifting technological landscape—marked by the centrality of digital technologies to everyday life—problematizes the preservation of digital art through mainstream museological paradigms. Part of this analysis of digital art conservation will be drawn from the archival philosophies of Boris Groys and Rick Prelinger. (shrink)

Digital media seem to be marked by process. The digital image itself is produced by software processes and the constant flux of code. Further this, interaction with digital systems involves a constant process by which a so-called 'user' comes into contact with various machinic occasions. It seems that in light of these processes it is impossible to maintain an aesthetic or media theory that pictures a self-contained and psychologised subject interacting with a static and inert object. How (...) then can we begin to think about digital aesthetics through a process philosophy rather than the traditional and reductive subject/object distinction found in so much aesthetic theory? This paper seeks to address this problem by enacting Alfred Whitehead's process philosophy, informed by Gilles Deleuze, Isabelle Stengers and Steve Shaviro and work it through several examples of recent manifestations of interactive media art, including work by Martin Wattenberg, Dennis Del Favero, Jeffrey Shaw and Peter Weibel. I work Whitehead's process philosophy through these artworks to illustrate the performative nature of software processes and the manner in which these processes affect the aesthetics of interaction. I also use these works to illustrate a concept of interaction that privileges process and events rather than a concept that focuses upon an individual human user. In this paper I propose to view the 'user' as a set of occasions – as a particular condition that is produced by various user-initiated actions – rather than an enduring subject that is able to distance herself from the object of aesthetic contemplation. By doing this I move toward a theory in which user-occasions, machine-occasions and their interpenetration actualise the aesthetics of media art. Whitehead allows me to think outside of the binary oppositions that divide the world into knower/known or subject/object relationships. Throughout the argument I unpack Whiteheadian concepts such as actual entities, the unison of immediate becoming and, in general, the primacy of the event, bringing these concepts to bear on individual case studies of interactive media art. Whitehead's general thesis is that materiality and permanence are created by a continual process. Viewing the digital encounter through this theoretical framework I position the aesthetic experience of interaction as that which emerges from the fluctuations of process. The event of interaction is a necessarily hybrid process in which human occasions become supplemented by technology and the aesthetic event becomes innately coupled to the processes of the machine. In this paper I am not interested in any notion of consciousness or a psychologised human 'user', rather I am interested in a particular condition that takes place as user-initiated processes work with machine-initiated processes. This is because, for Whitehead, process comes before consciousness; it is the process of actual entities that prompt the consciousness into being. In this paper I thus propose interaction with digital systems as the commingling of contemporary actual occasions, shifting emphasis from a conscious human user and instead focusing on the process of the encounter that precedes this conscious experience. (shrink)

In Digital Souls, Patrick Stokes brings together a thoughtful account of personal identity and death with a range of examples from literature and real life, to help us think about the dead online....

Since the advent of accessible online computing, the digital divide existed, it exists today and it will exist tomorrow. It means that almost every aspect of life will be affected, particularly for those who are most vulnerable for whatever reason. It is important that research-informed action addresses this unacceptable state. In this special issue, a number of perspectives are taken to consider different aspects of the digital divide. In total, they illustrate the synergistic value of crossing disciplinary boundaries (...) and adopting a plethora of research methods and philosophies. Thus, the guest editors and authors of this special issue have created a notable contribution to the fight against the digital divide. (shrink)

Digital technologies mediate engagement with the world by making activities visible. The automaticity and physicality of the ways in which they do this suggest that it could be productive to view them as responsive digital materials. This paper explores the structure and function of responsive materials in order to develop a conceptualization of responsive digital materials. It then begins to unpack the complexities of digital material mediation through both drawing on and extending existing postphenomenological theory.

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 following article describes a pilot study on the possible integration of digital historiography into teaching practice. It focuses on Émilie Du Châtelet’s considerations of space and time against the background of Leibniz’s program of analysis situs. Historians have characterized philosophical controversies on space and time as a dichotomy between the absolute and relational concepts of space and time. In response to this, the present case study pursues two aims: First, it shows that the common portrayal simplifies the complex (...) pattern of change and the semantic shift from absolute-relational concepts of space and time to invariance and conservation principles. Second, against this background, I present the Online Reading Guide on Émilie Du Châtelet’s Foundations of Physics, a teaching and research project designed to help navigate Du Châtelet’s Institutions physiques. This project makes Du Châtelet’s important text visible to a broad audience and allows for a more critical and deeper view on classical topics of the history of philosophy and science in a more accessible way than traditional introductions. (shrink)

Introduction : digital technology and popular music sound -- Making sense of digital spatiality : Kate Bush's eerie collage -- The instrument formerly known as the machine : hyper-accuracy and sonic richness in Prince's Kiss -- The rebirth of silence in the company of noise : Portishead going retro -- Cut-ups and glitches : Los Sampler's and Squarepusher's freeze and flow -- Seasick computers : microrhythmic manipulation in the era of endless undo -- Autotuned voices : alienation and (...) brokenhearted androids -- Popular music in the digital era. (shrink)

Digital artifacts — humanly-constructed items that inhabit our computers and networks — suffer an unfortunate reputation as being virtual and therefore unreal, and all too easy to reproduce on the cheap. These features together prompt the question of this article: if digital artifacts can be reproduced for free, and if they are unreal, why do they have economic value at all? Using a focal case study of bitcoin — the most unreal digital artifact of them all, and (...) one that has been copied and pasted a thousand times over — I answer the question. Some digital artifacts can't be copied on the cheap, as it turns out, and they are real enough to be useful. (shrink)

In this text, my aim is to provide a reading of Mauro Carbone’s Philosophy Screens: From Cinema to the Digital Revolution in the context of his other writings. My claim is that in this most recent work, Carbone makes a decisive step from being an original interpreter of the work of Merleau-Ponty and Proust to making an original contribution to what I describe, following Merleau-Ponty and Carbone, the history of “a-philosophy”: an historical attempt to reverse the “official (...) philosophy” that has been with us since at least Plato. This reversal is staged through a series of concepts, created by Carbone, that I take up here viz à viz Plato’s allegory of the cave: the archescreen, the sensible idea, the screen, and philosophy-cinema. Together, these concepts illustrate what I call, borrowing a phrase from Jean-Luc Nancy, a philosophical partance: for Carbone, the work of “philosophizing” should no longer be conceptualized in accordance with Platonic imagery of ascent, illumination, conversion, and importantly, grasping and seizing upon the είδη but as “departure”: allowing the objects of thought their transcendence, a liquidity by which they slip through our grasp. (shrink)

The impact of large digital corporations on our freedom is often lamented but rarely investigated systematically. This paper aims to fill this desideratum by focusing on the power of social media corporations and the freedom of their users. In order to analyze this relationship, I distinguish two forms of freedom and two corresponding forms of power. Social media corporations extend their users’ freedom of choice by providing many new options. This provision, however, comes with the domination by these corporations (...) because it is based on their power of uncontrolled interference. Users could escape this domination through exit. One reason why they do not choose this option is that they would lose the benefits associated with the network effects provided by social media services. A second reason is that the power of social media corporations runs so deep that they are able to manipulate the autonomous decision-making processes of their users. Users are provided with many new avenues for authentic self-presentation on social media. By using them, however, users need to conform to a web interface that is designed by corporations to undermine self-control. Through these two mechanisms, corporations are able to promote an interest in users to present themselves on their platforms. Insofar as this works, they secure the users’ compliance to their domination through subjectivation. This double conjunction of choice and domination, on the one hand, and autonomy and subjectivation, on the other, makes the case that the very power of corporate social media stems from their intrinsic connection to genuine practices of freedom. (shrink)

Digital Media: Human–Technology Connection examines the technologically textured world through case studies that illustrate the way humans and technology connect with each other and the world. An interdisciplinary array of sources from philosophy, postphenomenology, philosophy of technology, media studies, media ecology, and film studies shows that digital media and its content are not neutral. This technology textures the world in multiple and varied ways that transform human abilities, augment experience, and pattern the world.

Talk at the Philosophy [in:of:for:and] Digital Knowledge Infrastructures online workshop (08/09/2022).

Digital tracing technologies are heralded as an effective way of containing SARS-CoV-2 faster than it is spreading, thereby allowing the possibility of easing draconic measures of population-wide quarantine. But existing technological proposals risk addressing the wrong problem. The proper objective is not solely to maximise the ratio of people freed from quarantine but to also ensure that the composition of the freed group is fair. We identify several factors that pose a risk for fair group composition along with an (...) analysis of general lessons for a philosophy of technology. Policymakers, epidemiologists, and developers can use these risk factors to benchmark proposal technologies, curb the pandemic, and keep public trust. (shrink)