In the era of global digitalization, interfaces have become an essential part of social and cultural life, defining the interaction between the individual and the collective. The subject of this article is to analyze the relationship between interface design and socio-ethical aspects of society. The research focuses on how interfaces reflect and shape social norms and ethical values, influencing the processes of self-identification and social integration in the context of global digitalization. Special attention is given to the mechanisms through which (...) interfaces contribute to the formation of personal and collective identity, as well as how they participate in cultivating cultural identities and ensuring accessibility and inclusivity in the digital space. The main goal of the research is to analyze the role of interfaces in the process of forming personal and collective identity, and their impact on the socio-ethical aspects of public life. The research methodology is based on an interdisciplinary approach, combining elements of social philosophy, cultural studies, and design analysis. Qualitative methods, including theoretical literature analysis and case studies, are used to investigate the influence of interfaces on social processes. The study highlights that interfaces facilitate social integration and cultural exchange, influencing socio-cultural identities and norms. Interface design, with its accessibility and inclusiveness, is crucial for social justice and ethical standards in the digital realm. It underscores the importance of ethical considerations in interface development, which significantly affects technology-society interaction and impacts social and cultural dynamics. The research advocates exploring interfaces' social and ethical implications in the digital era, suggesting new academic and practical research directions. (shrink)

Real-world information is imperfect and is usually described in natural language (NL). Moreover, this information is often partially reliable and a degree of reliability is also expressed in NL. In view of this, the concept of a Z-number is a more adequate concept for the description of real-world information. The main critical problem that naturally arises in processing Z-numbers-based information is the computation with Z-numbers. Nowadays, there is no arithmetic of Z-numbers suggested in existing literature. This book is the first (...) to present a comprehensive and self-contained theory of Z-arithmetic and its applications. Many of the concepts and techniques described in the book, with carefully worked-out examples, are original and appear in the literature for the first time. The book will be helpful for professionals, academics, managers and graduate students in fuzzy logic, decision sciences, artificial intelligence, mathematical economics, and computational economics. (shrink)

William James’ “The Will to Believe” continues to attract scholarly attention. This might seem surprising since James’ central claim—that one may justifiably believe p despite having inconclusive evidence for p—seems both very clear and also very wrong. I argue that many of the interpretive and substantive challenges of this essay can be overcome by framing James’ thesis in terms of what Tamar Gendler defines as “alief.” I consider two readings of James’ position and conclude that the “will to believe” rests (...) on a misnomer. “The Will to Alieve” is more accurate—though the “Right to Alieve” is even better still. (shrink)

Graham Harman describes the allure of art as the tension and fusion of a real object to sensual qualities so that it makes it seem that the inwardness of reality is opened to us. Yet real objects are withdrawn; how are we aware of their fusion? Since Harman’s ontology mandates that contact between real objects occurs only through sensual objects, this essay explores the idea that art’s allure must be a tension between sensual objects that draw the experiencer to believe, (...) or alieve, they are in contact with the withdrawn real. By looking at the examples in representational painting and sleight of hand magic, we see that ontographic art objects use at least four, carefully separated sensual objects to produce their aesthetic effect. The conclusion summarises allure as a sensual object process, speculates on art’s dialetheic confusion of sensual and real objects giving an enduring allure to idealism, and notes potential motifs of an infra-realist resistance. (shrink)

In two very influential papers from 2008, Tamar Gendler introduced the concept of “alief” to describe the mental state one is in when acting in ways contrary to their consciously professed beliefs. For example, if asked to eat what they know is fudge, but shaped into the form of dog feces, they will hesitate, and behave in a manner that would be consistent with the belief that the fudge is really poop. They alieve that it is disgusting, while they believe (...) it is not. This paper investigates laughter from self-proclaimed egalitarian, tolerant folk, in response to oppressive jokes that might fit the alief-model. If I merely alieve the content of a joke at which I laugh, will that constitute morally exculpating reasons for such laughter? And what else might it imply? This paper will provide insights at the intersections of humor studies, ethics, epistemology, phenomenology, and the philosophy of mind, all while being moderately and appropriately amusing. (shrink)