We present a cognitive psychology experiment where participants were asked to select pairs of spatial directions that they considered to be the best example of Two different wind directions. Data are shown to violate the CHSH version of Bell’s inequality with the same magnitude as in typical Bell-test experiments with entangled spins. Wind directions thus appear to be conceptual entities connected through meaning, in human cognition, in a similar way as spins appear to be entangled in experiments conducted in physics (...) laboratories. This is the first part of a two-part article. In the second part we present a symmetrized version of the same experiment for which we provide a quantum modeling of the collected data in Hilbert space. (shrink)

We construct an event-based computer simulation model of the Einstein-Podolsky-Rosen-Bohm experiments with photons. The algorithm is a one-to-one copy of the data gathering and analysis procedures used in real laboratory experiments. We consider two types of experiments, those with a source emitting photons with opposite but otherwise unpredictable polarization and those with a source emitting photons with fixed polarization. In the simulation, the choice of the direction of polarization measurement for each detection event is arbitrary. We use three different procedures (...) to identify pairs of photons and compute the frequency of coincidences by analyzing experimental data and simulation data. The model strictly satisfies Einstein’s criteria of local causality, does not rely on any concept of quantum theory and reproduces the results of quantum theory for both types of experiments. We give a rigorous proof that the probabilistic description of the simulation model yields the quantum theoretical expressions for the single- and two-particle expectation values. (shrink)

This article refutes the apparently innocent, common sense idea that the audiovisual screen is just a window to the world that displays an extra set of sensual data alongside and independent of our personal, unmediated experience of reality. On the contrary, the screen as an in-between is both a mediator and generator of reality that eventually compromises the distinction between us and our environment. Part 1 discusses three examples of mediation: eclipsing, interpassivity and audiovisual media as a truth-procedure. Part 2 (...) discusses three examples of generation: the production of simulacra, hyperreality and the emergence of a mixed reality. (shrink)

The sense of wonder and admiration experienced by individuals who witness a striking sight, whether natural or man-made, has long been regarded as playing a role in the acquisition of knowledge. Both Aristotle and plato regarded wonder and admiration, sparked by something seen, as the origin of philosophical thinking. In the Middle Ages, theological writers considered the way in which admiration and, specifically, the state of rapture it engendered, helped the Christian experience devotion to God. What happened when a beholder (...) was filled with admiration upon encountering a magnificent building was addressed in discussions of magnificent patronage from at least the thirteenth century. The present Note investigates how Alberti’s reflections on magnificence and admiration informed his theory of aesthetic design in De re aedificatoria, completed in the 1450s. It proposes that Alberti redefined what makes a building admirable or ‘magnificent’ and also understood ‘beholding in admiration’ to be an active mode of looking. Therefore, his views on magnificent architecture were subtly different from those of Pope Nicolas V, in particular. By considering Alberti’s theory of aesthetic design as a reflection on magnificence and admiration, additional light is also shed on his confidence in the protective power of beauty and his design recommendations for the temple. (shrink)

This paper deals with the "functions of intentional explanations" of actions (IEAs), i.e., explanations that refer to intentional states (beliefs, desires, etc.) of the agent. IEAs can have different formats. We consider these different formats to be instruments that enable the explainer to capture different kinds of information. We pick out two specific formats, i.e. "contrastive" and "descriptive", which will enable us to discuss the functions of IEAs. In many cases the explanation is contrastive, i.e. it makes use of one (...) or more contrasts between real intentional states and ideal intentional states (ideal from the point of view of the explainer). In many other cases IEAs have a descriptive (covering-law) format. The aim of this paper is to analyze the functions the two kinds of explanations can have. We will show that certain functions are better served by one rather than the other format. This leads to pluralism with respect to formats. We argue that both formats are necessary and that their functions are complementary. (shrink)

Since the rise of analytic philosophy, a virtual Berlin wall seems to be inserted with respect to continental philosophy. If we take into account the difference between both traditions concerning the respective subject-matters, the pivotal goals, the modes of inquiry and scholarship, the semantic idioms, the methodological approaches, the ongoing discussions, the conferences and publications etc., it is hardly an overstatement to say that both traditions evolve insulated and have a conflicting relation. From a meta-philosophical stance, the common and prima (...) facie reply to this split is the encouragement of merging inclinations. I argue for another strategy. Based on a discussion of the intrinsic differences and their importance, I’m inclined to conclude that unification coincides with a loss of authenticity, blurring the critical potential of both traditions. Hence, we are better of endorsing agonistic pluralism between analytic philosophy and contemporary continental philosophy. The plurality of points of view render several opportunities for productive critiques and fruitful cross-overs between both traditions. Alas, the susceptibility for these innovations is vastly counteracted due to a widespread attitude of antipathy, ignorance and occasional vulgarisation. (shrink)

Since both responses interrogate different aspects of my article “The screen as an in-between” (Vanderbeeken 2011 ), I will address them separately. Vanhoutte rightly questions the affinities of my theses with Luddism, Orwell and Baudrillard’s theoretical terrorism. My reply discusses why these reactionary positions are currently out of joint. Hoens rightly questions my interpretation of the notion ‘passion for the real’ and whether the examples discussed delineate the specificity of new media. My reply discusses how I take this notion as (...) a starting point for an analysis that complements rather then criticises Badiou and Žižek and how the apparent resemblance between old and new media in fact entails significant differences. (shrink)

Media art can be conceived as laboratory, at the edges of art. These technological experiments give priority to innovation and exploration by means of new media. In metaphorical terms, we could say that the emphasis is on creating new languages that allow us, in a later phase, to write prose or poetry with it.In my paper, I discuss why the common view on media art falls short. Media art is not just about mixing media but rather about mixing art. Several (...) different challenges are at stake that beget a hybrid post-medium condition. (1) The artistic practice of media art often concerns exercises in remediation (i.e. resonating visual narratives of old media in new media). Here, we encounter a repetition of historical themes and re-makes or re-enactments of classical art pieces. These experiments thus mix the history of art. (2) Media art is often also about immersion (i.e. interactively enclosing the spectactor in a audiovisual or virtual realm). In experiments with CAVE-installations or 3D-cinema using digital goggles, for instance, we notice a combination of an artistic interest with a phenomenologicaland a scientific one (cf. so-called postfenomenology, robotics, experimental psychology). Hence, these experiments mix art with science. (3) Media art is not just a friction between art an technoscience. It takes place at a junction between art, creative industry, design, sociology and politics. Concerning the latter, I willdiscuss the culture-critical potential of i.e. hacktivism, marx 2.0 and bio-performances like Stelarc and Orlan. (4) Media art is not simply a genre that aims for recognition as a part of or a completion of fine art. While democratizing new media technology, it actually blurs the idea of genre, altering and opening up the very canon of fine art, music art, live art, performance art, video art and cinema. (shrink)

The recent developments in new media tools promise to improve our personal access to information management and our personalized abilities concerning i-communication. Rather than focusing on the practical implications of this evolution, I take a step back and address two underlying cultural phenomena in order to get a grip on the contemporary significance of ‘new media’. The first phenomenon (technotopia) concerns the place technology occupies in our psychological perception. ‘Technology’ is a concept on the move. In post-war culture, technology stands (...) for industrialization and mechanization. It is often associated withan external power, like capitalism (consumerism), military force (WW II, Cold War warfare) or ideology (the race for space travel, biotechnoscience). In post-wall culture, technology increasingly stands for new media and digital user-oriented innovations. The threat or fascination with respect to an external authority is replaced by a democratization of technology. New media constantly remediates our relation to the world, hence becoming immanent and ubiquitous. The second phenomenon (Cybertribes) concerns the function of new media in our society. From an anthropological point of view, it is worthwhile to conceive new media as acontemporary ‘totem’ that structures communities. Unlike ‘myths’ or ‘gods’, ‘totems’ are ideological organization principles that are conceptually ambiguous, heterogeneous, open and incomplete. Hence, it can fulfill plurality of functions. For instance, it intensively shapes our daily interaction, it allows for aspiration and identification (cf. Cyborg-mania, avatars in Second Life). Moreover, it is a device to express and revolt (cf. Hacktivism, Etoy‐war, Marx 2.0). (shrink)

The controversy about intentional explanation of action concerns how these explanations work. What kind of model allows us to capture the dependency or relevance relation between the explanans, i.e. the beliefs and desires of the agent, and the explanandum, i.e. the action? In this paper, I argue that the causal mechanical model can do the job. Causal mechanical intentional explanations consist in a reference to the mechanisms of practical reasoning of the agent that motivated the agent to act, i.e. to (...) a causally relevant set of beliefs and desires. Moreover, the causal mechanical model can provide in efficient and unproblematic applications, unlike action explanations using ceteris paribus laws or counterfactuals. The drawback of the latter models of explanation is their modal requirement: the explanans must mention or implies sufficient and/or necessary conditions for the explanandum. Such a requirement is too strong when it comes to intentional explanation of action. (shrink)

In this article we consider the growing interest in recent years in the use of documentary strategies in the wold of contemporary art, film and performing arts and explore some of the central epistemological assumptions underpinning the persistent idea that the documentary should be equated with ‘non-fiction’. Following Stella Bruzzi we argue that if documentary theory maintains objectivity as the primary measure of value, it will inevitably and continuously arrive at the conclusion that the documentary genre is fundamentally flawed. Instead, (...) we propose to move beyond the ‘realist epistemology’ of documentary theory and focus on the ‘documentary real’, i.e. the specific performativity of the reality constructed in and by the documentary genre. In the last paragraphs, we introduce the various articles that address the “documentary real” in this special issue. (shrink)

The sense of agency has received much attention in the context of individual action but not in the context of joint action. We investigated how the sense of agency developed during individual and dyadic performance while people learned a haptic coordination task. The sense of agency increased with better performance in all groups. Individuals and dyads showed a differential sense of agency after initial task learning, with dyads showing a minimal increase. The sense of agency depended on the context in (...) which the task was first learnt, as transfer from joint to individual performance resulted in an illusory boost in the sense of agency. Whereas the quality of performance related to the sense of agency, the generated forces to achieve the task did not. Our findings are consistent with a predictive model account at the perceptual level, such that the sense of agency relies most strongly on sharable perceptual information. (shrink)

Research has shown repeatedly that attention influences implicit learning effects. In a similar vein, interoceptive awareness might be involved in unaware fear conditioning: The fact that the CS is repeatedly presented in the context of aversive bodily experiences might facilitate the development of conditioned responding. We investigated the role of interoceptive attention in a subliminal conditioning paradigm. Conditioning was embedded in a spatial cueing task with subliminally presented cues that were followed by a masking stimulus. Response times to the targets (...) that were either validly or invalidly predicted by the cues served as index of conditioning. Interoceptive attention was manipulated between-subjects. Half the participants completed a heartbeat detection task before conditioning. This task tunes attention to one’s own bodily signals. We found that conditioned responding was facilitated in this latter group of participants. These results are in line with the hypothesis that a rise interoceptive attention enhances unaware conditioned responding. (shrink)