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Vtělenost ve vztahu k novým technologiím
Get PDFThis dissertation is an empirically responsive philosophical exploration into the incorporation of technological tools within a framework comprising the structures of experience laid out in the early phenomenological tradition and an analysis of agency drawing from the analytical tradition. Technological tools have become so deeply integrated in our lives that they function like a part of us, transforming what we feel we can do and even who we are. Although new spaces of autonomous agency have been opened up, since the inner workings of technological tools can remain invisible, we risk diminishing our own capacities. Since we are fundamentally embedded in the world, we cannot understand ourselves without reference to the world and we cannot understand the world without reference to the way we are. The uniqueness involved in our use of technological tools grows out of a more primordial uniqueness that makes technological tool use possible and sets us apart from our closest evolutionary relatives. Several animals extend their physical influence on the environment by means of tools. We humans, however, use tools to extend our cognitive abilities as well. And since the computer is the most universal human tool, which can be put to sensorimotor and cognitive purposes alike, we take the computer to be..
Wall-Window-Screen: How the Cell Phone Mediates a Worldview for Us
Get PDFThe article proposes to model the phenomenon of the cell phone as
a wall-window. This model aims at explicating some of the
perceptions and experiences associated with cellular technology.
The wall-window model means that the cell phone simultaneously
separates the user from the physical surroundings (the wall), and
connects the user to a remote space (the window). The remote space
may be where the interlocutor resides or where information is
stored (e.g. the Internet). Most cell phone usage patterns are
modeled as a single dimension according to the level of distraction
or attention of the user. In order to accommodate nuanced situations
such as augmented reality, I suggest a two-dimensional layout: the
wall-window. The wall represents the attention to the immediate
physical environment, while the window represents the attention to
a remote space. The wall-window model further evolves once a
screen is woven into this layout. This addition is easily understood
due to the screen’s etymology, which is associated with the
concepts of shield or barrier. From a technical perspective, the
screen has become an integral part of the cell phone. Furthermore, a
screen itself is both a wall and a window. Lastly, once a cell phone
is supplemented with a screen, it is easier to refer to it as media.
And again, media fits into the wall-window model
Image, science and technology: A post-phenomenological approach: Interview with Don Ihde
No full textA Postphenomenological Guide to AI Regulation
Get PDFThe rise of AI has led many regulators around the world to realize that they need to intervene and safeguard their citizens from the potential harms of this technology. The “posterchild” of the regulatory efforts is the EU’s AI Act, with the first draft published in April 2021. The Act employs a risk-based approach, listing specific AI applications and ranking them according to their potential harm. The fast adoption of ChatGPT signaled to the legislators that generative AI should not be left outside the Act. The changes that were introduced to the 2021 draft consumed intensive negotiations ending only in December 2023. A new risk arises, namely that the regulation will become outdated even before the relevant law is enacted, as newer forms of AI are likely to require additions and amendments to the AI Act. This is the challenge to be addressed by this article. The aim is to suggest a map of AI risks to be answered by future AI regulation to ensure it can handle new risks, potential and actual alike. The proposed mapping of AI risks is based on the postphenomenological relations originally developed by Ihde and their variations as developed in the context of AI. The variation assumes that the intentionality arrow, usually pointing from the experiencing “I”, is likely to be reversed in the presence of AI. Each AI-oriented relation is discussed via an ethical-political analysis in light of the works of Robert Rosenberger and Peter-Paul Verbeek. The result is recommendations for new legislation on AI
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Magic, augmentations, and digital powers:The evolution of the interface in new digital media, and the effects of its disappearance.
No full text
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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