Journal of Aesthetics and Phenomenology最新文献

{"title":"Future Imaginings in Art and Artificial Intelligence","authors":"Andreia Machado Oliveira","doi":"10.1080/20539320.2022.2150467","DOIUrl":"https://doi.org/10.1080/20539320.2022.2150467","url":null,"abstract":"ABSTRACT In considering future imaginings of art and Artificial Intelligence (AI), we point out two key premises to our approach: the human-machine relation without opposition between the two terms; and the implications of artificial intelligence within practice-led art practices. According to Gilbert Simondon, there is a biological and technological evolution that does not separate nature and technics or culture and technics, since what is defined by human nature is already part of a technological system. Yuk Hui criticizes the idea of technological singularity supported by strong artificial intelligence which converges on itself. However, there is also the possibility of multiple bifurcations emerging from technodiverse practices and aesthetics. On algorithmic art, Lev Manovich points out that AI is increasingly culturally influencing our imagination, choices, and behaviours and that it has built its own imagery and cognitive patterns in society. Joanna Zylinska connects the dots between AI, creativity and innovation, which by bringing AI to research into practice-led art practices, opens the problematization of AI to the possibilities of reprogramming the human sensory-cognitive apparatus. In this paper, we extend these approaches to examine whether these computer systems that enable the processing of big data can or cannot program our imagination, desires, likes, sensations, perceptions and attitudes. Finally, in order to think the worlds built through these emerging AI technologies, we ask what kind of society we want to live in, and what roles we will allow ubiquitous computational technologies, such as AI, to play in our daily lives.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"9 1","pages":"209 - 225"},"PeriodicalIF":0.1,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48880363","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Topographic Algorithms: Reimagining Environmental Sensing and Representation","authors":"R. Carter","doi":"10.1080/20539320.2022.2150469","DOIUrl":"https://doi.org/10.1080/20539320.2022.2150469","url":null,"abstract":"forms—as carried through the optical sciences, the striations of cartography, and the diagrammatic reasoning seen in graphs, charts, and, later, databases. Sean Cubbitt’s own genealogy of the graphical line is predicated similarly on its use as a conceptual tool of perceptual and cognitive delimitation and stratification: ‘to abstract form from the manifold of perception, to select and translate reality and the experience of it into signs . . . to extract edges from what can actually be seen: color [sic] and texture. Line is itself an instrument of order, imposed as artifice on a world without lines’. Nevertheless, it is from within this crucible of varied technical, conceptual, and aesthetic striations that alternative imaginaries also become apparent. In Landform, the lines generated by its machine vision routine are largely nonconformal with any particular terrain features, their circuitous vectors being driven by a logic that is expressly nonrepresentational—treating the terrain as a matrix of abstract values, rather than emulating the intuitions of human vision. The effect is to emphasise the enacted nature of such framings within sensory operations, staging the more-than-human functioning of digital perception as the product of computed thresholds that can realise a plurality of forms otherwise unapparent in the source imagery. This is a conscious gesture within Landform towards an expanded conception of visual intelligence more broadly, to invoke Gabrys’ earlier call, while resisting any assumption that digital representations are direct, humanistic captures of the world they depict. Cubitt similarly observes the potential of lines that unsettle the predominant expectations of conformity and demarcation: ‘once the line declares independence from its representational function as edge and takes on a life of its own, it becomes something— albeit not something fixed’. In Landform this sense of becoming is carried through the generated lines functioning not as arbitrary striations across the terrain, but as esoteric algorithms that provide directives for subsequent operations. These programmatic aspects can be characterised instructively through Timotheus Vermeulen’s conception of the ‘altergorithm’: algorithms that aim not to predict and foreclose the future from a defined present, but instead treat the present as a space of becoming from which myriad futures can be facilitated. More specifically, altergorithms concern the production of artistic ‘models that, first, relate to the possibility of a world that develops differently with, or even independently from human interaction; and second, utilize [sic] technocratic models of prediction to envisage these alternative scenarios that defy all prediction’. As with Stubblefield and Parikka’s own conceptions of the role played by art in generating varied possible futures, the emphasis here lies in enacting speculative gestures, alternative narratives, and more-than-human imaginaries that are firmly","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"9 1","pages":"227 - 244"},"PeriodicalIF":0.1,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44128538","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Compression and Noise","authors":"M. Curtis Allen","doi":"10.1080/20539320.2022.2143652","DOIUrl":"https://doi.org/10.1080/20539320.2022.2143652","url":null,"abstract":"ABSTRACT Compression is an essential technique used across diverse information systems, one in which supposedly redundant or superfluous information is minimized or eliminated in order to make the storage, transmission, or reception of other information more legible or efficient. Compression is involved in everything from computer data storage (encoding) and efficient computational processes (floating point arithmetic) to the formatting of media (telephony, radio, streaming) or the engineering and circulation of sound and image (dynamic compression of volume, jpeg resolution). Beyond any particular technical implementation, though, compression names the peculiar perceptual regime of late modernity—it is our percepteme, our episteme. As Galloway and LaRivière (2017) have noted—everything is compressed, from the logic of digital computers to our attention spans. Yet, if compression designates the essence of experience today, it is precisely in response to a complementary concept of noise. Noise is the lived affect of our material conditions which cannot be made significant to us: not only the literal acoustic noise of late modernity (the waste-product of technologies which hang over perceptual spaces like smog hangs over cities) but, perhaps more critically, compression emerges to cope with a new, properly “cognitive complexity” embodied in the unprecedented entanglement and mediation of social relations through the technical/computational unfolding of the value-form of capital. Such complexity—lying beyond the grasp of any human individual—is logistically offloaded onto the nootechnical externalizations associated with, for instance, AI algorithms. On the other hand, it is individuated in experience as noise. Because such noise is perceptually intractable, compression becomes the necessary shape of our aesthesis, one that rigorously flattens the available modalities of experience/value—yet giving birth to new forms of abstraction, perception, and thought. While several thinkers—notably, Jason LaRivière and Cécile Malaspina—have brilliantly elaborated each concept on its own, I argue that they can only be properly situated through each other. In order to do this, I combine computational and information theory, philosophy, media and cultural theory, as well as political economy with concrete domains where compression and noise articulate the phenomenological stakes for aesthetics today.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"9 1","pages":"101 - 117"},"PeriodicalIF":0.1,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47223450","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Event/Machine of Neural Machine Translation?","authors":"Arnaud Regnauld","doi":"10.1080/20539320.2022.2143655","DOIUrl":"https://doi.org/10.1080/20539320.2022.2143655","url":null,"abstract":"ABSTRACT The present paper purports to question the status of machine translation as a technique, or even as a technology. The use of new technologies, and more particularly neural machine translation is problematic, because the operating mode of machine translation software is a machinic language processing that relies on the harvesting of potentially infinite databases to feed an artificial intelligence. Such a recursive loop only reinforces the sphere of the same without ever taking into account the risk of radical otherness in all its singularity. This is the spawn of our collective intelligence fed back to us by a network of interconnected algorithms in an endless feedback loop. I contend that translation allows us to overcome the dichotomy between techne and poiesis by opening the space for the emergence of otherness in the translating language that welcomes it. Even though the automaticity of the machine is antinomic with any poetic event, (how) can we, as Derrida puts it, “think together the machine and the event, a machinelike repetition and that which happens/arrives” 1 through (machine) translation?","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"9 1","pages":"141 - 154"},"PeriodicalIF":0.1,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49586926","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Aesthetics of Human-Machine Interaction: Generative Textuality in Hello Games’s No Man’s Sky","authors":"Justin Carpenter","doi":"10.1080/20539320.2022.2150464","DOIUrl":"https://doi.org/10.1080/20539320.2022.2150464","url":null,"abstract":"ABSTRACT Generative design is the artistic practice where an artist uses external systems (rules, algorithms, organic processes) to complete an artwork. Commonly utilized in video game design, generative design suggests an aesthetics of human-machine interaction, as machine decision-making partially shapes the experience of the player. In generative games, then, the relationship between designer, system, and audience dynamically shapes the conception, production, and reception of the game as a text. The interaction between designer, system, and audience unfolds in three ways. Firstly, by applying generative methods, the designer is explicitly de-centered, instead creating an environment in which systems somewhat-autonomously interact with entities. Secondly, generative games frame players as both entities within the game-world and agents from outside of it. Thirdly, generative games produce unexpected or emergent outcomes. Emergence is a product of the tension between decisions made by designer, system, and player(s). In essence, generative games produce novel worlds into which players are thrown, forcing them to learn to dwell within them. As Gianni Vattimo argues in Art’s Claim to Truth, in such artworks where “the hermeneutic circle is conceived in more existentialist terms, the act of interpretation is dramatized” (85). Further analysis of the interpretive drama found in games which utilize generative methods, especially as these texts continue to pervade popular culture and daily life, can unpack theories of intentionality, presence, and creativity in modern digital contexts. To elaborate these theories, I examine generative methods found in Hello Games’s No Man’s Sky. In this game the relationship between designer, text, and player produces emergent narratives with each subjective experience of the text, suggesting that human-machine interaction is inherently processual and relational.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"9 1","pages":"173 - 190"},"PeriodicalIF":0.1,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44954497","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Eros and Sensation: Art and Aesthetics in Emmanuel Levinas’s Prison Notebooks","authors":"Jussi Pentikäinen","doi":"10.1080/20539320.2022.2143660","DOIUrl":"https://doi.org/10.1080/20539320.2022.2143660","url":null,"abstract":"ABSTRACT The release of Emmanuel Levinas’s Prison Notebooks (Carnets de captivité) as a part of the first tome of his collected works has further illuminated the extent of the philosopher’s preoccupation with art, especially literature. Levinas’s own literary efforts have been well documented, but less attention has been paid to the relationship between the Prison Notebooks and Levinas’s early philosophy of art. In this article, I suggest that much of what Levinas has to say apropos art in his early philosophy can be traced back to meditations undertaken in captivity. I will unearth the influence of the Prison Notebooks in three articles from the 1940ʹs “L’autre dans Proust,” “La réalité et son ombre,” and “La transcendance des mots.” I argue that in Levinas’s early philosophy of art follows two distinct “paths”: the path of eros and the path of sensation. On one hand, Levinas questions how and if literature can do justice to the question of alterity, whereas on the other he seeks to make sense of the relationship between art and sensibility. I argue that in his notebooks Levinas offers an account of the meaning of sensations that forms the basis of his early aesthetics. Thus, the study of the Prison Notebooks is important as it allows us to see how Levinas’s early philosophy of art, including his seminal “La réalité et son ombre,” functions as a continuation of a philosophical project already begun during his time in captivity.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"22 8","pages":"31 - 45"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41267526","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Seeing The Gardener Vallier: Cézanne and Merleau-Ponty’s Aesthetics of Doubt","authors":"Shin Young Park","doi":"10.1080/20539320.2022.2143658","DOIUrl":"https://doi.org/10.1080/20539320.2022.2143658","url":null,"abstract":"ABSTRACT This article looks closely at one of Paul Cézanne’s portraits of Vallier painted the last year of his life to examine how his (“fugitive”) vision works through his use of colors. The French philosopher Maurice Merleau-Ponty, who in his phenomenology views the body as the primary locus of having and therefore knowing the world, emphasizes the vital role of the body of the artist that must be offered to the world in order to truly manifest the world in painting. It is no wonder that Cézanne’s artwork and thought are stitched into the structure of Merleau-Ponty’s aesthetics in his essay “Eye and Mind,” for Cézanne’s painting bears witness to his own account of aesthetic experience. Merleau-Ponty’s emphasis on the lived vision that seeks the depth of Being, the lived qualities of the visible world, takes Cézanne’s vision manifested in his portrait of Vallier further to see where the painting as well as Cézanne himself stand in relation to the visible world.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"9 1","pages":"17 - 29"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43953105","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The “Social” in the Social Turn: Empathy, Bias, and Participatory Art","authors":"Harry Drummond","doi":"10.1080/20539320.2022.2146874","DOIUrl":"https://doi.org/10.1080/20539320.2022.2146874","url":null,"abstract":"ABSTRACT Aesthetics and social cognition are two disciplines rarely merged, despite the penetration of artworks into social, moral, and political concerns. In particular, participatory artworks involve direct social interaction and perception, and are more often than not motivated by, and aim towards, ethico-political ends. In the following, I fuse considerations aesthetic with considerations intersubjective, arguing that participatory artworks engage and exploit empathy’s biased character towards a recalibration of our social relationships, namely inclusion and exclusion. Although critics of empathy suggest that its biased, manipulable, and narrow characteristics are detrimental to its moral promise, I argue that participatory artworks are successful intervention methods just insofar as they use these characteristics for their ethico-political gain. This is stimulated by their facilitation of affective, primary intersubjectivity, something I argue is unique to participatory art. After detailing these operations, I suggest that works that seek to address exclusion, rather than those that facilitate inclusion, have a greater potency in addressing and recalibrating empathy, in part owing to their provocation of empathy-related emotions and forms of fellow-feeling such as shame and compassion.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"9 1","pages":"65 - 81"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45012227","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Touch: Recovering our Most Vital Sense","authors":"J. Manoussakis","doi":"10.1080/20539320.2022.2146876","DOIUrl":"https://doi.org/10.1080/20539320.2022.2146876","url":null,"abstract":"","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"9 1","pages":"83 - 85"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42194096","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"What Is the Object of Art?","authors":"A. Benjamin","doi":"10.1080/20539320.2022.2143657","DOIUrl":"https://doi.org/10.1080/20539320.2022.2143657","url":null,"abstract":"ABSTRACT The aim of this paper is establish the difference between aesthetics and the philosophy of art. Part of the argument is that only a philosophy of art can give an adequate philosophical account of works of art. The argument is advanced drawing on the writings of Immanuel Kant and Gunter Figal.","PeriodicalId":41067,"journal":{"name":"Journal of Aesthetics and Phenomenology","volume":"9 1","pages":"1 - 15"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45287786","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}