Understanding the Cognitive Impact of Emerging Web Technologies: A Research Focus Area for Embodied, Extended and Distributed Approaches to Cognition

Alongside existing research into the social, political and economic impacts of the Web, there is also a need to explore the effects of the Web on our cognitive profile. This is particularly so as the range of interactive opportunities we have with the Web expands under the influence of a range of emerging technologies. Embodied, extended and distributed approaches to cognition are relevant to understanding the potential cognitive impact of these new technologies because of the emphasis they place on extra-neural and extra-corporeal factors in the shaping of our cognitive capabilities at both an individual and collective level. The current paper outlines a number of areas where embodied, extended and distributed approaches to cognition are useful in understanding the impact of emerging Web technologies on future forms of both human and machine intelligence

Building machines that learn and think about morality

Lake et al. propose three criteria which, they argue, will bring artificial intelligence (AI) systems closer to human cognitive abilities. In this paper, we explore the application of these criteria to a particular domain of human cognition: our capacity for moral reasoning. In doing so, we explore a set of considerations relevant to the development of AI moral decision-making. Our main focus is on the relation between dual-process accounts of moral reasoning and model-free/model-based forms of machine learning. We also discuss how work in embodied and situated cognition could provide a valu- able perspective on future research

Philosophical foundations of the Death and Anti-Death discussion

Perhaps there has been no greater opportunity than in this “VOLUME FIFTEEN of our Death And Anti-Death set of anthologies” to write about how might think about life and how to avoid death. There are two reasons to discuss “life”, the first being enhancing our understanding of who we are and why we may be here in the Universe. The second is more practical: how humans meet the physical challenges brought about by the way they have interacted with their environment. Many persons discussing “life” beg the question about what “life” is. Surely, when one discusses how to overcome its opposite, death, they are not referring to another “living” thing such as a plant. There seems to be a commonality, though, and it is this commonality is one needing elaboration. It ostensibly seems to be the boundary condition separating what is completely passive (inert) from what attempts to maintain its integrity, as well as fulfilling other conditions we think “life” has. In our present discussion, there will be a reminder that it by no means has been unequivocally established what life really is by placing quotes around the word, namely, “life”. Consider it a tag representing a bundle of philosophical ideas that will be unpacked in this paper

Sculptural Thinking in Fashion

Human thinking in relation to the body is conditioned by an understanding of the body as a three-dimensional form. The fashion designer Madame Gres said ‘I wanted to be a sculptor — for me it is just the same to work with fabric or stone.’ Sculpture and fashion both adopt figurative formations, a default position of representing human form in space, motion and time: both an art form receptive to the senses of sight, touch and gravitational pull. This research questions whether the thinking processes in fashion design are common with thinking in sculptural practices within fine art. The question emerged through conversations between a fashion designer and a contemporary artist and centered upon the use of language, thinking and reflective practices, and the articulation and application of material processes. To address these questions we focused upon two approaches: whether thought and its articulation in the lexicon of creative practice is common and whether there is a two way flow of visual, material and technical influences. The initial conversation centered upon the art historian, Rowan Bailey’s essay ‘Herder’s Sculptural Thinking.’ Our interpretations of this work identified that thought itself evolves in the experience of three-dimensions and sharing our experiences of touch. The idea of the sculptural therefore becomes social; a shared phenomena. We became interested in how thinking begins to take shape in material forms, or the notion of working creatively in three-dimensionality is in itself a structure of the emotions that connect to a line of thought. The first section of the paper establishes a platform for the second section by investigating the significance of touch and mimicry, and the philosophies behind thinking sculpturally. The second section considers the effects of influence between the two disciplines, noting an interaction between the creative processes in sculpture and fashion design, such as: modeling, draping, molding, stacking, casting, shaping and carving. The paper concludes by drawing together the two sections

Sculptural Thinking in Fashion

Human thinking in relation to the body is conditioned by an understanding of the body as a three-dimensional form. The fashion designer Madame Gres said ‘I wanted to be a sculptor — for me it is just the same to work with fabric or stone.’ Sculpture and fashion both adopt figurative formations, a default position of representing human form in space, motion and time: both an art form receptive to the senses of sight, touch and gravitational pull. This research questions whether the thinking processes in fashion design are common with thinking in sculptural practices within fine art. The question emerged through conversations between a fashion designer and a contemporary artist and centered upon the use of language, thinking and reflective practices, and the articulation and application of material processes. To address these questions we focused upon two approaches: whether thought and its articulation in the lexicon of creative practice is common and whether there is a two way flow of visual, material and technical influences. The initial conversation centered upon the art historian, Rowan Bailey’s essay ‘Herder’s Sculptural Thinking.’ Our interpretations of this work identified that thought itself evolves in the experience of three-dimensions and sharing our experiences of touch. The idea of the sculptural therefore becomes social; a shared phenomena. We became interested in how thinking begins to take shape in material forms, or the notion of working creatively in three-dimensionality is in itself a structure of the emotions that connect to a line of thought. The first section of the paper establishes a platform for the second section by investigating the significance of touch and mimicry, and the philosophies behind thinking sculpturally. The second section considers the effects of influence between the two disciplines, noting an interaction between the creative processes in sculpture and fashion design, such as: modeling, draping, molding, stacking, casting, shaping and carving. The paper concludes by drawing together the two sections

Vision, Action, and Make-Perceive

In this paper, I critically assess the enactive account of visual perception recently defended by Alva Noë (2004). I argue inter alia that the enactive account falsely identifies an object’s apparent shape with its 2D perspectival shape; that it mistakenly assimilates visual shape perception and volumetric object recognition; and that it seriously misrepresents the constitutive role of bodily action in visual awareness. I argue further that noticing an object’s perspectival shape involves a hybrid experience combining both perceptual and imaginative elements – an act of what I call ‘make-perceive.

At the Potter’s Wheel: An Argument for Material Agency

Consider a potter throwing a vessel on the wheel. Think of the complex ways brain, body, wheel and clay relate and interact with one another throughout the different stages of this activity and try to imagine some of the resources (physical, mental or biological) needed for the enaction of this creative process. Focus, for instance, on the first minutes of action when the potter attempts to centre the lump of clay on the wheel. The hands are grasping the clay. The fingers, bent slightly following the surface curvature, sense the clay and exchange vital tactile information necessary for a number of crucial decisions that are about to follow in the next few seconds. What is it that guides\ud the dextrous positioning of the potter’s hands and decides upon the precise amount of forward or downward pressure necessary for centring a lump of clay on the wheel? How do the potter’s fingers come to know the precise force of the\ud appropriate grip? What makes these questions even more fascinating is the ease by which the phenomena which they describe are accomplished. Yet underlying the effortless manner in which the potter’s hand reaches for and gradually\ud shapes the wet clay lies a whole set of conceptual challenges to some of our most deeply entrenched assumptions about what it means to be a human agent