874 research outputs found

    Multidisciplinary perspectives on Artificial Intelligence and the law

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    This open access book presents an interdisciplinary, multi-authored, edited collection of chapters on Artificial Intelligence (‘AI’) and the Law. AI technology has come to play a central role in the modern data economy. Through a combination of increased computing power, the growing availability of data and the advancement of algorithms, AI has now become an umbrella term for some of the most transformational technological breakthroughs of this age. The importance of AI stems from both the opportunities that it offers and the challenges that it entails. While AI applications hold the promise of economic growth and efficiency gains, they also create significant risks and uncertainty. The potential and perils of AI have thus come to dominate modern discussions of technology and ethics – and although AI was initially allowed to largely develop without guidelines or rules, few would deny that the law is set to play a fundamental role in shaping the future of AI. As the debate over AI is far from over, the need for rigorous analysis has never been greater. This book thus brings together contributors from different fields and backgrounds to explore how the law might provide answers to some of the most pressing questions raised by AI. An outcome of the Católica Research Centre for the Future of Law and its interdisciplinary working group on Law and Artificial Intelligence, it includes contributions by leading scholars in the fields of technology, ethics and the law.info:eu-repo/semantics/publishedVersio

    A philosophical discussion of the implications and limitations of using Virtual Reality Technology (VR) as an “Empathy Machine”

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    This thesis engages in a philosophical discussion on “empathy”, “virtuality”, and the use of virtual reality (VR) technology as an “empathy machine”. Here, I define empathy as the intentional activity (or skill) of recreating aspects of another subject’s emotional experience in one’s imagination to reflectively and “experientially” understand what another is feeling. As opposed to isomorphically appropriating another’s feelings to oneself, I identify empathy as third-personally “feeling with” others. After exploring the narrow and pluralistic approaches to understanding empathy, I argue that there are compelling pragmatic reasons for adopting the pluralistic approach, the proponents of which prefer to highlight varieties of empathy instead of a sole conceptualisation of “empathy proper”. As for virtuality, I subscribe to a third view that can be located between “virtual realism” and “virtual irrealism”, in that I understand virtuality as a sui generis mode of technological actualisation, where psychophysiological illusions, of virtual presence and embodiment, coexist with veridical elements, such as virtual social objects, without causing a defect in users’ rational judgment. My main contention in this research is that VR’s multisensory affordances can be instrumentally utilised as a complementary extension (but never as a replacement) for offsetting some of the limitations in attaining interpersonal empathy through imaginative perspective-taking alone. After discussing this contention in more depth, I then attempt to address some of the recurrent challenges and criticism raised against VR’s use as an empathy machine. Finally, I highlight some of the limitations in VR technology’s capability to capture and transmit a full representation of others’ lived experiences

    Second-Person Surveillance: Politics of User Implication in Digital Documentaries

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    This dissertation analyzes digital documentaries that utilize second-person address and roleplay to make users feel implicated in contemporary refugee crises, mass incarceration in the U.S., and state and corporate surveillances. Digital documentaries are seemingly more interactive and participatory than linear film and video documentary as they are comprised of a variety of auditory, visual, and written media, utilize networked technologies, and turn the documentary audience into a documentary user. I draw on scholarship from documentary, game, new media, and surveillance studies to analyze how second-person address in digital documentaries is configured through user positioning and direct address within the works themselves, in how organizations and creators frame their productions, and in how users and players respond in reviews, discussion forums, and Let’s Plays. I build on Michael Rothberg’s theorization of the implicated subject to explore how these digital documentaries bring the user into complicated relationality with national and international crises. Visually and experientially implying that users bear responsibility to the subjects and subject matter, these works can, on the one hand, replicate modes of liberal empathy for suffering, distant “others” and, on the other, simulate one’s own surveillant modes of observation or behavior to mirror it back to users and open up one’s offline thoughts and actions as a site of critique. This dissertation charts how second-person address shapes and limits the political potentialities of documentary projects and connects them to a lineage of direct address from educational and propaganda films, museum exhibits, and serious games. By centralizing the user’s individual experience, the interventions that second-person digital documentaries can make into social discourse change from public, institution-based education to more privatized forms of sentimental education geared toward personal edification and self-realization. Unless tied to larger initiatives or movements, I argue that digital documentaries reaffirm a neoliberal politics of individual self-regulation and governance instead of public education or collective, social intervention. Chapter one focuses on 360-degree virtual reality (VR) documentaries that utilize the feeling of presence to position users as if among refugees and as witnesses to refugee experiences in camps outside of Europe and various dwellings in European cities. My analysis of Clouds Over Sidra (Gabo Arora and Chris Milk 2015) and The Displaced (Imraan Ismail and Ben C. Solomon 2015) shows how these VR documentaries utilize observational realism to make believable and immersive their representations of already empathetic refugees. The empathetic refugee is often young, vulnerable, depoliticized and dehistoricized and is a well-known trope in other forms of humanitarian media that continues into VR documentaries. Forced to Flee (Zahra Rasool 2017), I am Rohingya (Zahra Rasool 2017), So Leben FlĂŒchtlinge in Berlin (Berliner Morgenpost 2017), and Limbo: A Virtual Experience of Waiting for Asylum (Shehani Fernando 2017) disrupt easy immersions into realistic-looking VR experiences of stereotyped representations and user identifications and, instead, can reflect back the user’s political inaction and surveillant modes of looking. Chapter two analyzes web- and social media messenger-based documentaries that position users as outsiders to U.S. mass incarceration. Users are noir-style co-investigators into the crime of the prison-industrial complex in Fremont County, Colorado in Prison Valley: The Prison Industry (David Dufresne and Philippe Brault 2009) and co-riders on a bus transporting prison inmates’ loved ones for visitations to correctional facilities in Upstate New York in A Temporary Contact (Nirit Peled and Sara Kolster 2017). Both projects construct an experience of carceral constraint for users to reinscribe seeming “outside” places, people, and experiences as within the continuation of the racialized and classed politics of state control through mass incarceration. These projects utilize interfaces that create a tension between replicating an exploitative hierarchy between non-incarcerated users and those subject to mass incarceration while also de-immersing users in these experiences to mirror back the user’s supposed distance from this mode of state regulation. Chapter three investigates a type of digital game I term dataveillance simulation games, which position users as surveillance agents in ambiguously dystopian nation-states and force users to use their own critical thinking and judgment to construct the criminality of state-sanctioned surveillance targets. Project Perfect Citizen (Bad Cop Studios 2016), Orwell: Keeping an Eye on You (Osmotic Studios 2016), and Papers, Please (Lucas Pope 2013) all create a dual empathy: players empathize with bureaucratic surveillance agents while empathizing with surveillance targets whose emails, text messages, documents, and social media profiles reveal them to be “normal” people. I argue that while these games show criminality to be a construct, they also utilize a racialized fear of the loss of one’s individual privacy to make players feel like they too could be surveillance targets. Chapter four examines personalized digital documentaries that turn users and their data into the subject matter. Do Not Track (Brett Gaylor 2015), A Week with Wanda (Joe Derry Hall 2019), Stealing Ur Feelings (Noah Levenson 2019), Alfred Premium (JoĂ«l Ronez, Pierre Corbinais, and Émilie F. Grenier 2019), How They Watch You (Nick Briz 2021), and Fairly Intelligentℱ (A.M. Darke 2021) track, monitor, and confront users with their own online behavior to reflect back a corporate surveillance that collects, analyzes, and exploits user data for profit. These digital documentaries utilize emotional fear- and humor-based appeals to persuade users that these technologies are controlling them, shaping their desires and needs, and dehumanizing them through algorithmic surveillance

    Sensing Collectives: Aesthetic and Political Practices Intertwined

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    Are aesthetics and politics really two different things? The book takes a new look at how they intertwine, by turning from theory to practice. Case studies trace how sensory experiences are created and how collective interests are shaped. They investigate how aesthetics and politics are entangled, both in building and disrupting collective orders, in governance and innovation. This ranges from populist rallies and artistic activism over alternative lifestyles and consumer culture to corporate PR and governmental policies. Authors are academics and artists. The result is a new mapping of the intermingling and co-constitution of aesthetics and politics in engagements with collective orders

    Handbook Transdisciplinary Learning

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    What is transdisciplinarity - and what are its methods? How does a living lab work? What is the purpose of citizen science, student-organized teaching and cooperative education? This handbook unpacks key terms and concepts to describe the range of transdisciplinary learning in the context of academic education. Transdisciplinary learning turns out to be a comprehensive innovation process in response to the major global challenges such as climate change, urbanization or migration. A reference work for students, lecturers, scientists, and anyone wanting to understand the profound changes in higher education

    (b2023 to 2014) The UNBELIEVABLE similarities between the ideas of some people (2006-2016) and my ideas (2002-2008) in physics (quantum mechanics, cosmology), cognitive neuroscience, philosophy of mind, and philosophy (this manuscript would require a REVOLUTION in international academy environment!)

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    (b2023 to 2014) The UNBELIEVABLE similarities between the ideas of some people (2006-2016) and my ideas (2002-2008) in physics (quantum mechanics, cosmology), cognitive neuroscience, philosophy of mind, and philosophy (this manuscript would require a REVOLUTION in international academy environment!

    'A hidden art form' the value of sound in UK television idents (1982-2022)

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    Television idents are hidden in plain sight. Their creativity is often undervalued by industry practitioners and viewers alike, designated a ‘hidden art form’ by creative executive Charlie Mawer (2020). The sound worlds of idents are doubly overlooked, often ignored in visually-centric discourse on idents in industry journals and in media and cultural studies. In the production process, composers are often peripheral to the project, involved only towards the end. This thesis inverts such hierarchies and adopts a sound-oriented perspective towards idents. The approach brings together previously disparate strands across musicology, art and design history, and media studies, aiming to highlight the value of sound in idents as well as the hitherto-neglected creative labour of composers in the promotion of television channels. The scope is confined mainly to the UK, examining idents produced for broadcasters and streaming platforms between 1982 and 2022. This thesis addresses a central question: What is the value of music and sound in television idents? To answer this question, it combines textual analyses of idents with evidence from practitioner interviews. Musicological concepts and theories are employed in the analysis of idents, highlighting the aesthetic character and functions of the music and sounds. The method of reflexive thematic analysis (RTA) applied to the interviews produced new insights into the working environments of the composers and their creative colleagues, exploring themes of identity, collaboration, creative process, and artistic value. The first three chapters set out the aim of this thesis, academic contexts, and methodological approach respectively. Chapter 4 contains a musicological analysis of idents, tracing transformations in the aesthetic character and roles of sound in connection with the changing experience of watching television between 1982 and 2022. Chapter 5 expands on the arguments set out in Chapter 4 by focussing on production contexts, unpacking themes derived from the qualitative analysis of the interviews. Chapter 6 synthesises the conclusions and findings from Chapters 4 and 5 and discusses the commercial, artistic, and cultural value of the music and sound of idents. This thesis culminates with an exploration of future avenues of research and the implications of this research for practitioners and educators. In sum, this thesis argues that the artistic labour of ident production and the valuable role of musical creativity within this commercial and temporally constraining context deserve greater recognition and attention

    Farming out : a study.

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    Farming is one of severals ways of arranging for a group of individuals to perform work simultaneously. Farming is attractive. It is a simple concept, and yet it allocates work dynamically, balancing the load automatically. This gives rise to potentially great efficiency; yet the range of applications that can be farmed efficiently and which implementation strategies are the most effective has not been classified. This research has investigated the types of application, design and implementation that farm efficiently on computer systems constructed from a network of communicating parallel processors. This research shows that all applications can be farmed and identifies those concerns that dictate efficiency. For the first generation of transputer hardware, extensive experiments have been performed using Occam, independent of any specific application. This study identified the boundary conditions that dictate which design parameters farm efficiently. These boundary conditions are expressed in a general form that is directly amenable to other architectures. The specific quantitative results are of direct use to others who wish to implement farms on this architecture. Because of farming’s simplicity and potential for high efficiency, this work concludes that architects of parallel hardware should consider binding this paradigm into future systems so as to enable the dynamic allocation of processes to processors to take place automatically. As well as resulting in high levels of machine utilisation for all programs, this would also permanently remove the burden of allocation from the programmer
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