Research on the meanings of self and others’ perceptions, beliefs, values, and attitudes in intracultural and intercultural relations is of significant social relevance. A micro-analysis of its development as a whole process differentiated by the single substrates from an endophilosophical and ontological viewpoint will allow the implementation of a new definition of the self, being, and other according to the principles of dynamics and interculturality. This new sense of defining being will not only produce a good conception of the impact of culture on identity but also depict how the opposite, or pathogenic identity, should be considered, especially in times of existential crisis and change. Healthy or pathogenic patterns themselves organize situations where the basic needs of interaction with space are constructed and the equilibrium of everyone is maintained. Therefore, depending on the received information, professionals can formulate an objective analysis of the conscious self.
{"title":"The endophilosophy of interculturalism as a new terminology to describe the equilibrium of Being within the construction of Culture and Identity","authors":"Arjan Çuri, Ilda Kashami","doi":"10.5840/bjp202315223","DOIUrl":"https://doi.org/10.5840/bjp202315223","url":null,"abstract":"Research on the meanings of self and others’ perceptions, beliefs, values, and attitudes in intracultural and intercultural relations is of significant social relevance. A micro-analysis of its development as a whole process differentiated by the single substrates from an endophilosophical and ontological viewpoint will allow the implementation of a new definition of the self, being, and other according to the principles of dynamics and interculturality. This new sense of defining being will not only produce a good conception of the impact of culture on identity but also depict how the opposite, or pathogenic identity, should be considered, especially in times of existential crisis and change. Healthy or pathogenic patterns themselves organize situations where the basic needs of interaction with space are constructed and the equilibrium of everyone is maintained. Therefore, depending on the received information, professionals can formulate an objective analysis of the conscious self.","PeriodicalId":41126,"journal":{"name":"Balkan Journal of Philosophy","volume":"127 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135799527","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}
This article addresses the question of whether psychodrama can be viewed as an example of the extended mind thesis and can be applied in an educational context. The extended mind thesis (Clark & Chalmers, 1998) proposes that external artifacts can function as integral components of an individual's cognitive system, augmenting cognitive abilities. The article explores the notion that psychodrama, with its scenes, techniques, and social group dynamics, can be regarded as an extension of the mind. By examining this relationship, the article aims to provide a wider understanding of the implications of the extended mind thesis in the field of education. Viewing psychodrama through the lens of the extended mind thesis emphasizes the role of the environment in shaping cognition, underscores the significance of external resources in the educational process, and highlights the potential of psychodrama as an educational approach.
{"title":"Extended cognition in education. Psychodrama as an extended mind tool","authors":"Radostina Minina","doi":"10.5840/bjp202315224","DOIUrl":"https://doi.org/10.5840/bjp202315224","url":null,"abstract":"This article addresses the question of whether psychodrama can be viewed as an example of the extended mind thesis and can be applied in an educational context. The extended mind thesis (Clark & Chalmers, 1998) proposes that external artifacts can function as integral components of an individual's cognitive system, augmenting cognitive abilities. The article explores the notion that psychodrama, with its scenes, techniques, and social group dynamics, can be regarded as an extension of the mind. By examining this relationship, the article aims to provide a wider understanding of the implications of the extended mind thesis in the field of education. Viewing psychodrama through the lens of the extended mind thesis emphasizes the role of the environment in shaping cognition, underscores the significance of external resources in the educational process, and highlights the potential of psychodrama as an educational approach.","PeriodicalId":41126,"journal":{"name":"Balkan Journal of Philosophy","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135799749","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}
The author discusses the problem of what AI is and how we can understand the “anthropocentrism” of AI from a philosophical point of view. Three interpretations of the relationship between humans and technology are presented: 1) AI-aided human intelligence, based on the extension theory of technology (Stiegler, 1998); 2) human-aided AI intelligence, based on ideas related to political economy (Crawford, 2021); and 3) the relativity of the anthropocentric frame of reference (AFR), based on the taxonomy of species. The purpose of the article is to provide considerations of the three different interpretations of the relationship between humans and technology and how they lead to different opportunities to answer the question of how we can understand AI’s creativity.
{"title":"Artificial Intelligence: Three Philosophical Interpretations of the Anthropocentric Frame of Reference","authors":"Hristina Ambareva","doi":"10.5840/bjp202315110","DOIUrl":"https://doi.org/10.5840/bjp202315110","url":null,"abstract":"The author discusses the problem of what AI is and how we can understand the “anthropocentrism” of AI from a philosophical point of view. Three interpretations of the relationship between humans and technology are presented: 1) AI-aided human intelligence, based on the extension theory of technology (Stiegler, 1998); 2) human-aided AI intelligence, based on ideas related to political economy (Crawford, 2021); and 3) the relativity of the anthropocentric frame of reference (AFR), based on the taxonomy of species. The purpose of the article is to provide considerations of the three different interpretations of the relationship between humans and technology and how they lead to different opportunities to answer the question of how we can understand AI’s creativity.","PeriodicalId":41126,"journal":{"name":"Balkan Journal of Philosophy","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71226955","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}
The review emphasizes the main topics and ideas in Nonka Bogomilova’s book, The Balkans: Marked Roads (1991-2016), and especially the humanist message of the book, which demolishes stereotypes and prejudices about our living space. Special attention is paid to the author’s contribution to Balkan Religious Studies as a personal, experience-based insight into the culture and characterology of the Balkans and the Balkan people.
{"title":"Review of Nonka Bogomilova's Book The Balkans: Marked Roads (1991-2016), Sofia, 2020","authors":"Dragolyub Dzhordzhevich","doi":"10.5840/bjp202315111","DOIUrl":"https://doi.org/10.5840/bjp202315111","url":null,"abstract":"The review emphasizes the main topics and ideas in Nonka Bogomilova’s book, The Balkans: Marked Roads (1991-2016), and especially the humanist message of the book, which demolishes stereotypes and prejudices about our living space. Special attention is paid to the author’s contribution to Balkan Religious Studies as a personal, experience-based insight into the culture and characterology of the Balkans and the Balkan people.","PeriodicalId":41126,"journal":{"name":"Balkan Journal of Philosophy","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71227053","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}
This paper questions the notion of creativity found in certain artworks produced with A.I. technologies. The artistic examples concerned are: The Giver of names by David Rokeby, Oscar by Catherine Ikam and Louis Fléri, and Emotion Vending Machine by Maurice Benayoun. These artworks were selected because they stand out for their autonomous behavior in front of the human public. In this context, creativity is revealed as a consequence of the functional autonomy, which is very typical of these pieces of art. The intention is to establish a relationship between the notion of autonomy and that of creativity, reviewing their meanings and applications in philosophy and in the field of life science.
{"title":"Creativity through Autonomy: The Real Challenge of the Computer Art Today","authors":"Nikoleta Kerinska","doi":"10.5840/bjp20231519","DOIUrl":"https://doi.org/10.5840/bjp20231519","url":null,"abstract":"This paper questions the notion of creativity found in certain artworks produced with A.I. technologies. The artistic examples concerned are: The Giver of names by David Rokeby, Oscar by Catherine Ikam and Louis Fléri, and Emotion Vending Machine by Maurice Benayoun. These artworks were selected because they stand out for their autonomous behavior in front of the human public. In this context, creativity is revealed as a consequence of the functional autonomy, which is very typical of these pieces of art. The intention is to establish a relationship between the notion of autonomy and that of creativity, reviewing their meanings and applications in philosophy and in the field of life science.","PeriodicalId":41126,"journal":{"name":"Balkan Journal of Philosophy","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71227299","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":"A Theory of Aesthetic Validity, Inspired by Thomas Kuhn","authors":"Diana Ghinea","doi":"10.5840/bjp202315112","DOIUrl":"https://doi.org/10.5840/bjp202315112","url":null,"abstract":"<jats:p />","PeriodicalId":41126,"journal":{"name":"Balkan Journal of Philosophy","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71227121","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}
This paper proposes a deep analysis of the latest research of digital humanities scholar Beatrice Fazi, and especially her critique of computational automation, to understand the roles of digital creative technologies, and more specifically of creative software. After a close analysis of Fazi’s main contribution to a new understanding of computational aesthetics, we will briefly outline the potential implications of her work to understand the contemporary evolution of creative software, and especially the implementation of machine learning algorithms in these kinds of software. This will lead us to contextualise the contemporary anxieties regarding how machines could replace humans in the act of artistic creation.
{"title":"Towards a New Computational Aesthetics of Creative Software","authors":"Damien Charrieras","doi":"10.5840/bjp20231517","DOIUrl":"https://doi.org/10.5840/bjp20231517","url":null,"abstract":"This paper proposes a deep analysis of the latest research of digital humanities scholar Beatrice Fazi, and especially her critique of computational automation, to understand the roles of digital creative technologies, and more specifically of creative software. After a close analysis of Fazi’s main contribution to a new understanding of computational aesthetics, we will briefly outline the potential implications of her work to understand the contemporary evolution of creative software, and especially the implementation of machine learning algorithms in these kinds of software. This will lead us to contextualise the contemporary anxieties regarding how machines could replace humans in the act of artistic creation.","PeriodicalId":41126,"journal":{"name":"Balkan Journal of Philosophy","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71227242","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}
Art creates a specific relation to time and especially to the present moment. It opens the experience of the present towards its indeterminacy and emergence. On the contrary, AI does not know the present. It recognizes only the past and future. We could even say that artificial neural networks do not “know” time at all. Instead, they know only logical functions which process patterns of information. Yet, what makes time “time” is genuine transformation, which happens outside of the abstract realm of logic. I support these observations by analysing two works of art: Bill Viola’s The Raft (2004) and Hito Steyerl’s This Is the Future (2019). While artistic creation opens up the intervals “in-between seconds” for an unpredictable and transformative event to occur (The Raft), AI closes these intervals and fastens the future into predictability calculated on the basis of past data (This Is the Future). Although this machinic operation makes the present even more unpredictable and prone to catastrophes, its potential for transformation seems to be withdrawn.
艺术创造了与时间的特定关系，尤其是与当下的关系。它打开了现在的经验，朝向它的不确定性和涌现。相反，人工智能不知道现在。它只承认过去和未来。我们甚至可以说，人工神经网络根本不“知道”时间。相反，他们只知道处理信息模式的逻辑功能。然而，使时间成为“时间”的是真正的转换，这种转换发生在抽象的逻辑领域之外。我通过分析两件艺术品来支持这些观察:比尔·维奥拉的《木筏》(2004年)和希托·斯特耶尔的《这就是未来》(2019年)。虽然艺术创作为不可预测和变革事件的发生打开了“间隔时间”(《the Raft》)，但人工智能关闭了这些间隔时间，并将未来固定为基于过去数据计算的可预测性(《This Is the future》)。尽管这种机械的操作使现在更加不可预测，更容易发生灾难，但它的转变潜力似乎正在减弱。
{"title":"Clashes of Temporality in AI and Artistic Creativity","authors":"Nevena Ivanova","doi":"10.5840/bjp20231518","DOIUrl":"https://doi.org/10.5840/bjp20231518","url":null,"abstract":"Art creates a specific relation to time and especially to the present moment. It opens the experience of the present towards its indeterminacy and emergence. On the contrary, AI does not know the present. It recognizes only the past and future. We could even say that artificial neural networks do not “know” time at all. Instead, they know only logical functions which process patterns of information. Yet, what makes time “time” is genuine transformation, which happens outside of the abstract realm of logic. I support these observations by analysing two works of art: Bill Viola’s The Raft (2004) and Hito Steyerl’s This Is the Future (2019). While artistic creation opens up the intervals “in-between seconds” for an unpredictable and transformative event to occur (The Raft), AI closes these intervals and fastens the future into predictability calculated on the basis of past data (This Is the Future). Although this machinic operation makes the present even more unpredictable and prone to catastrophes, its potential for transformation seems to be withdrawn.","PeriodicalId":41126,"journal":{"name":"Balkan Journal of Philosophy","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71227288","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}
Algorithms and automated learning systems have been successfully applied to produce images, pieces of music, or texts that are appealing to humans and that are often compared to artworks. Computational technologies are able to find surprising and original solutions–new patterns that humans cannot anticipate– but does this mean we ascribe to them the kind of creativity that is expressed by human artists? Even though AI can successfully detect humans’ preferences as well as select the objects that satisfy taste, can we ascribe to them the capacity of recognizing the intrinsic value of artworks? To answer these questions, I am first going to explain the kind of creativity that is expressed by contemporary predictive systems, then, in the second part of this paper, I will try to show the difference between the creativity of algorithms and the creativity of artists by expanding on Deleuze’s reflections.
{"title":"Computational Creativity or Automated Information Production?","authors":"Anna Longo","doi":"10.5840/bjp20231513","DOIUrl":"https://doi.org/10.5840/bjp20231513","url":null,"abstract":"Algorithms and automated learning systems have been successfully applied to produce images, pieces of music, or texts that are appealing to humans and that are often compared to artworks. Computational technologies are able to find surprising and original solutions–new patterns that humans cannot anticipate– but does this mean we ascribe to them the kind of creativity that is expressed by human artists? Even though AI can successfully detect humans’ preferences as well as select the objects that satisfy taste, can we ascribe to them the capacity of recognizing the intrinsic value of artworks? To answer these questions, I am first going to explain the kind of creativity that is expressed by contemporary predictive systems, then, in the second part of this paper, I will try to show the difference between the creativity of algorithms and the creativity of artists by expanding on Deleuze’s reflections.","PeriodicalId":41126,"journal":{"name":"Balkan Journal of Philosophy","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71227322","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":"Is Hermann Lotze a “dead dog”?","authors":"Dimitar Tsatsov","doi":"10.5840/bjp202315225","DOIUrl":"https://doi.org/10.5840/bjp202315225","url":null,"abstract":"<jats:p />","PeriodicalId":41126,"journal":{"name":"Balkan Journal of Philosophy","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135799516","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}
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