In In Roman Ingarden and His Times, edited by Dominika Czakon, Natalia Anna Michna, and Leszek Sosnowski, pp. 109-26 • Kraków: Księgarnia Akademicka, 2020
ABSTRACT: While Roman Ingarden’s ontology and aesthetics have been widely studied, relatively little attention has been paid to his philosophical anthropology – despite the central role that it plays within his thought. Here we draw on the concept of the “relatively isolated system,” developed by Ingarden over more than three decades, in order to show how his philosophical model of the human being as a three-layered emergent whole can be understood as a particular application of his more generalized systems theory. Having reconstructed Ingarden’s systems-theoretical philosophical anthropology, it is argued that it provides a uniquely valuable methodological approach and tool for investigating those emerging processes of technological posthumanization that are diversifying and transforming human societies by expanding them to incorporate new types of non-human intelligent social actors (e.g., increasingly sophisticated social robots and AI) and “otherly” human beings (e.g., individuals whose capacities have been altered through neuroprosthetic augmentation). Conventional philosophical investigations that take as their starting point the status of human beings as biological, intentional, or moral beings often focus on the ways in which contemporary social robots and AI lack such status and thereby differ radically from human beings. However, by starting from the fact that all such entities are manifestations of relatively isolated systems, an Ingardenian systems-theoretical philosophical anthropology can highlight previously unappreciated similarities shared by the “naturally” human, otherly human, and non-human intelligent social beings expected to coexist within increasingly posthumanized societies.
Volume 01 in the Utopian Confederation Sourcebook series • ISBN 978-1-944373-83-2 • Mnemoclave, 2020 • 62 pages
SUMMARY: This book offers an introduction to the Utopian Confederation RPG series and the peaceful, prosperous, and high-tech future society that provides the setting for its adventures. In this world, the island-republic of Utopia isn’t an imaginary land; it’s a diplomatic, economic, techno-logical, and cultural trailblazer that has succeeded in unifying the world’s nations under a ban-ner of peaceful collaboration – thanks largely to the Utopian mindset that combines a strong rationality and pursuit of scientific knowledge with a social and political philosophy that’s grounded in a deep spirituality and theological sensitivity.
AVANT: Trends in Interdisciplinary Studies 11, no. 2 (2020)
ABSTRACT: In this text it is argued that immersion in virtual reality (VR) with the aid of contemporary VR equipment may offer access to novel types of virtual worlds that differ qualitatively from the “real” world and from other types of fictional worlds. The text begins by (a) distinguishing between VR systems, virtual environments, and virtual worlds; (b) showing how the virtual worlds facilitated by VR systems resemble and differ from the “virtual worlds” created in one’s mind when, for example, reading a novel or watching a film; and (c) identifying necessary and optional elements of a VR-facilitated virtual world. Employing a phenomenological approach that draws on the thought of Ingarden and Norberg-Schulz, it is shown that a visitor to a VR-facilitated virtual world can (and frequently does) shift his or her conscious attention along three different “axes”. First, one’s attention can move “horizontally” between the media that disclose the virtual world through different senses. Second, one’s attention can shift “vertically” between the virtual world’s different ontological strata, including its layers of myriad atomic stimuli; distinguishable elements that possess spatiotemporal extension; assemblages of elements that have a context and relations but lack individual meaning; glimpses that build up a lattice of meaning and contribute to one’s knowledge of the world; and the virtual world envisioned as a coherent mentally concretized whole. Third, one’s attention can shift “interspatially” between the many different overlapping constituent spaces of the virtual world, including its perceptual, concrete, natural, built, identifiable, technological, emotional, social, economic, political, cultural, ecological, and possibility spaces. This triaxial phenomenological framework can shed new light on the rich and diverse ways in which VR-facilitated virtual worlds manifest themselves as emergent wholes constituted within human consciousness; also, it suggests approaches by which visitors might more proactively mentally explore and come to inhabit such virtual worlds.
In Proceedings of the European Society for Aesthetics: Volume 11, edited by Connell Vaughan and Iris Vidmar Jovanović • European Society for Aesthetics, 2019
ABSTRACT: This work draws on Ingarden’s systems theory to develop a phenomenological aesthetic account of the kinds of reason-defying buildings that cannot exist as physical structures in the real world but which are frequently encountered within the virtual gameworlds of computer games. Such “impossible” buildings might, for example, take the form of colossal biological entities or violate established principles of physics or geometry. First, the evolution of Ingarden’s systems theory is traced, and an account of his mature systems theory is presented: pivotal is his concept of the “relatively isolated system” whose contents are partially engaged with and partially sheltered from the external environment via the system’s complex array of semipermeable boundaries. By applying Ingarden’s thought in a novel way, a systems-theoretical phenomenological architectural aesthetics is then formulated that conceptualizes the “building” as a set of overlapping physical, informational, and psychosocial boundaries that generate interior spaces that possess rich structures and dynamics and mediate their occupants’ relationships with the world. Using this conceptual framework, it is shown how the systems-theoretical properties of real-world buildings and virtual gameworld buildings can (and often do) radically differ. Three types of “impossible” gameworld buildings are analyzed: (1) the floating castle that is a recurring element of fantasy games; (2) the shapeshifting haunted mansion that appears not infrequently in horror games; and (3) the high-tech facility that functions as the gigantic “body” of an AI, which is common in science-fiction-themed games. This aesthetic framework may be of value to game developers seeking to employ techniques of “hyperdeconstruction,” “hyperfolding,” or architectural posthumanization to design more memorable and meaningful gameworlds.
International Journal of Research Studies in Management (2019)
ABSTRACT: The growing use of advanced AI, ambient intelligence, augmented reality (AR), and virtual reality (VR) technologies of the sort found within the emerging cyber-physical smart workplace has been described as enabling new forms of human-computer interaction (HCI) that are “magical” in nature. This study shows that from an anthropological perspective, such a workplace environment can indeed be understood as “magical”; however, that “magicality” is a double-edged sword that can potentially both enhance and damage user experience (UX) for workers and other occupants of such environments. First, by analyzing existing social anthropological and philosophical anthropological accounts of magic, typical elements of magical practice are identified. Using Nielsen’s empirical analysis of HCI usability heuristics as a basis, a prospective heuristic evaluation is then carried out for the usability of a generic “magical” environment, in order to identify elements of magical practice that might be expected to enhance or impair user experience when they are required for interaction with the environment. A more specific heuristic usability evaluation is then performed for the “magical” aspects of HCI created by two kinds of constituent technologies that are typical for a cyber-physical smart workplace: those of (a) ambient intelligence and IoT-enabled systems and (b) AR and VR systems. It is shown that the magical aspects of HCI within the emerging cyber-physical smart workplace differ significantly in their potential UX impacts from the magicality involved with earlier forms of computing, and the implications of this fact for the management of future workplaces are identified and discussed.
ISBN 978-1-944373-30-6 • Defragmenter Media, 2019 • 322 pages
The image of the “megacorp” – the ruthless, sinister, high-tech global conglomerate that’s grown so large and powerful that it has acquired the characteristics of a sovereign state – is one of the iconic elements of cyberpunk fiction. Such a megacorp maintains its own army, creates its own laws and currency, grants citizenship to employees and customers, and governs vast swaths of cyberspace and the physical world. If it allows traditional governments to survive in some vestigial form, it’s only so they can handle those mundane tasks that the megacorp doesn’t want to deal with itself. By these standards, contemporary companies like Amazon, Apple, Facebook, Google, Microsoft, ExxonMobil, and Walmart aren’t (yet) “megacorps”; they’re the playthings that megacorps gobble up to use for spare parts.
This volume develops a comprehensive intellectual history of the megacorp. It locates forebears of the cyberpunk megacorp not only in earlier fictional works like Čapek’s R.U.R. (1921) and Von Harbou’s Metropolis (1925) but in a string of real-world organizations ranging from the 17th-Century British and Dutch East India Companies to the Pullman Palace Car Company, the Ford Motor Company, and late 20th-Century Japanese keiretsu and South Korean chaebol – as well as in the nearly indestructible oligopolistic “megacorp” described in the pioneering theory of American economist Alfred Eichner.
By investigating the nature of the cyberpunk megacorp as a political entity, commercial entity, producer and exploiter of futuristic technologies, and generator or manipulator of culture, differences are highlighted between the megacorps of “classical” cyberpunk and post-cyberpunk fiction. Classical cyberpunk megacorps – portrayed in novels like Gibson’s Sprawl trilogy, films like RoboCop and Johnny Mnemonic, and games like Cyberpunk, Cyberspace, and Syndicate – are often ostentatiously malevolent and obsessed with short-term financial profits to the exclusion of all else; the over-the-top depictions of such companies serve a dramatic purpose and are not offered by their authors as serious futurological studies. On the other hand, the more nuanced and philosophically rich portrayals of megacorps in post-cyberpunk works like Shirow’s manga The Ghost in the Shell reveal companies that are less overtly evil, possess a broader and more plausible range of long-term strategic goals, and coexist alongside conventional governments in a state of (begrudging) mutual respect. Yet other works like the game Shadowrun depict companies that combine elements of both classical cyberpunk and post-cyberpunk megacorps.
Drawing on such analyses, the volume concludes by exploring how the idea of the post-cyberpunk megacorp anticipated a new type of real-world megacorp – the unfathomably large, fast, and complex “rhizocorp” – that’s now being made possible through ongoing revolutions in the exploitation of robotics, AI, and the Internet of Things – and which threatens to become the dominant economic, political, and sociocultural power of our technologically posthumanized future world.
The European Society for Aesthetics Conference 2019 • University of Warsaw, Warsaw • June 13, 2019
ABSTRACT: For millennia, the buildings created by human architects largely displayed traits of solidity, immobility, passivity, limited interactivity, and reliance on fairly simple geometrical shapes to constitute their core structure. As a result, the field of architectural aesthetics could take for granted the fact that a “building” was such a motionless, non-interactive shell; the philosophical frameworks developed to analyze buildings thus had very little in common with those used to analyze, say, living organisms or moral agents.
This paper begins by showing how such historical assumptions are now being undermined through the development of technologies that enable the creation of types of buildings that would previously have been impossible. For example:
• Augmented reality technologies increasingly allow buildings to create perceived and experienced structures that differ wildly from the buildings’ actual physical components.
• Developments in ambient intelligence and social robotics allow a building to create intimately interactive spaces that interpret their occupants’ moods and unspoken thoughts and respond through physical changes, speech, and other social behaviors.
• AI-guided parametric design (championed by figures like Zaha Hadid and Patrik Schumacher) is enabling the creation of highly complex, asymmetrical, curvilinear, resilient, biomimetic architectural forms that no human mind could design.
The building of the dawning future is more than just a “building”: it is a biomimetic, interactive architectural entity that is richly “biomimetic” not simply because of its curvilinear surface but because of its dynamism, agency, and role as an intelligent, autonomous social actor. Depending on its AI, such a building may even constitute a “person” capable of meaningful social relationships. In the language of Herbrechter’s critical posthumanism, such buildings are posthuman agents that create new types of posthumanized architectural spaces.
The emergence of such architectural entities requires the development of new conceptual frameworks for investigating them from the perspective of philosophical aesthetics. One popular paradigm employed to analyze parametrically designed architecture is that of Deleuze’s fold, which Deleuze illustrated in Le Pli: Leibnitz et le Baroque (1988) through his allegory of the “Baroque house.” The Deleuzian fold is active, curvilinear, and mediating; it thus possesses some properties common to biomimetic, parametrically designed buildings. However, we argue that Deleuze’s Baroque house allegory fails to capture the agency, dynamism, mutability, and interactivity of the emerging architectural entities described here; the need thus remains for new frameworks to describe them. We propose one such approach that draws on elements of Ingarden’s later thought that have been largely overlooked within the field of aesthetics.
The Polish philosopher Roman Ingarden (1893-1970) is known in the field of architectural aesthetics primarily for the “classical” phenomenological frameworks that he developed in the 1920s and 1930s, which analyze the stratification of the architectural object (i.e., the “building”) as a work of art, the ontological status of the building as a purely intentional object, and the role of concretization in aesthetic experience. Today – after a century of developments in aesthetics – the ontological suppositions of those frameworks are seen as increasingly antiquated, and it is often presumed that Ingarden has little to offer for the analysis of posthumanized architectural entities.
In this paper, however, it is argued that the opposite is true, as the conventional view of Ingarden overlooks innovative strains of thought (a sort of “Ingarden 2.0”) that arose in his later years, as he explored ongoing scientific and technological advances. For example, we show how Ingarden foresaw future VR technologies, analyzed what today would be called “computational aesthetics,” and made one of his last (unfinished) projects the reworking of his earlier writings to account for new discoveries in neuroscience. Moreover, his work in systems theory proved so influential that he is considered a pioneering figure of Polish cybernetics.
Ingarden died before applying his mature systems theory (and especially, his model of the “relatively isolated system”) to aesthetics; as a result, it has been largely ignored by later aestheticians. However, we argue that it is not only possible to formulate a “systems-theoretical aesthetics” grounded in Ingarden’s systems theory, but that it offers a valuable tool for analyzing emerging biomimetic, interactive architectural entities.
Developing an Ingardenian systems-theoretical architectural aesthetics. As the foundation for its proposed systems-theoretical aesthetics, this paper analyzes Ingarden’s concept of the “relatively isolated system” by tracing its development over decades and providing translations of some passages previously available only in Polish. Sources analyzed include:
• Ingarden’s account of the membranes that partially isolate bodily organs from one another other, which is presented in O poznawaniu dzieła literackiego (1937).
• Ingarden’s model of a living organism as an enduring core surrounded by outer layers that arise and are destroyed throughout one’s life, as presented in Spór o istnienie świata, vol. 1 (1941).
• Ingarden’s model of the “partially isolated system” and the role played by semipermeable boundaries that regulate an object’s engagement with its environment, as described in a plan (1945-46) for Spór o istnienie świata, vol. 3. This concept was influenced by Ingarden’s reading of Bertalanffy’s Theoretische Biologie.
• Ingarden’s concept of the “relatively closed system,” found in preliminary notes (1950-54) for Spór o istnienie świata, vol. 3.
• Ingarden’s mature concept of the “relatively isolated system,” presented in Über die Verantwortung: Ihre ontischen Fundamente (1970).
Drawing on the multifaceted concept of space found in Christian Norberg-Schulz’s Heideggerian architectural phenomenology, we demonstrate how a systems-theoretical aesthetics grounded in Ingarden’s concept of the relatively isolated system identifies the emerging biomimetic, interactive architectural entity as a system that creates, encompasses, animates, and regulates a nexus of overlapping three-dimensional, experiential, informational, technological, social, and ecological spaces. Such an approach categorizes, compares, and evaluates architectural entities according to the nature of their semipermeable membranes and their openings.
In a manner consonant with contemporary environmental aesthetics, this approach locates a building’s aesthetic properties in the “porousness” of its external and internal physical, informational, and social boundaries – which include not only structures like walls, windows, and stairwells but also the topologies of Wi-Fi networks; information security mechanisms; air circulation patterns; elements that regulate colonization of the space by plant or animal species; social networks; enforced social conventions; and the relationships between a building’s human occupants and the artificial agents that enliven it. The definition and exploration of this approach represents this paper’s central achievement.
The paper concludes by discussing strengths and weaknesses of this proposed approach. It is argued that it can prove useful for analyzing the design and aesthetic experience of buildings transformed through the incorporation of artificial agency and biomimetic dynamics.
It is hoped that this paper can contribute to aesthetic discourse in several ways. First, it shows how diverse technologies are combining to create biomimetic, interactive, posthumanized architectural entities that differ qualitatively from buildings of earlier ages. Second, it formulates an Ingardenian systems-theoretical aesthetics whose foundations in emergentist theoretical biology render it at least as suitable for describing such entities as paradigms like the Deleuzian fold. Finally, the text presents a historical-textual analysis of aspects of Ingarden’s thought that are little known within philosophical aesthetics, thereby shedding new light on a leading 20th-century aesthetician.
Social Sciences 8, no. 5 (2019)
ABSTRACT: The Japanese Government’s “Society 5.0” initiative aims to create a cyber-physical society in which (among other things) citizens’ daily lives will be enhanced through increasingly close collaboration with artificially intelligent systems. However, an apparent paradox lies at the heart of efforts to create a more “human-centered” society in which human beings will live alongside a proliferating array of increasingly autonomous social robots and embodied AI. This study seeks to investigate the presumed human-centeredness of Society 5.0 by comparing its makeup with that of earlier societies. By distinguishing “technological” and “non-technological” processes of posthumanization and applying a phenomenological anthropological model, the study demonstrates: (1) how the diverse types of human and non-human members expected to participate in Society 5.0 differ qualitatively from one another; (2) how the dynamics that will shape the membership of Society 5.0 can be conceptualized; and (3) how the anticipated membership of Society 5.0 differs from that of Societies 1.0 through 4.0. The study describes six categories of prospective human and non-human members of Society 5.0 and shows that all six have analogues in earlier societies – which suggests that social scientific analysis of past societies may shed unexpected light on the nature of Society 5.0.
The International Conference on Humans in a Technological World: The Anthropology of Technics • Jagiellonian University, Kraków • May 10, 2019
ABSTRACT: Procesy „posthumanizacji” mogą być rozumiane jako dynamika, za pomocą której społeczeństwo ludzkie włącza do siebie poza „naturalnymi” biologicznymi istotami ludzkimi innych członków, którzy przyczyniają się do struktury, działalności albo znaczenia tego społeczeństwa.
Dzisiaj posthumanizacja identyfikowana jest głównie z włączeniem w ludzkie społeczeństwo zaawansowanej sztucznej inteligencji i robotów społecznych, które ludzie zapraszają do swoich domów i miejsc pracy jako asystentów, współpracowników i towarzyszy. Rozmaite projekty badawcze stwierdzają sposoby, w jakie takie łączenie nie-ludzkiej sprawczości do ludzkiego społeczeństwa stwarza nowe wymiary społecznej rzeczywistości. W niniejszej prezentacji natomiast twierdzimy, że chociaż taka „posthumanizacja technologiczna” faktycznie jest fenomenem dość nowym, może być ona porównana z procesami „posthumanizacji nietechnologicznej,” które od dawna poszerzały społeczeństwa ludzkie o wiele typów nie-ludzkiej sprawczości. Na przykład, wszystkie społeczeństwa, w których ludzie zamieszkiwali i pracowali z zwierzętami domowymi; wierzyli w aniołów, demony albo potwory; albo starali się rozmawiać z zmarłymi krewnymi mogą być rozumiane jako społeczeństwa (nietechnologicznie) posthumanizowane. Starożytne formy posthumanizacji nietechnologicznej i rozwijające się formy posthumanizacji technologicznej będą zidentyfikowane, zanalizowane, i porównane przy zastosowaniu podejścia fenomenologicznego. Prezentacja pokaże, jak społeczeństwa posthumanizowane zarówno technologicznie jak i nietechnologicznie włączają różnych członków, których można klasyfikować jako „naturalne” biologiczne istoty ludzkie, sztucznie rozszerzone istoty ludzkie lub meta-ludzkie, epi-ludzkie, para-ludzkie, albo nie-ludzkie istoty.
Urbanity and Architecture Files / Teka Komisji Urbanistyki i Architektury XLVI (2018)
ABSTRACT: Here Ingarden’s concept of the “relatively isolated system” is used to develop a phenomenology of architecture that emphasizes the way in which a structure’s boundary and openings define an “inside” and “outside” and regulate passage between them. This approach is compared with Norberg-Schulz’s. The Ingardenian approach’s strengths include its compatibility with biomimetic form-finding and its insights for future architectural practice that is expected to become increasingly “posthumanized.”
the VIII Scientific Conference on Modern Concepts and Management Methods: Management 4.0 – Modern Trends in Public, Social and Business Sector • Military University of Technology in Warsaw • December 6, 2018
ABSTRACT: The widespread application of Industry 4.0 technologies relating to social robotics, embodied AI, the Internet of Things (IoT), ubiquitous computing, and advanced human computer interfaces is giving rise to a growing range of “cyber-physical” entities. By building on established definitions and analyses of the cyber-physical system, cyber-physical-social system, cyber-physical society, and cyber-physical-social-thinking space, this text formulates a conceptual framework for understanding the emerging “Workforce 4.0” as a specialized type of “cyber-physical-social-intentional system.” Attention is given to the heterogeneous agency, technological posthumanization, functional decentralization, and planned architectures or spontaneously self-organizing topologies manifested by Workforce 4.0. It is shown how such a workforce is situated within the context of cyber-physical space, a cyber-physical organization, cyber-physical ecosystems, a cyber-physical society, and the larger cyber-physical world.
Kwartalnik Nauk o Przedsiębiorstwie 48 (2018), pp. 31-39; MNiSW 2016 List B: 12 points
ABSTRACT: Increasingly, organizations are becoming “technologically posthumanized” through the integration of social robots, AI, virtual reality, and ubiquitous computing into the workplace. Here a phenomenological approach is used to anticipate architectural transformations of the workplace resulting from posthumanization’s challenge to traditional anthropocentric paradigms of the workplace as a space that exists at “human” scale, possesses a trifold boundary, and serves as a spatiotemporal filter.
Roman Ingarden and His Times: An International Phenomenological Conference 2018 • Uniwersytet Jagielloński, Kraków • October 27, 2018
ABSTRACT: As virtual reality technology becomes more sophisticated, there is growing recognition of the importance of Ingarden’s thought for the aesthetic analysis of architecture in virtual worlds. For example, his distinction between the ‘building’ that is constituted as an intentional object and its physical ontic foundation provides a useful tool for understanding virtual buildings, whose unique character results largely from their novel ontic basis. Moreover, it has been noted that Ingarden’s envisioning of future technologies for the ‘illusory embodiment’ of buildings in “O dziele architektury” §2 foresaw immersive VR technologies that are only now becoming feasible.
Here, however, we argue that a different aspect of Ingarden’s thought – the concept of the relatively isolated system – may hold even more promise as a tool for analyzing innovations in virtual architecture. We trace Ingarden’s development of this concept over three decades, from his description of the ‘organism’ as a hierarchical structural functional system (1937) to his model of the human being as a stable core with changing outer layers (ca. 1941), his analysis of Bertalanffy’s ‘open system’ model (1943), his notion of the ‘partially isolated system’ (1945-46), his description of the ‘relatively closed system’ (1950-54), and the mature concept of the ‘relatively isolated system’ developed in Über die Verantwortung: Ihre ontischen Fundamente (1968-70).
We then investigate the concept’s significance for virtual architecture. A growing trend is the use of computer-aided ‘form-finding’ techniques in which the shape of a building’s exterior ‘skin’ is not intentionally planned by a human architect but emerges organically through posthumanized processes of evolutionary computation; the resulting forms often display ‘Deleuzian’ curvilinear shapes resembling the bodies of biological organisms. In “O dziele architektury,” Ingarden had noted that in practice, human architecture never displays the organic irregularity and curvilinearity seen in living trees or in the ‘cities’ built by insects, because (1) functional considerations render such forms suboptimal for human inhabitation, and (2) human architects have been historically conditioned to believe that every building they design is ‘supposed to’ harmoniously concretize regular geometric shapes. However, Ingarden’s reasoning can be interpreted as anticipating precisely those radically irregular organic structures that are now becoming possible, as innovative AI technologies allow the task of form-finding to be separated from the anthropic intentional processes of a human architect and entrusted to non-human agents.
Moreover, such biomimetic design can be carried even further in virtual environments, whose looser constraints allow the construction (and aesthetic experiencing) of buildings whose forms would be impractical to fabricate in the ‘real’ world; such virtual surfaces can serve as sites of sensation and response that mediate between interior and exterior domains, reflecting the form and function of a living organism’s skin. We argue that Ingarden’s concept of the relatively isolated system provides a powerful framework for analyzing such virtual structures, thanks to its grounding in theoretical biology and its rich analysis of the outer ‘membrane’ that selectively shelters an entity’s inner workings from external causality. Such architectural applications represent another way in which Ingarden’s thought continues to bear new and unexpected fruit.
In ICTM 2018: Proceedings of the International Conference on ICT Management for Global Competitiveness and Economic Growth in Emerging Economies, edited by Jolanta Kowal, Anna Kuzio, Juho Mäkiö, Grażyna Paliwoda-Pękosz, and Piotr Soja • University of Wrocław, 2018
ABSTRACT: The processes of “posthumanization” can be understood as those dynamics by which a human organization or society comes to include members other than “natural” biological human beings who contribute to the structure, activities, or meaning of that organization or society. In the world of business, such posthumanization is commonly identified with the growing use of social robots, autonomous AI, and joint human-computer systems to perform work that in earlier eras would have been performed by human beings acting alone. Such “technological” posthumanization is often presented as a new phenomenon occurring largely in those developed economies that are pioneering Industry 4.0 paradigms (e.g., by expanding workplace automation) and that are uniquely positioned to harness such forces to drive economic growth. Here, however, we contend that such emphasis on the novelty of technological posthumanization overlooks forms of non-technological posthumanization that have been at work in human societies for millennia. Such dynamics of non-technological posthumanization have weakened significantly in many developed economies since the mid-20th century; however, they remain relatively strong in emerging economies. In this study, a conceptual framework is developed for identifying and comparing phenomena through which processes of technological or non-technological posthumanization manifest themselves in developed and emerging economies. It is argued that the ongoing and robust experience with non-technological posthumanization possessed by many of the world’s emerging economies may offer them unique and underappreciated psychological, social, and cultural mechanisms for integrating effectively into their enterprises, organizations, and institutions those novel forms of non-human agency that are at work in key Industry 4.0 technologies, like those relating to social robotics, autonomous AI, and advanced human-computer interfaces.
The Polish Journal of Aesthetics 49 (2018), pp. 11-25; MNiSW 2016 List B: 12 points
ABSTRACT: Here the concept of the human being as a “relatively isolated system” developed in Ingarden’s later phenomenology is adapted into an “aesthetics of isolation” that complements conventional environmental aesthetics. Such an aesthetics of isolation is especially relevant, given the growing “aesthetic overload” brought about by ubiquitous computing and new forms of art and aesthetic experience such as those involving virtual reality, interactive online performance art, and artificial creativity.
ISBN 978-1-944373-21-4 • Second edition • Defragmenter Media, 2018 • 238 pages
Key organizational decisions made by sapient AIs. The pressure to undergo neuroprosthetic augmentation in order to compete with genetically enhanced coworkers. A corporate headquarters that exists only in cyberspace as a persistent virtual world. A project team whose members interact socially as online avatars without knowing or caring whether fellow team members are human beings or robots. Futurologists’ visions of the dawning age of ‘posthumanized’ organizations range from the disquieting to the exhilarating. Which of these visions are compatible with our best current understanding of the capacities and the limits of human intelligence, physiology, and sociality? And what can posthumanist thought reveal about the forces of technologization that are transforming how we collaborate with one another – and with ever more sophisticated artificial agents and systems – to achieve shared goals?
This book develops new insights into the evolving nature of intelligent agency and collaboration by applying the post-anthropocentric and post-dualistic methodologies of posthumanism to the fields of organizational theory and management. Building on a comprehensive typology of posthumanism, an emerging ‘organizational posthumanism’ is described which makes sense of the dynamics of technological posthumanization that are reshaping the members, personnel structures, information systems, processes, physical and virtual spaces, and external environments available to organizations. Conceptual frameworks and analytical tools are formulated for use in diagnosing and guiding the ongoing convergence in the capacities of human and artificial actors that is being spurred by novel technologies relating to human augmentation, synthetic agency, and digital-physical ecosystems. As the first systematic investigation of these topics, this text will be of interest to scholars and students of posthumanism and management and to management practitioners who must grapple on a daily basis with the forces of technologization that are increasingly powerful drivers of organizational change.
17th Annual Conference of the Polish Phenomenological Association: History, Body, and Life-World – On Patočka and Beyond • Institute of Philosophy and Sociology, Polish Academy of Sciences, Warsaw • December 15, 2017
ABSTRACT: In this work we build on the ontological and aesthetic frameworks formulated by Roman Ingarden to develop a phenomenological analysis of the virtual world as aesthetic object. First, ‘virtual reality technology’ is distinguished from ‘virtual environments’ and ‘virtual worlds.’ The types of immersive, interactive virtual worlds accessed through contemporary VR technologies are further distinguished from the types of ‘virtual worlds’ accessed, e.g., by reading a novel or watching a film. Essential and optional elements of virtual worlds are identified, with special attention given to the (software-enforced) ‘laws of nature’ governing the structure and dynamics of elements in a world, the pseudo-natural origins of apparently ‘natural’ elements like wild animals and geographic formations, and the unique positions of the world’s designer(s) and human visitor(s). The potential ‘incompleteness’ of virtual architectural structures and inability to determine whether one’s social interactions are with human or artificial agents is analyzed in light of Ingarden’s interpretation of Husserl’s phenomenological model of intentionality and the perception of objects. It is shown that a virtual building, e.g., does not display all the features of a real-world building but instead possesses some characteristics found in real-world paintings.
Drawing on Ingarden’s framework, the (physical) ontic basis of a virtual world is distinguished from the (purely intentional) virtual world as a work of art that is grasped through perception and the related aesthetic and cultural objects that may be constituted by a visitor who undergoes the right sort of conscious experience. The stratification of a virtual world as a work of art is also investigated. Building on Ingarden’s critique of Husserl’s concept of the ‘lifeworld’ as the natural world that is simultaneously (a) stripped of modern scientific theory and (b) the world that we live in and manipulate, it is suggested that VR-facilitated virtual worlds (like other highly technologized forms of art) undermine the factual possibility for such a lifeworld to exist. In response, though, Patočka’s notion (influenced by Ingarden) of fictional literary worlds as ‘echoes’ of the lifeworld is noted; we thus close by raising the question of whether certain virtual worlds might potentially be employed to help restore the possibility of (perhaps temporarily) establishing a Husserlian lifeworld.
Frontiers in Neuroscience 11, 605 (2017); MNiSW 2016 List A: 30 points; 2017 Impact Factor: 3.566
ABSTRACT: Previous works exploring the challenges of ensuring information security for neuroprosthetic devices and their users have typically built on the traditional InfoSec concept of the “CIA Triad” of confidentiality, integrity, and availability. However, we argue that the CIA Triad provides an increasingly inadequate foundation for envisioning information security for neuroprostheses, insofar as it presumes that (1) any computational systems to be secured are merely instruments for expressing their human users’ agency, and (2) computing devices are conceptually and practically separable from their users. Drawing on contemporary philosophy of technology and philosophical and critical posthumanist analysis, we contend that futuristic neuroprostheses could conceivably violate these basic InfoSec presumptions, insofar as (1) they may alter or supplant their users’ biological agency rather than simply supporting it, and (2) they may structurally and functionally fuse with their users to create qualitatively novel “posthumanized” human-machine systems that cannot be secured as though they were conventional computing devices. Simultaneously, it is noted that many of the goals that have been proposed for future neuroprostheses by InfoSec researchers (e.g., relating to aesthetics, human dignity, authenticity, free will, and cultural sensitivity) fall outside the scope of InfoSec as it has historically been understood and touch on a wide range of ethical, aesthetic, physical, metaphysical, psychological, economic, and social values. We suggest that the field of axiology can provide useful frameworks for more effectively identifying, analyzing, and prioritizing such diverse types of values and goods that can (and should) be pursued through InfoSec practices for futuristic neuroprostheses.
International Journal of Contemporary Management 16, no. 3 (2017), pp. 139-55; MNiSW 2016 List B: 14 points
ABSTRACT: Strategic management instruments (SMIs) are tools used to analyze an organization’s strategic situation, formulate effective strategies, and successfully implement them. Despite SMIs’ importance, there has been little systematic research into them – and especially regarding the impact of emerging technologies on SMIs. Here we investigate whether the forces of technological posthumanization that are creating a new class of ‘cyber-physical organizations’ can be expected to affect innovation in the use of SMIs within such organizations. Through a review of strategic management literature, we identify nearly 100 SMIs and categorize them according to their use in (a) strategic analysis, (b) strategy formulation, or (c) strategy implementation. Meanwhile, an analysis of cyber-physical systems and technological posthumanization reveals three dynamics that are converging to create an emerging class of cyber-physical organizations: (a) roboticization of the workforce; (b) deepening human-computer integration; and (c) the ubiquitization of computation. A framework is developed for mapping the impacts of these dynamics onto the inputs, agents, processes, and outputs involved with the three types of SMIs. Application of the framework shows that technological posthumanization should be expected to both facilitate and require innovation in cyber-physical organizations’ use of all three types of SMIs.