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The ethical approach to science and technology is based on their use and application in extremely diverse fields. Less prominence has been given to the theme of the profound changes in our conception of human nature produced by the most recent developments in artificial intelligence and robotics due to their capacity to simulate an increasing number of human activities traditionally attributed to man as manifestations of the higher spiritual dimension inherent in his nature. Hence, a kind of contrast between nature and artificiality has ensued in which conformity with nature is presented as a criterion of morality and the artificial is legitimized only as an aid to nature. On the contrary, this essay maintains that artificiality is precisely the specific expression of human nature which has, in fact, made a powerful contribution to the progress of man. However, science and technology do not offer criteria to guide the practical and conceptual use of their own contents simply because they do not contain the conceptual space for the ought-to-be. Therefore, this paper offers a critical analysis of the conceptual models and the most typical products of technoscience as well as a discerning evaluation of the contemporary cultural trend of transhumanism. The position defended here consists of full appreciation of technoscience integrated into a broader framework of specifically human values.

Based on a rapid ethnographic investigation on a historical site in China, this study aims to formalize a storytelling design framework towards enhancing the authenticity of local tourist experience. Specifically, semi-structured interviews were conducted with residents, tourists, and tour guides. Participatory observation was adopted to understand storytelling behaviors. I analyzed the field data through affinity diagram in two rounds. The first round of analysis was guided by the theoretical lens of Staged Authenticity, bringing the emergence of the core category —the gap towards achieving the authenticity of local tourist experience. This gap is specified as six barriers: social exclusion; mental and physical cost; artificiality; cost-effectiveness; storytelling triggering; and local expertise diffusion. The second round of analysis was guided by the Storytelling Design Framework, resulting in an in-depth comparison of storytelling practices contributed by residents and tour guides. Based on these findings, I formulated the storytelling design framework for the authenticity of local tourist experience and prototyped an audio guide application to illustrate one potential use of the framework. This study enriches understandings of local tourist experience and provide groundings for design applications in tourism.

'El espíritu fáustico del mundo técnico'. Enfermedad mental y crítica cultural en la España de Franco.‒ Teniendo en cuenta la querencia casi constitutiva de la medicina mental por la crítica cultural, no debe sorprender que, dentro de su particular litigio con la modernidad, la dictadura franquista fuese un periodo de in tensa floración del ensayismo psiquiátrico conservador. Partiendo de los temores de una posible regresión física y moral de la 'Hispanidad' a causa de la artificiosidad de la vida moderna, la infiltración del liberalismo y la erosión de los valores tradicionales, el género fue desplazando su interés hacia un análisis de la 'sociedad neuro tizada' que, con referentes filosóficos como Ortega o Heidegger, apuntaba a los excesos de la razón instrumental, el 'maquinismo' y la 'hipertecnificación' del mundo moderno como una de las principales fuentes de malestar y sufrimiento psíquico /// Taking into account the almost constitutive affinity of mental medicine and cultural criticism, it should not be surprising that, given its particular conflict with modernity, General Franco's dictatorship was a peri od of intense flowering of conservative psychiatric essay writing, Starting from the fears of a possible physical and moral regression of 'Hispanity' due to the artificiality of modern life, the infiltration of liberalism and the erosion of traditional values, the genre shifted its interest towards an analysis of the contemporary 'neurotic society' that, with philosophical reference points such as Ortega or Heidegger, pointed to the excesses of instrumental reason, 'mechanization' and the 'hyper-technification' of the modern world as one of the main sources of malaise and psychic suffering

The transgressive ontological character of hybrids—entities crossing the ontological binarism of naturalness and artificiality, e.g., biomimetic projects—calls for pondering the question of their ethical status, since metaphysical and moral ideas are often inextricably linked. The example of it is the concept of “moral considerability” and related to it the idea of “intrinsic value” understood as a non-instrumentality of a being. Such an approach excludes hybrids from moral considerations due to their instrumental character. In the paper, we revisit the boundaries of moral considerability by reexamining the legitimacy of identifying intrinsic value with a non-instrumental one. We offer the concept of “functional value,” which we define as a simultaneous contribution to the common good of the ecosystem and the possibility to disclose the full variety of aspects of a being’s identity. We argue that such a value of hybrids allows us to include them into the scope of moral considerability.

Summary The genetics of African North Americans are complex amalgamations of various West and Central African peoples with modest gene flow from specific European and Amerindian peoples. A comprehensive understanding of African North American biohistory is a prerequisite for accurate interpretations of the ancestral genetics of this population. Too often, genetic interpretations falter with ahistorical reconstructions. The recently reported overrepresentation of Nigerian lineages in African North Americans reflects pronounced limitations in the African genomic database, the artificiality of the colonial maps of Africa, the contributions of multiple African empires and kingdoms into the transatlantic trade in enslaved Africans, and the overrepresentation of Yoruba peoples in the existing limited representation of West Africans in public genomic databases. This Matters Arising paper is in response to Micheletti et al. (2020), published in The American Journal of Human Genetics. See also the response by Micheletti et al. (2020), published in this issue.

La película de Yannis Smaragdís Kazantzakis (2017) se analiza en este trabajo como una adaptación de la novela autobiográfica de Nikos Kazantzakis Carta al Greco (1957). Asumiendo que el texto literario debe ser visto como un hipotexto susceptible de alteraciones, el estudio se centra en la comparación entre la versión novelística y la fílmica. Como sugiere el trabajo, Kazantzakis se basa extensamente en la Carta al Greco, y esta cercanía a la novela a menudo resulta en artificiosidad. Estudiar el trasvase de la novela a la película permite, por otra parte, entender mejor los procesos de adaptación, y de alusión y cita cinematográficas, ya que la presencia de las adaptaciones de novelas de Kazantzakis al cine de Jules Dassin, Michael Cacoyannis y Michael Scorsese es prominente en el Kazantzakis de Smaragdís, This paper analyses Yannis Smaragdis’ film Kazantzakis (2017) as an adaptation of Nikos Kazantzakis’ autobiographical novel Letter to Greco(1957). Assuming that the literary text is to be seen as a hypotext that can be altered, the study focuses on a comparison of the novelistic and filmic versions. As the paper suggests, Kazantzakis is largely based on the Letter to Greco, and this closeness to the novel often leads to artificiality. On the other hand, studying the novel’s transfer into film allows for a better understanding of the processes of adaptation, and of cinematographic allusion and quotation, since the presence of the filmic adaptations of Kazantzakis’ novels by Jules Dassin, Michael Caccoyannis, and Michael Scorsese is prominent on Smaragdis’ Kazantzakis

Blackpool has been referenced within British popular music for the best part of a century. Its place in popular culture derives from the town’s position as the premier English holiday resort of the prewar and immediate postwar years. Over the past 60 years Blackpool has been referenced in a number of songs that implicitly or explicitly allude to the glory days of the town. If some songs sometimes seem to recall the role of carnival, as described by Mikhail Bahktin, with its sense of freedom from the restrictions of daily life, others point to the conformity implied by industrialised leisure. The artificiality of Blackpool’s glittering facades is a recurring theme as is the existence of a harsher reality that exists beneath the shiny surface. These themes reflect the historical and social significance of the town as a place English working-classes entertainment and recreation and also the more recent decline in the town’s fortunes. As such they inevitably raise questions of social class and national identity.

This chapter considers the authenticity of nonhuman identity. It discusses the identity of the humanoid robot in the Japanese context, providing a culturally situated perspective on the social construction of identities and authenticity. The figure of the humanoid robot in Japan is an ambiguous avatar of cultural meaning, but in a rather different way than the “artificial” human figuring in Western narratives. I argue that the humanoid is not an inauthentic human at all but constitutes a separate ontological category. It is an entity recognized as having its own identity, one specifically based in artificiality. I indicate how the notions of kawaii (cute) and kyara (a powerful symbol) help define humanoids this way. This chapter will examine how this Japanese cultural perspective locates the identity of the humanoid robot outside the duality of humans-versus-robots that typifies the Western context.

In this selection, from Naked City: The Death and Life of Authentic Urban Places (2010) sociologist Sharon Zukin looks at the way urban working-class neighborhoods gentrify and thereby lose community-based authenticity and succumb to the powerful political and commercial forces of artificiality. “In the early years of the twenty-first century,” she writes, “New York City lost its soul…. In London, Paris, and New York, artists and gentrifiers move into old immigrant areas, praising the working-class bars and take-out joints but overwhelming them with new cafes and boutiques, which are soon followed by brand-name chain stores.” But this is no ordinary analysis of how artists and counter-culturalists, then urban professionals and techies, move into old neighborhoods and drive out the original residents by driving up the rents. She looks into the motives of successive generations and finds a “desire for origins,” for “mythical roots,” and “new beginnings” that she recognizes as “the continuous reinvention of communities.” Zukin acknowledges her debt to Jane Jacobs, both for her writings and for her struggle against the entire modern urban planning profession. She recognizes how liberal middle-class gentrifiers become the allies of the real estate industry with the result that claims to a new authenticity become “a tool of power” that is not just financial but cultural as well. And she has no reluctance, despite her tremendous admiration, to point out the irony that Jane Jacobs was a gentrifier herself – or the further irony that she, Sharon Zukin, is also a gentrifier.

Making good decisions in the era of Big Data requires a sophisticated approach to causality. We are acutely aware that association ≠ causation, yet untangling the two remains one of our greatest challenges. This realization has stimulated a Causal Revolution in epidemiology, and the lessons learned are highly relevant to anesthesia research. This article introduces readers to directed acyclic graphs; a cornerstone of modern causal inference techniques. These diagrams provide a robust framework to address sources of bias and discover causal effects. We use the topical question of whether anesthetic technique (total intravenous anesthesia vs. volatile) affects outcome after cancer surgery as a basis for a series of example directed acyclic graphs, which demonstrate how variables can be chosen to statistically control confounding and other sources of bias. We also illustrate how controlling for the wrong variables can introduce, rather than eliminate, bias; and how directed acyclic graphs can help us diagnose this problem. This is a rapidly evolving field, and we cover only the most basic elements. The true promise of these techniques is that it may become possible to make robust statements about causation from observational studies—without the expense and artificiality of randomized controlled trials.

A long philosophical tradition has claimed the fact that the concepts of physis and techne should remain radically distinct. But an equally important tradition has instead considered the question in less abstract terms. What can encourage us to rethink the question of hylomorphism is the radical rethinking of the terms at stake. How should the relationship between matter and form (two fundamental Aristotelian concepts) be thought? How should the distinction between natural form and artificial form be considered? The attempt that is proposed here is to consider art as the conceptual mediator that holds together a morphological determination of nature and a technical determination of art. ‘Artificiality’ should not be understood as the opposite of ‘naturalness’: art here means the possibility of thinking of techne already at work in nature, justifying the sense of a coming hylomorphism.

З урахуванням новітніх праць з історіософії та методології гуманітаристики у статті з’ясовуються об’єктивна необхідність, мотиви, сутність, особливості та наслідки соціокультурного повороту в українознавстві. Він трактується як певний злам у методології, переорієнтація дослідницьких стратегій науковців, перенесення акцентів на дослідження пріоритетної ролі людини, культури і духовності в суспільному розвитку, зміна оптики наукового пізнання та оновлення його методів на основі цивілізаційної теорії Й. Гердера, О. Данилевського, О. Мірабо, А. Тойнбі, С. Хантингтона, О. Шпенглера, К. Ясперса та ін., синергетики та міждисциплінарності. Соціокультурне трактування історичного процесу розглядається як альтернатива марксистському монізму та партійно-класовому підходу до культури. Наголошено на культурологічній традиції українознавства як інтегративної системи знань про Україну і українців, започаткованій у працях В. Антоновича, М. Грушевського, М. Костомарова, П. Куліша, В. Липинського, І. Лисяка-Рудницького, І. Огієнка, І. Франка, Д. Чижевського, С. Шлемкевича та ін., показано значення її потужного пізнавального потенціалу для подальшого дослідження історії, змісту та світоглядних основ культури і освіти, подолання і запобігання негативних наслідків комунізації суспільства та масової культури доби постмодерну.Розкрита взаємодія соціокультурного повороту з цивілізаційною парадигмою і антропологізмом українознавства як передумови утвердження людиноцентризму і подальшої інтеграції у світовий науково-інформаційний простір. В епіцентрі новітніх українознавчих студій В. Андрущенка, Л. Губерського, В. Горського, П. Кононенка, В. Крисаченка, М. Поповича, О. Рафальського, В. Шейка, М. Юрія та ін. перебуває українська людина як найвища цінність, безпосередній носій національної та цивілізаційної ідентичностей суспільства, алгоритм взаємодії людини, культури і соціуму як системи цінностей, морально-етичних норм та ментальності. Аналізуються нові виклики, які постали перед українознавством, його інтелектуальним потенціалом на тлі глобалізації, тривалої воєнної і гібридної агресії путінської Росії проти України, активізації імперської парадигми «русского міра», намагань кремлівських науковців заперечити окремішність українського народу, нав’язати маніпулятивні міфи про так звану «общую історію» та «штучність» державності України., Taking into account the latest works on the historiosophy and methodology of humanities, the article clarifies the objective need, motives, essence, features, and consequences of the sociocultural change in Ukrainian studies. It is interpreted as a certain break in the methodology, reorientation of scientific research strategies; shifting emphasis on the research of the prioritized role of the man, culture, and spirituality in social development; changing the optics of scientific knowledge and updating its methods based on civilization theory of J. Herder, O. Danylevskyi, H. Mirabeau, A. Toynbee, S. Huntington, O. Spengler, K. Jaspers, etc., synergetics and interdisciplinarity. Sociocultural interpretation of the historical process is regarded as an alternative to Marxist monism and the party-class approach towards culture. The emphasis is laid on the cultural traditions of Ukrainian as an integrative system of knowledge about Ukraine and Ukrainians, introduced in the works by V. Antonoyych, M. Hrushevsky, M. Kostomarov, P. Kulish, V. Lypynskyi, I. Lysiak-Rudnytskyi, I. Ohiienko, I. Franko, D. Chyzhevskyi, S. Shlemkevych, and others; shows the value of its powerful cognitive potential for further study of history, content, and ideological bases of culture and education, overcoming and prevention of the negative consequences caused by social communization and postmodern mass culture.The article reveals the interaction of sociocultural turn with the civilizational paradigm and the anthropologism of Ukrainian studies as prerequisites for affirmation of human-centrism and further integration into the global scientific and informational space. At the epicenter of the newest Ukrainian studies by V. Andrushchenko, L. Huberskyi, V. Horskyi, P. Kononenko, V. Krysachenko, M. Popovych, O. Rafalskyi, V. Sheik, M. Yurii, and others is a Ukrainian as the highest value and the immediate carrier of national and civilizational identities of the society, as well as an algorithm of interaction between people, culture and society as a system of values, moral and ethical norms, and mentality. The study analyzes new challenges facing Ukrainian studies, their intellectual potential against the background of globalization, the prolonged military and hybrid aggression of Putin’s Russia against Ukraine, activation of the imperial paradigm of the “Russian World”, Kremlin scientists’ efforts to deny the distinctiveness of the Ukrainian people and impose manipulative myths about the so-called “common history” and “artificiality” of the Ukrainian statehood.

Discussions about naturalness, artificiality and unnaturalness in this article are motivated by the field of Human Cognitive Enhancement (HCE) because of its potential for altering human personality and identity. This article at first proposes a concept of human naturalness as interaction between physis and logos. Then it presents an intuitive understanding of naturalness in terms of the inherent inability of language to fully describe all attributes of an object that is natural. The analytical core of the article proposes a formal model of naturalness utilising Vopenka's phenomenologically grounded Alternative Set Theory (AST), comprising and formalising the concept of natural infinity. A brief introduction to AST is presented as well. Naturalness and artificiality are modelled as two structurally different naturally infinite semisets within AST. This key structural difference is then analysed and applied back to the domain of HCE.

This chapter reveals the most accurate account of Barber’s first major commission, the Concerto for Violin and Orchestra. It was commissioned in 1939 by Samuel Fels of Fels-Naptha soap for his ward Iso Briselli, a young violinist prodigy. Barber’s work on the concerto in Switzerland was interrupted by the impending Nazi invasion in Poland and, on arriving home, the illness of his father. As the work could not be completed in time for Briselli’s debut, it was premiered instead by Albert Spalding and the Philadelphia Orchestra and received a generous response, newspapers reporting it to be an “exceptional popular success.” The chapter also features four songs on texts by Gerard Manley Hopkins, James Agee, W. B. Yeats, and Frederic Prokosch, a friend of Barber’s. It mentions the piano trio he wrote for the wedding of Barber’s sister Sara and his nomination to the National Institute of Arts and Letters as its youngest member.

This article examine links and affordances between new materialist theory in ecocritism and formal and linguistic experimentation in Peter Manson’sAdjunct: An Undigest. As Robert Sheppard suggests, linguistically innovative poets often foreground ‘the artificiality of the forms and discourses they employ’, making familiar things seem strange and suspending ‘the inevitable process of naturalization’; that is, emphasising the artificiality of dominant cultural and social discourse. When viewed through ecocritical lenses, Manson’s Adjunct provides opportunities to reconsider a range of seemingly stable binaries and the discourses that underpin them: including nature/culture, human/non-human, organic/inorganic, and inside/outside. Ecocritical thinking has long been concerned with denaturalising cultural constructions of nature and destablising binaries by emphasising, for example, the vibrancy of seemingly inert materials like metal, and the ways in which material flows between bodies disrupt fantasies of discrete personhood and divisions between inside and out. In place of hierarchical binaries, various ecological approaches foreground the interconnected, transcorporeal and transformative nature of the material world and human-environment continuities. In regards to poetry, the question becomes not how do poems describe how ecology works, but how can experimental poetries stimulate or realise ecological thought? Whether or not the text treats of ‘nature’ or the more-than-human world, Manson’s Adjunct brings together seemingly disparate elements in ways that foreground form, materiality, and the unexpected interrelatedness of the ‘assemblage’.

In addition to the requirement of a tax benefit or advantage, the application of most modern general anti-avoidance rules turns on two elements: a so-called "subjective element" which considers the purpose for which the transaction or arrangement resulting in the tax benefit or advantage was undertaken or arranged; and an "objective element" which considers the object or purpose of the relevant provisions to determine if the tax benefit resulting from the transaction or arrangement is or is not consistent with this object or purpose. Although these two elements are present in most modern GAARs, the function of each element within these rules and the relationship between them is often poorly understood. Other unresolved issues concern the roles of artificiality and economic substance in the application of these rules, and the relationship, if any, between these concepts and the "subjective" and "objectives" elements of the rules. A final set of issues involves the uncertainty that GAARs may engender, the ability of judges to apply these rules and principles in a coherent and consistent manner, and the compatibility of these rules and principles with the rule of law. This essay addresses these issues by reflecting on Tim Edgar’s article “Building a Better GAAR”. Part 1I considers the rationale for a general anti-avoidance rule or principle, arguing that it not only represents a useful policy response to the harmful consequences of tax avoidance (the consequentialist argument that Professor Edgar espoused), but that it may also be justified on the non-consequentialist grounds that it protects the integrity of the provisions at issue and thereby upholds the rule of law. Part III builds on this analysis to consider the design of a general anti-avoidance rule or principle, arguing that it should be codified in the form of an explicit rule, should include subjective and objective elements like the purpose and misuse or abuse requirements in the Canadian GAAR, and should be informed by concepts of artificiality and economic substance which apply respectively to the subjective and objective elements of the rule. Part IV concludes.

A wealth of experimental studies have demonstrated that analogous situations are seldom retrieved from memory when they do not share similar elements with the target situation being processed. More naturalistic observational studies, however, are revealing a profusion of distant analogies, thus suggesting that retrieval is not invariably constrained by superficial similarity. We begin by discussing previous attempts to explain out this inconsistency in terms of the alleged artificiality of experimental tasks and materials. Next, we review our own attempts to settle this debate by means of a hybrid paradigm that retains the ecological validity of naturalistic studies, but without sacrificing the methodological control of the experimental tradition. In line with traditional findings, our results demonstrate a strong effect of superficial similarity during the retrieval of naturally acquired situations as diverse as plots of popular movies, highly publicized political affairs, and different kinds of autobiographical episodes. We conclude by reassessing the debate about the adaptive nature of the surface bias in analogical retrieval, and discuss the implications of this diagnosis for alleviating the problem of inert knowledge.

Through the theological resonances in Walter Benjamin’s work, we see an ambiguity that underlies conceptualizations of fetishism, wherein the theological cannot be separated from the mythological. Pursuing his elaborations upon violence, his re-reading of historiographical operations and outlining the dialectical image in relation to the fetish-object, we see how Benjamin endows the “commodification” (or reification) of the self with a surprisingly emancipatory potential. Taking up this possibility for the sacramental within the realm of the aesthetic, I also look toward Theodor Adorno for whom the artificiality of the fetish is of apiece with its positive potential and the possibility for an “inverse theology” to deploy moments of grace within the material conditions of lived reality.

This article analyses the relationship between humans and animals, and more importantly between humans and their animality. Concretely, this project proposes an ecocritical reading of fin de siècle gothic fiction, as it provides insight on the ideological foundation of humanity’s anthropocentric relation towards the environment. Through the analysis of the gothic hybrid monster, it is possible to grasp society’s interpretation and assimilation of Darwin’s revolutionary discoveries. However, not all gothic writers assimilated the apparent artificiality of humanity’s superiority in the same way. Thus, I hereby argue that rejection and fear is not the only response to the monstrous hybrid in fin de siècle gothic fiction. On the contrary, there are also critical voices who understood this new Darwinian human-hybrid identity as an opportunity to renew human relations towards nature. Therefore, I analyse the constructions of and reactions to the hybrid monster in Bram Stoker’s Dracula and Richard Marsh’s The Beetle against Vernon Lee’s Prince Alberic and the Snake Lady. By doing so, I aim at revealing and ultimately challenging the main dualism that sustains the hierarchical organization of the species: the privileging of culture over nature and reason over animality. The gothic genre is indeed characterised by the blurring of boundaries. Consequently, it reveals the human as irrational, the monster as natural and culture as repression, suggesting the need for the reconstruction of human identity and its place in the world. Este artículo analiza las relaciones entre humanos y animales, particularmente entre humanos y su propia animalidad. En concreto, este proyecto propone un estudio de la ficción gótica inglesa de finales de siglo XIX desde un punto de vista ecocrítico. Esto permite ahondar en la base ideológica sobre la que está asentada la actual visión antropocéntrica del mundo. A través del análisis del monstruo, se observa como los descubrimientos revolucionarios de Darwin fueron asimilados e interpretados de distintas formas en el imaginario social. Así, no todos los escritores de novela gótica asumieron de la misma forma la revelación del ser humano como otra especie más, sujeta a las mismas leyes evolutivas que los demás animales. Por tanto, en este artículo arguyo que el rechazo y el miedo al monstruo no es la única respuesta presente en la ficción gótica del momento. Por el contrario, dentro de esta tradición literaria también hay voces críticas que entienden esta nueva identidad humano-animal como una oportunidad para renovar las relaciones del ser humano con el medio ambiente. Para ilustrar este punto, este artículo estudia la manera en la que el monstruo híbrido es construido en Drácula de Bram Stoker y en El Escarabajo de Richard Marsh en contraste con el retrato que se hace de la Dama Serpiente en El Príncipe Albérico y La Dama Serpiente de Vernon Lee. A través de este análisis, se revela la artificialidad del dualismo sobre el que se sustenta la posición de superioridad de la humanidad sobre el resto de especies: la valoración de la cultura frente a la naturaleza y la razón frente al animalismo. El gótico, género característico por su capacidad para desdibujar fronteras, descubre al ser humano como irracional, al monstruo como natural, y a la cultura como origen de represión. En otras palabras, el estudio ecogótico del monstruo sugiere la necesidad de reconstruir la identidad humana y por consiguiente, también su lugar en el mundo.

The article is devoted to the analysis of social and psychological characteristics of individual freedom space. The concept of freedom, in terms of socio-psychological processes, is represented by three basic vectors: Forms of interpersonal interaction (community - society); Degree of probability (arbitrariness - given); The principle of social processes development (naturalness - artificiality). According to certain vectors, freedom finds its manifestation as: a natural process, which has many possibilities for deployment and is realized in a horizontal direction of interpersonal interaction. It is noted, that freedom is lost: in the process of institutionalization of organizational forms; with appearing of formalism, legitimacy, normative features, regulation; in the presence of hierarchy, subordination and vertical relationships in the group. It has been found out, that according to the vector, form of interpersonal interaction, freedom is mostly present in communities, which are united by a network principle. Civic organizations, communities, associations provide an opportunity for self-expression of the individual, since there is no dictate of group norms. According to this vector, freedom can be analyzed, not as an organization from community to society, but as a way of interaction of feelings, thoughts, actions, ways of thinking. It has been analyzed that according to the vector, the development of social processes, freedom is observed in everything, which is natural. It is a space of natural experiences, feelings and states, any artificiality and control is a sign of lack of freedom. It has been shown that according to the probability vector, freedom is manifested in the processes, where an arbitrary scenario is observed. This is a space for goal setting, building up one’s own activities. According to each vector, the degree of probability of freedom is analyzed.

Viscose was a novelty in the 1930s. The textile industry quickly adopted the fibres, and viscose clothing and interior textiles became the highest fashion. This happened at the same time throughout the industrialised world, even in small countries like Norway, which depended on transnational imports of both raw materials and fashion trends. This chapter explores how the Norwegian textile industry put the new fibres into use and how they were received by consumers. It is based on the comprehensive archives of one of Norway’s most important textile factories and relies also on a close reading of weekly magazines and newspapers to provide an understanding of how the new fibres were presented and received.

The term “Artificial Intelligence” becomes understandable only if we can explain what the terms “Intelligence” and “Artificial” mean, as well as the connection between them. The term “Intelligence” will be viewed as a general faculty to solve problems in a variety of contexts. Arguments will be presented in favour of the evolutionary character of intelligence up to the present, in which there are beings—we humans—capable of producing symbols of abstract nature, capable of representing conjectures about reality, on the basis of internal models. On the other hand, Nature will also be interpreted as a support for the creation of artificiality, in that increasingly complex and functional codifications emerge. Thanks to their capacity for symbolising, human beings for the first time implement a complex system of synchronic and diachronic networked functioning. The transition from an organic to an engineered platform for cognition might be interpreted as “just” another evolutionary leap.

Milgram's reality-virtuality continuum applies to interaction in the physical space dimension, going from real to virtual. However, interaction has a social dimension as well, that can go from real to artificial depending on the companion with whom the user interacts. In this paper we present our vision of the Reality-Artificiality bidimensional Continuum (RAC), we identify some challenges in its design and development and we discuss how reliable interactions might be supported inside RAC., Comment: In Proceedings AREA 2020, arXiv:2007.11260

YÖK Tez No: 679166 İlk bölümde; tezin kapsamında ekoloji ve alt başlığı olan simbiyotik yaşam biçimleri, tanımları ve terimleri açıklanacaktır. Bu bağlamda, canlıların birbirleriyle ve çevreleriyle uyumları temelinden hareket edilerek insanın çevresi ile olan uyumu kent hayatı temelinde ele alınacak, yine kent kuramları ve ekoloji referansları ile tartışılacaktır. Ekonomik fayda merkezli üretim biçimlerinin, tüketimi kültürleştirerek dönüştürdüğü insan modelinin ve insanın doğadan öğrendiklerini yoz bir anlayışla yapaylaştırması üzerinde durulacaktır. Bu bağlamda; teknolojik gelişmelerin sosyal, siyasal hayata ve kent yaşamına etkileri, yeni medya araçlarının kitle oluşturma stratejileri temelinde incelenerek, güncel kent yaşamında yapay bir kamusal alan ve sosyal çevre yaratma önerileri gözden geçirilecektir. İkinci bölümde Romantik dönemden başlayan özgürleşme hareketleri; teknolojik, sosyolojik, siyasal, ekonomik gelişmelere bağlı değişkenlerle yapaylık, doğallık bağlamlarında, sanat tarihi içerikli bir kronoloji incelemesiyle tartışılacaktır. Bu bağlamda, çağdaş sanatta disiplinler arası çalışmalar, görsel örneklerle incelenecek ve göstergeleri açıklanacaktır. Üçüncü bölümde çağdaş sanatın kurumsal tarihi, müzecilik, koleksiyonculuk, alternatif üretim biçimleri, kolektif ve sürdürülebilir sanat ekosistemi üzerine tartışmalar yapılacak; konu, sanat yapıtı, sanatçı ve sanat piyasası bağlamlarında incelenecektir. Sonuç bölümünde kent, ekoloji ve teknoloji temelli araştırmalar sonucu ortaya çıkan bireysel ve kolektif üretimlerim, yüksek lisans eğitim sürecinde dahil olduğum etkinlikler, ortaya koyduğum yapıtlar örnek görseller üzerinden açıklanacaktır. Ekrem Yiğit Türüdü / Master Thesis, Düzce, 2021 In the first chapter, ecology and its subheading symbiotic life forms, definitions and terms of them will be explained within the scope of the thesis. In this context, with reference to the basis of harmony of living things with each other and their environment, human harmony with its environment will be elaborated on urban life basis and also will be discussed with urban theories and ecology references. It aims to focus on economic benefit-based forms of production, the human model that it transforms with acculturation of consumption, and the artificialization of what human learns from nature with a corrupt percept. In this context, the effects of technological developments on social, political and urban life will be examined on the basis of audience composition strategies of new media tools; and the proposals for creating an artificial public space and social environment in current urban life will be reviewed. In the second chapter, liberation movements starting from the Romantic period will be discussed in the contexts of artificiality and naturalness with variables related to technological, sociological, political and economic developments, with a chronology review with art history content. In this context, interdisciplinary studies on contemporary art will be examined through visual examples and their indicators will be explained. In the third chapter, discussions will be held on the institutional history of contemporary art, museology, collecting, alternative forms of production, ecosystem of collective and sustainable art; the subject will be examined in the contexts of art work, artist and art industry. In the conclusion chapter, my individual and collective productions occuring with urban-based, ecology-based and technology-based research; the activities I have participated in during the course of my master's degree education, and the works I have put forth will be explained through sample visuals.

For Giorgio Agamben, the substitutability of the fetish is the result of its ambiguity, causing it to be unpossessable as well. For him, the fetish’s emancipatory potentiality reveals ways in which the objectification of the human body brings new uses for it to the fore, liberating human beings from their “biological destiny”. It is the unveiling of the artificiality of fetishism that permits us to discern our true, embodied “nature”. Likewise, in Marcella Althaus-Reid’s “indecent theology”, theology has been “fetishistic” in its abstracted artificiality that masquerades as “natural”. As such, I utilize her explorations of fetishes to render theology “indecent” in order to unite the Freudian, Marxist, theological, and philosophical analysis which this book had earlier presented.

When market definition is criticised, it often reveals an underlying flaw in the reasoning of sceptics: they take market definition too seriously. There is, after all, no such thing as an ‘antitrust market’ (or any other market, for that matter). Markets are merely analytical tools, which serve to structure available evidence and enable a comprehensive answer to a particular question. They do not ‘exist’ as such in the ‘real world’, but are figments of our intellectual imagination. In that capacity, they can be immensely useful. They lend themselves to the nuances and aims of the particular study for which they are constructed. From ‘economic’ markets to ‘antitrust’ markets, the ‘market’ notion enables the study of occurrences which are otherwise too challenging to capture. A pursuit of ‘objectivity’ in the process of product market definition remains in vain as long as we fail to acknowledge that the utility of antitrust markets lies precisely in their reductive and purposive nature. This article intends to make two main arguments. The first argument is simple, yet far-reaching: the antitrust market does not exist, and that is a good thing. The utility of antitrust markets lies exactly in the fact that antitrust markets are not ‘natural’ phenomena, but intellectual fictions. Antitrust market definition is useful because it is a method to enable the answer to a question. The important implication of this argument is that the market is therefore defined by reference to that particular question, rather than as an independent and neutral object. In the context of competition investigations, this question can concern, but does not have to be limited to, determinations of market power. The second argument this article makes is that, even though the market is fictional and purposive, market definition can still be objective. Both enforcers and scholars seem increasingly concerned with coherence and certainty in the process and rationale of market definition. This article therefore explains why calling antitrust markets ‘subjective’, merely because they are purposive, is erroneous. Markets may be defined in order to answer a particular question, which makes them flexible; yet, they should only be condemned as ‘subjective’, where they are defined by reference to the personal views of those engaged in defining them, rendering them, ultimately, arbitrary. Where they are defined by reference to a particular question, even where multiple such questions are possible, markets are not inherently subjective, and objectivity can be attained. The article argues that objectivity in market definition, under a purposive approach, can be achieved by aspiring to process objectivity, rather than to objective outcomes. For the most part discussions about market definition remain too narrow-minded, seeking objectivity by pursuing ‘realistic’ outcomes rather than a coherent process, fuelled by a lack of recognition that market definition’s utility lies in its analytical and imaginary nature. This article, therefore, also seeks to provide a reassurance that a ‘purposive’ antitrust market does not automatically mean a ‘subjective’ antitrust market, and proffers preliminary suggestions on steps to ensure process objectivity in antitrust market definition. This articles marries the poetic with the practical, by describing the rationale behind market definition, the artificiality of any market (and the utility of that artifice), and the purpose for which antitrust product markets can be defined. In doing so, this article hopes to prompt scholars engaged in the improvement, or even replacement, of antitrust market definition to take a step back and see the bigger picture. Objectivity in antitrust market definition will not be achieved by ignoring the functional nature of the concept, but rather by embracing and explicitly acknowledging its nature and scope. This is a much-needed call, currently underemphasised in academic discussion, which can help competition authorities (including, but not limited to, the European Commission) explain the rationale behind maintaining antitrust market definition. It is also quite timely, since the European Commission has recently embarked upon a re-evaluation of its Market Definition Notice, citing efficiency and relevance (including ‘transparency’ and ‘guidance’) as evaluation criteria.

This chapter focuses on the technicity or artificiality of names in Plato’s dialogue Cratylus. The dialogue examines whether names are the result of agreement and convention or whether they have to conform to some kind of ‘natural appropriateness’ if they are to be names at all. Looking at some of the key arguments advanced in the dialogue, especially the idea of language as tool, I argue that Plato uses the issue as a sounding board for testing the basic premises of Cratylus’s naturalist metaphysics and its attendant concept, imitation or mimesis, i.e. the theory that names are imitations of things, and are intended to impart knowledge about those things. Whilst in principle committed to some version of naturalism, Socrates is sceptical of Cratylus’s theory of ‘naturally correct’ names as it requires a crude naturalism ordaining that the properties of things be reflected in the phonetic structure of their names. Socrates shows that this variety of naturalism fails because meaning cannot be a simple function of the affective qualities of the elements that make up words (just as the letter ‘l’ is supposed to convey smoothness). If a realist account of knowledge is to be retained, therefore, a new variety of naturalism is required, one that reconfigures ‘nature’ as ideality.

Drawing on David Mitchell and Sharon Snyder’s concept of narrative prosthesis to refer to both the pervasive presence of disability in mainstream discourse and the conventions used to represent it, this article compares how disability is handled in Benito Perez Galdos’ novel, Marianela and in its theatrical adaptation, Los ojos, by the Argentinian playwright Pablo Messiez. In his novel Galdos seemingly follows the typical pattern of representing disability through his curing of Pablo’s blindness, but then he subverts that pattern by using Marianela’s death and burial to draw attention to the artificiality of the conventions aimed at eliminating disability from narratives. In his adaptation, Messiez shifts the focus from disability to nationality, transforming Nela and her mother into Argentine immigrants living in Spain. Through them he exposes the Otherness experienced by immigrants which marginalizes them, and he undermines the stigma of foreignness by redefining the concept of national identity. In so doing, however, Messiez eliminates Galdos’ challenge to mainstream representations of disability, allowing his play to follow the standard pattern identified by Mitchell and Snyder.

This paper considers the origins of separatist conflicts by examining the Arab uprisings of 2011. Given the internal fractionalization of Arab polities and the artificiality of their border...

This paper, based on my experiences teaching Africana Studies at a Northeastern public university, argues that anti-racist pedagogy must include a RaceSyllabus which reveals to diverse students the artificiality of race as a man-made ideology, neither biologically rooted nor divinely-inspired. Barbara Jean Fields and Karen Fields use the term racecraft to describe how race ideology persists as a subterranean, almost occult force in American institutions and minds. In my teaching I have developed a syllabus which propels students into a novel mental terrain where the racial categories we inherit and inhabit are neither inevitable or natural, but instead are created and re-created by our national economic, political, social, and cultural choices. The RaceSyllabus includes two interrelated learning objectives which, together, propel students to see outside our society’s race-tinted lenses. 1. Students should consider that racial identities in the United States are historically specific. 2. Students should consider that racial identities are geographically specific. These two insights, when taught together, are remarkably effective in exposing the artificiality of our national racial myths.

Despite advocating for the necessity of absolutism, Hobbes is adamant that authority can only properly be derived from an act of human artifice and consent. But if the institution of sovereignty is subject to genuine choice, how can it be necessarily absolutist? I argue that one way of resolving this apparent dilemma is to focus on how Hobbes constructs and defends his own claim to authority in the Introduction to Leviathan. By encouraging his readers to read themselves and others, rather than rely on books, Hobbes ironically calls into question his own authority at the outset of his own book. But rather than subverting his claim to authority, it only strengthens it. After examining how this seemingly paradoxical tactic works, I demonstrate how an analogous claim applies to Hobbes’s account of politics.

At a time when technology progressively pushes back nature, the sexual act runs the risk of being denaturalised. The notion of the sublime, which I argue is how humans react to the machine as a surrogate for nature and as a sexual stimulus in Crash (1973), is therefore of central interest in this article. Ballard himself has described Crash as ‘the first pornographic novel based on technology’ (1973, 6). This engagement with a technologised sexuality is explored as a subjective narrative stance, which grants authenticity to the fictive alter ego, who can probe alternatives to an extra-textual reality. This narrative mode is notably potent in relation to the narrator’s estimation of the merge between sexuality and technology in the form of car crashes uniting Eros and Thanatos. I therefore suggest that Crash can be read as an attempt to localise the natural and human in a world dictated by artificiality and technology.

This essay discusses Fujiko Nakaya, a Japanese artist who has been known since 1970 for the use of fog in her site-specific installations. Nakaya’s outdoor work is designed for and interacts with a particular site, facilitating spectators’ kinaesthetic awareness through a dynamic visibility and strategies of immersion. This essay discusses Nakaya’s fog work as reflecting her early contact with Western art in the late 1960s and early 1970s, filtered through a particularly Japanese aesthetic. I argue that the underlying principle informing Nakaya’s fog art is one of an imagined natural core that is accessible to the spectator paradoxically through the very artificiality of the environment Nakaya creates, and through the work’s facilitation of a reflexive receptiveness of one’s own transience. Nakaya’s work sustains an irresolvable relation between nature and culture that rejects the simple dichotomy of the human and the natural. Nakaya’s work accentuates the embodied experience of the spectator, giv...

EnglishThis article is a confession as well as a promise to take philosophy "out of the closet" and, from the traces left by Derrida, ressexualize philosophy. To do so, it is necessary to work with two aspects that justify this kind of movement: the question of sexuality in philosophy and the development of a brazilian tought. The first aspect leds to a formulation of a "queer theory of knowledge" that praises the artificiality against any defence to the natural and, above all, denounces the neutrality and universality as a dessexualization of knowledge. The second aspect touches in the wound of the so called brazilian philosophy since its non-existence would be derived from the lack of love to its own language and from a fear to na impure origin (in the best sense) of the brazilian culture. From this movement arises the idea of a philosophy in and from the third gender; a crossbreed philosophy; a philosophy from and on the streets. Lastly, there is a report about the importance of the deputy Jean Willys to the construction of this world "out of the closet". portuguesEste artigo e uma longa confissao e uma promessa de retirar a filosofia do “armario” e, a partir dos rastros deixados por Derrida, ressexualizar a filosofia. Para tanto e preciso trabalhar com dois pontos que fundamentam este tipo de movimento: a questao da sexualidade na filosofia e o desenvolvimento de um pensamento brasileiro. O primeiro ponto leva a formulacao de uma “teoria queer do conhecimento” que exalta a artificialidade contra qualquer defesa do natural e, sobretudo, denuncia a neutralidade e a universalidade como uma dessexualizacao do pensamento. O segundo ponto toca na ferida daquilo que se chama filosofia brasileira ja que a sua inexistencia seria oriunda da falta de amor a propria lingua e de um receio a origem “impura” (no melhor sentido) da cultura brasileira. A partir deste movimento surge entao a ideia de uma Filosofia no e do terceiro genero; uma filosofia mestica; uma filosofia das e nas ruas. Por fim, ha um relato sobre a importância do deputado Jean Wyllys para a construcao deste mundo fora do armario.

Design intensity is defined as the amount of the original landscape changed and the degree of artificiality of added elements to the landscape by design. In spite of the significance for landscape design, it has been neglected for a long time by academic research. How does a designer choose an appropriate level of design intensity for a specific landscape to satisfy the users’ aesthetic preference? The answer is still unknown and important to research. This study explored the effects of three levels (low, moderate and high) of design intensity on visual aesthetic quality of two landscape types: natural and restored, using visual images as stimuli. The results indicated that, compared to the low or high level of design intensity, the moderate level not only led to a higher landscape quality, but also had a better marginal effect on promoting aesthetic preference. However the marginal effect was dependent on the landscape types: for the natural landscape, low design intensity had the highest marginal effect, with the original pictures’ quality having a non-significantly negative association to design intensity’s influence on visual aesthetic quality. The Intermediate Disturbance Hypothesis which suggests a moderate level of disturbance leading to maximized biodiversity is used to explain the results. In design practice high design intensity should be abandoned.

J.J. Rousseau, thinker of the Age of Enlightenment, breaks a new ground in education with his work Emile. In his novel, Emile is the name of the child he has grown up imaginatively. Rousseau, describing Emile's life and his relationship with his instructor from birth to adolescence, discusses teacher-student relationship, and he defends that children are innate, pure and noble, and that they must be protected from the negative effects of society. This vision, called the return to nature and aiming to protect children from society's artificiality and self-esteem, is recognized as Naturalism in education world. The basic idea of this movement is that child development is carried out without undue interference and limitations. Parents and educators should be good observers, helpers for providing appropriate experiences, and should be in a position that allows children to grow according to their natural abilities. Rousseau, recommending Robinson Crusoe lifestyle, is opposed to compulsory and restricted education. Rousseau himself, who seems to have influenced many thinkers such as Daniel Defoe, Pestalozzi, Froebel, Dewey, Vygotsky and Piaget, has also been influenced by others. Emile is thought to have been influenced by the work Hayy Ibn Yaqzan written by Avicenna and Ibn Tufail centuries ago. Rousseau also mentions religious and moral education in his work. To him, it is more meaningful to teach children how to choose truthfully, how to choose by using their minds and experiences and to respect their free will, rather than giving them a religious education shaped and modified by society. Although it is not possible to practice today, important points to be taken into consideration in religious education draw attention. In our theoretical article, we have tried to investigate the still-influential Naturalism movement and Rousseau's views on religious-moral education, and contribute to the field. We aim to create an awareness of this subject which has not been researched by any independent study.

La regione Calabria vanta 179 SIC (Siti di Interesse Comunitario) e 6 ZPS (Zone di Protezione Speciale). La carenza di studi sullo stato di conservazione e qualità ambientale dei suddetti siti (naturalità, artificialità, sensibilità, vulnerabilità e rischio) ha indotto gli AA. a caratterizzare i 10 SIC che insistono sui corridoi ecologici del versante jonico calabrese. Attraverso l'ILC (Index of Landscape Conservation) e l'ESAi (Environmentally Sensitive Areas Index), è stata condotta un‟analisi ambientale finalizzata alla definizione, individuazione e valutazione dei valori e delle criticità. Muovendo dalla Carta d'Uso del Suolo (CLC) sono state realizzate, quali carte derivate, la Carta della Naturalità-Artificialità e la Carta della Sensibilità Ambientale dei suddetti siti. Lo studio chiude con un approfondimento metodologico sulle opportune modalità da adottare per caratterizzare un SIC; modalità suggerite dalle analisi ambientali eseguite soprattutto sul SIC Foce Neto adottando una capillare indagine geobotanica condotta con metodo fitosociologico.

After the alleged ‘ends’ of metaphysics, of history, and of art, aesthetics reorganises the field of its enquiry. While retaining the question of the meaning of art for the human as the background justification of its theorising, aesthetics meets philosophical anthropology and enlarges its field. Philosophical anthropology explains that the instability of the human condition demands culture as the artificial stabilisation of the human world as well as of the human in the world. Expressivity, artificiality, and the aesthetic are interweaved with the meaning of the human world. In this context, pictures have priority over concepts and justify art as the eminent pictorial form of meaning. Since the human lives in nature and culture, the stabilisation of its open world is possible through creation of spatial correlates and of objects as well. Thus, aesthetics does need to expand enquiry beyond the discourse on art, so that it includes the issues concerning the aesthetic character of the human world and its spatial correlates. While Wolfgang Welsch and Richard Shusterman argue for a revision of aesthetics, Joseph Margolis and Helmuth Plessner support the stronger dialogue between philosophical anthropology and aesthetics in different ways. Further, Arnold Berleant explores aesthetics of human space.

Na medida em que estudos empíricos apresentam detalhes sobre práticas locais e interpretações sobre a beleza, é necessário discutir a ideologia de beleza ou ideologias em geral na América Latina, pois elas são compartilhadas com a história do colonialismo e o caminho que as referências de beleza viajam facilmente entre as fronteiras nacionais atualmente. Essas imagens não ditam, mas informam o caminho no qual a mulher (e o homem) constrói seu corpo nas sociedades latinoamericanas. O propósito deste artigo é desenvolver uma teoria das ideologias da beleza latino-americana que se apoia e se move através de uma pesquisa empírica. Além de apresentar uma exaustiva tipologia, alguns conceitos devem ser considerados com o objetivo de estimular o debate acadêmico e a discussão. São identificados dois aspectos da ideologia da beleza: 1) a aceitação da artificialidade; e 2) a mobilidade racial.

Recent results from studies on animals suggest that functional germ cells may be generated from human pluripotent stem cells, giving rise to three possibilities: research with these so-called artificial gametes, including fertilization experiments in vitro; their use in vivo for therapy for the treatment of human infertility; and their use in assisted reproductive technologies in vitro. While the legal, philosophical, and ethical questions associated with these possibilities have been already discussed intensively in other countries, the debate in Germany is still at its beginning. A systematic and detailed analysis of the legal framework in Germany is provided with regard to the three possibilities, including the applicable statutory laws as well as the constitutional law. The question emerges as to whether the statutory laws as well as the constitution justify a distinction to be made between embryos of artificial and natural origin. This question is subject to philosophical analysis, discussing the distinction between person and thing, dignity and price, personality and property, and nature and technique. As a result, the criterion of naturalness alone may not be sufficient to differentiate between embryos of natural and artificial origin, and other criteria need to be identified.

The artificiality of the actual amount adsorbed (AAA) estimated from the experimentally measured Gibbsian surface excess (GSE) of a gas is discussed. The use of AAA for calculation of isosteric heat of adsorption or mixed gas adsorption isotherms using ideal adsorbed solution theory can be misleading and incorrect. The GSE, on the other hand, can be unambiguously used to describe all practical aspects of adsorption science and technology.

My hypothesis in this article is that it is possible to use the philosophical concept of technics to solve a conflict in contemporary continental ontology between speculative materialist and (post)phenomenological approaches. More precisely, I will show that technics gives a privileged access to ontology because it leads to a “materialist” ontology, avoiding both theological and nihilistic approaches, and because technics, being by definition a domain of artificiality, precludes any explication of it in terms of naturalist materialism. I start by critically examining two techno-ontologies that come from speculative realism and object-oriented ontology: Levi R. Bryant’s onto-cartography and Graham Harman’s tool-being. I then present, as a counter-position, Jean-Luc Nancy’s idea of “ecotechnology”. In conclusion, I evaluate the usefulness of the concept of technics for ontology and argue that Nancy’s post-phenomenological approach is preferable because it avoids indefensible hypostases and is more attentive to its own discursive status.

This study analyzes the modernity underlying Jean Nouvel's ideas and evaluates the experience of nature intended in his work by employing scenography and through the artificialization of nature. Nouvel's pursuit of aesthetics is motivated by a desire to transform a site in a natural place. Therefore, his architecture is, as he describes it, ‘hyper-specific’ and ‘dematerialized’. Nouvel's methods and ideas bear the materialist and deterministic aspects of modernity. His works lean towards an artificiality that often exceeds their natural and cultural surroundings. Our experience of nature, though, does not come from the presentation of natural objects alone. It is a continuous ‘becoming’, a mundane and physical perception. This research therefore highlights the need to look beyond modernity's materialism and determinism and respect the complex and unfathomable totality in the design of a place.