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Technologies carry politics since they embed values. It is therefore surprising that mainstream political and legal theory have taken the issue so lightly. Compared to what has been going on over the past few decades in the other branches of practical thought, namely ethics, economics and the law, political theory lags behind. Yet the current emphasis on Internet politics that polarizes the apologists holding the web to overcome the one-to-many architecture of opinion-building in traditional representative democracy, and the critics that warn cyber-optimism entails authoritarian technocracy has acted as a wake up call. This paper sets the problem – “What is it about ICTs, as opposed to previous technical devices, that impact on politics and determine uncertainty about democratic matters?” – into the broad context of practical philosophy, by offering a conceptual map of clusters of micro-problems and concrete examples relating to “e-democracy”. The point is to highlight when and why the hyphen of e-democracy has a conjunctive or a disjunctive function, in respect to stocktaking from past experiences and settled democratic theories. My claim is that there is considerable scope to analyse how and why online politics fails or succeeds. The field needs both further empirical and theoretical work.
This paper reads 'The Detainee's Tale as told to Ali Smith' (2016) as an exemplary demonstration of the work of world literature. Smith's story articulates an ethics of reading that is grounded in the recipient's openness to the singular, unpredictable, and unverifiable text of the other. More specifically, Smith's account enables the very event that it painstakingly stages: the encounter with alterity and newness, which is both the theme of the narrative and the effect of the text on the reader. At the same time, however, the text urges to move from an ethics of literature understood as the responsible reception of the other by an individual reader to a more explicitly convivial and political ethics of commitment beyond the scene of reading.
With Big Data, decisions made by machine learning algorithms depend on training data generated by many individuals. In an experiment, we identify the effect of varying individual responsibility for the moral choices of an artificially intelligent algorithm. Across treatments, we manipulated the sources of training data and thus the impact of each individual’s decisions on the algorithm. Diffusing such individual pivotality for algorithmic choices increased the share of selfish decisions and weakened revealed prosocial preferences. This does not result from a change in the structure of incentives. Rather, our results show that Big Data offers an excuse for selfish behavior through lower responsibility for one’s and others’ fate.
The 1935 Fox Films "Dante's Inferno" (directed by Harry Lachman) traces the rise and fall of an entrepreneur. Its protagonist, Jim Carter (played by Spencer Tracy), begins the story as a stoker on a cruise liner. The narrative opens with a burst of flames from the ship's boiler, and the ensuing scene goes on to show the protagonist competing at shovelling coal for a bet in the sweltering engine-room. Interspersed are shots of the superstructure directly above with a number of elegant and vapid passengers following the game below. This initial sequence thus concisely conveys the main features of the film's social agenda through imagery that anticipates that of two of its later 'infernal' sequences. [...] Spectacular admonition and concern about the ruthless pursuit of wealth are the main features which link this "Inferno" of the thirties to the one that had appeared some six hundred years earlier. Wealth and avarice were, of course, demonstrably serious concerns for Dante: as Peter Armour, for example, has shown, there is a recurrent and pervasive concern with money, its meaning, and its misuse throughout the "Commedia". So it is not surprising that the "Inferno" should also have been appropriated by social critics some hundred years before the 1935 Hollywood fable. [...] Some of the narrative and visual patterns in "Dante's Inferno" imply an uneasy underlying vision of the movie industry and its practices. Other productions, publicity, and journalism of the time reinforce suggestions of such a metafictional approach to movies, morality, and the market in the 1935 "Dante's Inferno".