Consider theicons/symbols, objects, subjects representing spectacle in your life

philosophy's faith in sc ience a~ the ba sis for cer-tainty and progr es

Four broad streams

Of course, as art teachers, we often see immediately what is wrong with a student work, but is it best to teach them to be dependent on us?

Schools generally train and assess what is known, but seldom teach the acquisition of what even the teacher didn't know existed. When we do, it is authentic discovery.

An incalculableamount of communicationgoes on around us, beyond ourauditory capacity,

Schaeffer paved the wayfor the sound revolution thatwas brought about by tapemanipulation, electronic instru-ments, and digital technology,and introduced acousmaticlistening

imofdecontextualizingsounds,

The piece did away with theplayer-composer relationshipand placed the focus on themusic producer, the manipula-tor of the sound matter itself,like the electronic musicianof today.

here are no soundeffects without a text inparallel, are there? But whatabout the person whowants noise without textor context?

For Nicolai, romanticism chimesperfectly with a committedengagement to science anddigital culture.

WellenwanneIfo, Carsten Nicolai’s installa-tion in Soundings.

Mom, I sense, is more a trapped self than an impaired self, annoyed by the ravages of age, fighting for every moment of sentient existence.

such as your smartphone — become an integral part of your mind in an "active externalism").

panpsychism,

it is an artificial construct of competing neural systems seeking to make sense of myriad streams of inner information — a trick of the brain.

But, in order to make sense of rational conscious behavior you have to postulate a point from which that behavior comes."

the self is just a made-up construct that arises from our complex brains interacting with its environment.

you have or are a "self," and though science may not be able to prove it, something strange — perhaps something nonphysical or supernatural — is going on that points to the existence of a "thing" — let's call it a spirit or a soul — that goes beyond the physical realm and could even survive the death of your fleshy body

which means that attempting to consciously add newness usually adds imperfection – it is not creation, it is destruction

The human self is both a subjective thing experienced in a physical culture and an objective thing experienced in a symbolic culture; but the subjective and objective selves are not different things, they are different sides of the same thing

he individual was almost entirely the product of their social environment, and any selfhood was therefore imposed on the individual by the local culture

social complexity generates new and varied ways of being human, so the individual has more choice in their way of being human.

Western conformity is a matter of finding a specialist role in a complex and highly differentiated society

The workers were alienated from their work – they had no control over what they did – and alienated from their own selves, from their innate potential as individual

t may be that photos of important objects aren’t photographically remarkabl

unsuitable forpresenting not only sound asan art form but also innovativeforms of new music that placeperformers and audiences innew roles and relationships.’

“the sonicturn.”' This term designatesthe gradual shift in focus fromthe visual toward the auditory

. The natural worldis personalised, established through reading, inter-pretation, and presumably dialogue as to itsnature and extension

putative

encourage a ‘democra-cy of viewpoints’, a polyculture of the imagination[in opposition to] the monoculture ofinformation

ndex’

Title: Robert Kennedy FuneralTrain 1968

The pictures I took spontaneously – with abliss-like sensation, as if they had long inhabitedmy unconscious – were often more powerful thanthose I had painstakingly composed.I grasped their magic as in passing.

How will you introduce your audienceto the meaning of the sign or symbol?

The viewer is engaged with a place beyond the visible.Everything shifts as you move and different thingscome into focus at different points of your life, and youtry to articulate that.’

how aspects of a scene can beframed within an image to convey, whetherintentionally or not, a meaning that goesbeyond the mere recording of a scene

In an obvious sense and at least in part also for historical reasons, the usage of text differs from one context to the next. For example, the world of photojournalism uses captions and often will have pretty intense discussions over their validity and/or veracity. Documentary photography will incorporate often very elaborate pieces of text that, however, often are produced by a different author and that usually almost lead a life of their own.

These platforms have accustomed people to sharing cars, working space, and living space; these are common goods for sharing. It is reported that in 2014 in the United States, approximately 23% of the population has participated in the organized Sharing Economy, sharing common good

fueled longstanding fears that public housing buildings may ultimately besteamrollered by the hot real estate market — privatized or demolished to make room for richer New Yorkers

but I missthe more diverse Manhattan that was here when I arrived in 1977

was quite stunned. I wasn't prepared for the utter emptiness of the streets, the eeriness, theworn beauty. The pictures were made without artifice. They were just straight documents of thestreets and architecture, but poetic at the same time. I was confronted with a city long vanishedseen through my own eyes, but largely forgotten

You can preserve buildings, but you can't preserve moments intime.

The reality is that the displaced aregetting pushed out of working class neighborhoods that are “good enough” to attract people andinvestment, while the poorest and most vulnerable neighborhoods remain mired in persistentpoverty and concentrated disadvantage

gentrification tends to benefithighly educated black households

gentrifying neighborhoods were generally morediverse when it came to income, race, and education as opposed to non-gentrifyingneighborhoods

gentrifying neighborhoods are becoming more raciallydiverse by tracking neighborhood change from 19702000 (although he does note that citiesoverall are becoming more diverse as well)

probability of displacement declined as the rate of rentinflation increased in a neighborhood

What did predictoutmigration was age, minority status, selective entry and exit, and renting as opposed tobuying

selective entry and exit,

driving force behind both is the far larger process of spiky reurbanization—itself propelled bylarge-scale public and private investment

urbanism

ssertingthe value of incomplete form is a political act architects should perform in the public realm.

he migrant cosmopolitans who survive well have become, literally, skilled actors; they have learned the rituals of what Erving Goffmann calls "the presentation of self in everyday life" so that they can communicate with strangers. They are skilled at living in time, at home with change. In the developing world, they are the city's future; perhaps these migrant cosmopolitans are also, in the developed world, a model for how to inhabit the city well

quite like those just above the United Nations, in the side streets of the Fifties. They are French but not fashionable; food is still prepared with butter and lard and cream, the patrons are bulky and comfortable, the menu seldom changes

Because exclusion and eviction are so deeply rooted in capitalism, it may be beyond the humane planner's power to make boundaries into boundaries at the scale of projects like these water-side projects. At a smaller scale, the urbanist may have more freedom to maneuver. But at this scale, he or she needs to be more self-critical in order to create membrane/borders.

Arendtian politics and Habermassian

In order to gain a more desirable narrative direction, we sometimes would choose notto maximize our total happiness

First, even if happiness were the only thing we cared about, we would not care solely about its total amount

Why should we be concerned only with how our time is filled, but not with what we are

could stimulate your brain so that you would think and feel you were writing a great novel, or making a friend, or reading an interesting book

arling has conducted multiple experiments to try to understand whenand why humans feel empathy for robots.

the economic havoc that robotscould wreak on the workforce is a source of real anxiety

If it dies, it is in dwindling, not in swelling out like those mechanical toys which disappear behind the hernia of a broken spring

The contrast between these two responses reveals a shift from projection onto an object to engagement with a subject

human habit of making assump-tions based on perceptions of behavior

people did not care if their life narratives were really understood. The act of telling them created enough meaning on its own

trust in Eliza did not speak to what they thought Eliza would understand but to their lack of trust in the people who would understand.

interlocutor

Rogerian psychotherapist.

re-lational artifact, a computational object explicitly designed to engage a user in a re-lationship

human purposes of believable digital companions that are evocative but not authentic.

watershed

Although the machine may only have simulated emotion, the feelings itevokes are real

The feelings they elicit will reflect human vulnerabilities more than ma-chine capabilities

the tradition of academic property rights demanded that Kismet remain in the laboratory that had paid for its development. Breazeal described a sharp sense of loss. Building a new Kismet would not be the same.

by the time we face the reality of computational devices that are indistinguishable from people, and thus able to pass our own Turing test, we will no longer care about the test.

“When I wake up in the morning and see her face [the robot’s] over there, it makes me feel so nice, like somebody is watching over me.”

he would prefer to talk to a robot about his problems than to a person. “The robot wouldn’t criticize me,”

hese chil-dren are learning to have expectations of emotional attachments to robots in the same way that we have expectations about our emotional attachments to people.

Children became so attached to their particular Furby that when the robots began to break, most refused to accept a replacement

we not only experience it as intelligent, but more importantly, we feel a heightened connection to it.

These questions ask what we will be like, what kind of people we are be-coming as we develop increasingly intimate relationships with machines

The questions raised by relational artifacts are not so much about the machines’ capabilities but our vulnerabilities — not about whether the objects really have emotion or intelligence but about what they evoke in us

at interface value”

The ability of relational artifacts to inspire “the feeling of relationship” is not based on their intelligence, consciousness, or reciprocal pleasure in relating, but on their ability to push our Darwinian buttons, by making eye contact, for example, which causes people to respond as if they were in a relationship

Ruth, depressed about her son’s abandonment, comes to regard the robot as being equally depressed. She turns to Paro, strokes him, and says, “Yes, you’re sad, aren’t you. It’s tough out there. Yes, it’s hard.” Ruth strokes the robot once again, attempting to comfort it, and in so doing, comforts herself.

Heinz Kohut describes how some people may shore up theirfragile sense of self by turning another person into a “self object” (Ornstein, 1978).In this role, the other is experienced as part of the self, and as such must be attunedto the fragile individual’s inner state. Disappointments inevitably follow. Someday,if relational artifacts can give the impression of aliveness and not disappoint, theymay have a “comparative advantage” over people as self objects and open up newpossibilities for narcissistic experience. For some, predictable relational artifactsare a welcome substitute for the always-resistant human material

imitation is less psychologically important as a measure of machine abilitythan of human susceptibility to this design strategy

ctual aliveness is unnecessary.

In thinking about the meaning of love, however, we need to know not only what the people are feeling but what the robots are feeling. We are easily seduced; we easily forget what they are; we easily forget what we have made

What is the value of interactions that contain no understanding of us and that contribute nothing to a shared store of human meaning?