Fabio Fossa

As Artificial Intelligence (AI) becomes more and more pervasive in our everyday life, new questions arise about its ethical and social impacts. Such issues concern all stakeholders involved in or committed to the design, implementation, deployment, and use of the technology. The present document addresses these preoccupations by introducing and discussing a set of practical obligations and recommendations for the development of applications and systems based on AI techniques. With this work we hope to contribute to spreading awareness on the many social challenges posed by AI and encouraging the establishment of good practices throughout the relevant social areas. As points of novelty, the paper elaborates on an integrated view that combines both human rights and ethical concepts to reap the benefits of the two approaches. Moreover, it proposes innovative recommendations, such as those on redress and governance, which add further insight to the debate. Finally, it incorporates a specific focus on the Italian Constitution, thus offering an example of how core legislations of Member States might contribute to further specify and enrich the EU normative framework on AI.

The increase in the spread of conversational agents urgently requires to tackle the ethical issues linked to their design. In fact, developers frequently include in their products cues that trigger social biases in order to maximize the performance and the quality of human-machine interactions. The present paper discusses whether and to what extent it is ethically sound to intentionally trigger gender biases through the design of virtually embodied conversational agents. After outlining the complex dynamics involving social biases, social robots, and design, we evaluate the ethics of integrating gender cues in conversational agents, analysing four different approaches to the problem. Finally, we suggest which approach in our opinion might have the best chances to reduce the negative effects of biases and discriminatory visions of gender dynamics.

In Italien erlangte Hans Jonas, ähnlich wie in andersen Ländern, öffentliche Anerkennung dank seines Werks Das Prinzip Verantwortung, das 1990 ins Italienische übersetzt wurde. Die Übersetzung weckte das Interesse einer breiten Öffentlichkeit sowohl an seinem bioethischen Ansatz als auch an seinen früheren philosophisch-biologischen Schriften. Die Besonderheit des italienischen Kontexts besteht jedoch darin, dass der Philosoph in der akademischen Welt bereits lange vor seiner eingangs erwähnten allgemeinen Anerkennung und ›Entdeckung‹ in der Öffentlichkeit durch seine Arbeiten über die spätantike Gnosis gut bekannt war.

Wie aus Jonas’ zahlreichen biographischen Erinnerungen hervorgeht, war die kritische Auseinandersetzung mit der Analogie zwischen Gnosis, Existentialismus und Nihilismus eine entscheidende Etappe seiner intellektuellen Reise. Jonas hat eine solche Einschätzung ausdrücklich in »Gnosis, Existentialismus und Nihilismus « vorgenommen, einem Aufsatz, den der Philosoph mehrmals in englischer und deutscher Sprache überarbeitet und neu aufgelegt hat. Dort schlug Jonas eine Kritik des Existentialismus vor, indem er diesen mit der Gnosis in Bezug setzte.

The aim of this paper is to discuss how the image of the artist has formed in Western culture and how digital art may shed light on some of its internal contradictions, if not perhaps even help us overcome them. Firstly, I take into consideration the Jewish and Christian tradition according to which the image of God as Creator may play the role of the archetypal artist, of whom the human artist is a sort of copy and imitator – an idea that fully established itself during the Renaissance and even now widely influences the image of the creative artist, whom is commonly endowed with an almost absolute subjectivity able to derive from her boundless spontaneity everything is needed for the making of the work of art. Next to the image of God as Creator I focus on the influence exerted by the Platonic myth of the Demiurge, the divine craftsman who, trusting its own ability and insight, shapes a given matter according to a preexisting model it contemplates. It will then be shown how the image of the Demiurge might temper the absoluteness proper to the notion of the artist deriving from the image of God as Creator and, therefore, how it might help rediscover the dimension of historicity and conditionedness that is inseparable from human artistic creativity, even though it has been strongly downplayed and despised. Finally, I argue that the philosophical study of digital art – particularly of computational creativity and remix – may offer a precious occasion for shedding new light on the objective and conditioned elements of artistic creativity and, as such, may lead the way towards a reconfiguration of the image of the artist (and of the many concepts connected to it) not under the absolute sign of God as Creator, but rather under the historical aegis of the Demiurge.

As technologies become more and more pervasive in our everyday life new questions arise, for example, about security, accountability, fairness and ethics. These concerns are about all the realities that are involved or committed in designing, implementing, deploying and using the technology. This document addresses such concerns by presenting a set of practical obligations and recommendations for the development of applications and systems based on Artificial Intelligence (AI) techniques. These are derived from a definition of rights resulting from principles and ethical values rooted in the foundational charters of our social organization.

The purpose of this essay is to attempt an interpretation of Hans Jonas’s philosophical approach to tradition in terms of an exercise in critical thinking. Although several modern authors have seen in tradition a normalizing and conservative force that either constrains the powers of human reason or prevents new disruptive ideas from thriving, other philosophers have contested this accusation and concurred to sketch the general guidelines of a theory of the critical value of tradition. Commenting on both published and unpublished material, I claim that Jonas’s meditation on the history of western culture belongs to this latter stance. Moving from this thesis, I then analyse some passages of Jonas’s oeuvre where his position concerning the critical potential of tradition is theorised or directly put into practice. In particular, I focus on the essay The Practical Uses of Theoryand on an unedited transcription of the 1967 conference Contemporary Problems in Science and Ethics. A Jewish Comment.

In scientific communications, journal articles, and philosophical aesthetic debates the words “art”, “creativity”, and “machine” are put together more and more frequently. Since some machines are designed to, or happens to, imitate human artistic creativity, it seems natural to use the same words to talk about human artists and machines which imitate them. However, the evolution of language in light of technology may conceal specific features of the phenomena it is supposed to describe. This makes it difficult to understand what machine creativity actually is and how it is connected to human creativity. The aim of the paper is to investigate why, and in what sense, the functioning of some machines may be described in terms of artistic creativity and what is the relation between machine creativity and its human archetype. I start (§1) by introducing some general ideas concerning how language evolves alongside new technologies and focusing on the case of machine creativity. In §2 I review how some creative machines have been presented to the public, thus showing that a linguistic habit which connects machines to artistic creativity has already formed. In §3 I survey the debate on machine aesthetics and I highlight the main traits of the issue. In §4 I submit a primary scheme of machine creativity which draws on the concept of functional autonomy. Finally (§5), I argue that machine creativity cannot be mistaken for a substitute of the human kind, despite the fact that the word is the same. Creative machines are technological mediums by which new forms of human aesthetic experience can be explored. The kind of creativity machines enjoy displays a functional nature

The aim of this paper is to clarify the extent to which relationships between Human Agents (HAs) and Artificial Agents (AAs) can be adequately defined in terms of trust. Since such relationships consist mostly in the allocation of tasks to technological products, particular attention is paid to the notion of delegation. In short, I argue that it would be more accurate to describe direct relationships between HAs and AAs in terms of reliance, rather than in terms of trust. However, as mediums of human actions to which tasks are delegated, AAs indirectly mediate trust between users and other social actors involved in their design, manufacture, commercialisation and deployment. In this sense, AAs mediate social trust. My conclusion is that relationships between HAs and AAs are thus to be understood directly in terms of reliance and indirectly in terms of social trust mediation.

Late antique Gnosticism and Heidegger’s Existentialism are usually counted among the main theoretical targets of Hans Jonas’s philosophy of life and responsibility, since they are supposed to share the dualistic and nihilistic attitude the philosopher deemed most mistaken and pernicious. In particular, Gnosticism is commonly understood as the exact opposite of what Jonas strove to accomplish in his work. However, I think it is simplistic to relegate Gnosticism to a merely antagonistic role in the development of Jonas’s philosophy. My claim is that Gnosticism, being a non-nihilistic form of dualism, might have been a relevant source of inspiration – although not the only one – for amending the flaws of Heidegger’s Existentialism. By taking a closer look at the essay Gnosticism, Existentialism, and Nihilism, this article aims to clarify the critical and constructive role that Gnosticism might have played in shaping some of the major traits of Jonas’s thought. The first part of this essay deals with Jonas’s ‘gnostic reading’ of Heidegger’s Existentialism and highlights the positive insights drawn from such interpretative strategy. The second part focuses on three main motives in Jonas’s philosophy that may be traced back to the gnostic narrative: value objectivity and vulnerability, human responsibility and involvement in the history of being, and the sense of belonging to a wider dimension capable of providing orientation and meaning to human life.

In this essay I try to determine the extent to which it is possible to conceive robots and organisms as analogous entities. After a cursory preamble on the long history of epistemological connections between machines and organisms I focus on Norbert Wiener’s cybernetics, where the analogy between modern machines and organisms is introduced most explicitly. The analysis of issues pertaining to the cybernetic interpretation of the analogy serves then as a basis for a critical assessment of its reprise in contemporary robotics and AI, where the line between organisms and technologies gets even more blurred. In brief, I argue for the necessity of defining the extent to which the analogy between robots and organisms applies in order not only to harness its heuristic potential, but also to keep track of the pivotal differences that distinguish the two classes of entities. Finally, I discuss how the ordinary use of language and the peculiar status of the idea of robot obstruct awareness of the differences between robots and organisms.

The purpose of this paper is to offer some critical remarks on the so-called pragmatist approach to the regulation of robotics. To this end, the article mainly reviews the work of Jack Balkin and Joanna Bryson, who have taken up such ap- proach with interestingly similar outcomes. Moreover, special attention will be paid to the discussion concerning the legal fiction of ‘electronic personality’. This will help shed light on the opposition between essentialist and pragmatist methodologies. After a brief introduction (1.), in 2. I introduce the main points of the methodological debate which opposes pragmatism and essentialism in the regulation of robotics and I examine how legal fictions are framed from a pragmatist, functional perspective. Since this approach entails a neat separation of ontological analysis and legal rea- soning, in 3. I discuss whether considerations on robots’ essence are actually put into brackets when the pragmatist approach is endorsed. Finally, in 4. I address the problem of the social valence of legal fictions in order to suggest a possible limit of the pragmatist approach. My conclusion (5.) is that in the specific case of regulating robotics it may be very difficult to separate ontological considerations from legal reasoning—and vice versa—both on an epistemological and social level. This calls for great caution in the recourse to anthropomorphic legal fictions.

Lo scopo di questo saggio consiste nell’individuare un punto di partenza adeguato per lo sviluppo di una teoria filosofica delle etiche applicate, cioè di un discorso che si assuma il compito di comprendere che cosa siano le etiche applicate, quali siano le loro strutture principali, in che cosa consista la loro novità e quale significato esse rivestano nei confronti del pensiero morale. Un approccio organico e unitario a questi temi, tuttavia, non è ancora stato impostato. Per questo motivo si rende innanzitutto necessaria una analisi preliminare volta sia a chiarire la possibilità di una simile indagine, sia ad individuare un punto di partenza da cui muovere. Si propone così per prima cosa una discussione critica dei diversi termini a cui si ricorre per nominare il fenomeno sotto esame (§2, problema terminologico). In seguito si affronta la questione dei rapporti reciproci delle diverse etiche applicate e della relazione che esse intrattengono con la filosofia morale e i saperi in cui si inscrivono (§3, problema architettonico). Infine, si riconducono le controversie ad un problema fondamentale (§4), relativo al tema dell’applicazione e del rapporto di teoria e prassi nell’esperienza morale. L’esperienza di tale problema rappresenta il contenuto unificante delle etiche applicate e, allo stesso tempo, ne rende evidente il carattere propriamente filosofico. Da una sua discussione non solo l'etica applicata può trarre preziose informazioni su di sé, ma la stessa filosofia morale può guadagnare un nuovo accesso ad alcuni dei suoi temi principali.

In questo saggio si propone una lettura congetturale delle brevi note sulla questione dell’utilità del pensiero filosofico che Hans Jonas appunta in chiusura della conferenza Sulle cause e gli usi della filosofia (1955). A tal fine mi rivolgo innanzitutto alla ricostruzione dell’etica socratica che Jonas elabora nello scritto Virtù e saggezza in Socrate e in seconda battuta alla discussione della dottrina della scienza di Bacon abbozzata in Prospettive filosofiche sulla rilevanza della conoscenza per l’uomo e poi ripresa in scritti successivi. In conclusione offro una ricostruzione dell’idea jonasiana dell’utilità della filosofia come scienza dell’immagine dell’uomo e mostro come tale approccio possa essere significativo anche e soprattutto nell’attuale età tecnologica. English: In this essay I submit an hypothetical reading of the short notes concerning the practical use of phi-losophy which Hans Jonas wrote down at the end of the manuscript Of the causes and uses of phi-losophy. In order to do that, I focus the attention on Socratic Wisdom and Virtue first, where Jonas discussed Socrate’s ethics, and secondly on Jonas’s critique to Francis Bacon's doctrine of science, which he sketched in Some philosophers’ views on the human relevance of knowledge and devel-oped in later writings. My aim is to try and reconstruct Jonas’s ideas concerning the practical value of philosophy as the science of the image of man and to show how this may be relevant to our technological age.

Qual è il valore pratico della filosofia? La tradizione tramanda un verdetto duplice. Da una parte, il sapiente è colui che sa vivere, poiché conosce cosa è bene e come realizzarlo; dall’altra, il filosofo è inesperto del mondo ed esibisce in prima persona l’inutilità del suo sapere. Ma come si misura l’utilità del sapere filosofico? In questi scritti inediti risalenti agli anni canadesi (1949-1956), tradotti per la prima volta, Hans Jonas si interroga sul significato vitale e umano dell’esperienza filosofica, intrecciando un vivace dialogo con gli autori antichi e lasciando emergere, nel confronto con essi, i lineamenti della sua filosofia dell’organico.

The aim of this paper is to offer an analysis of the notion of artificial moral agent (AMA) and of its impact on human beings’ self-understanding as moral agents. Firstly, I introduce the topic by presenting what I call the Continuity Approach. Its main claim holds that AMAs and human moral agents exhibit no significant qualitative difference and, therefore, should be considered homogeneous entities. Secondly, I focus on the consequences this approach leads to. In order to do this I take into consideration the work of Bostrom and Dietrich, who have radically assumed this viewpoint and thoroughly explored its implications. Thirdly, I present an alternative approach to AMAs—the Discontinuity Approach—which underscores an essential difference between human moral agents and AMAs by tackling the matter from another angle. In this section I concentrate on the work of Johnson and Bryson and I highlight the link between their claims and Heidegger’s and Jonas’s sug-gestions concerning the relationship between human beings and technological products. In conclusion I argue that, although the Continuity Approach turns out to be a necessary postulate to the machine ethics project, the Discontinuity Approach highlights a relevant distinction between AMAs and human moral agents. On this account, the Discontinuity Approach generates a clearer understanding of what AMAs are, of how we should face the moral issues they pose, and, finally, of the difference that separates machine ethics from moral philosophy.

The aim of this paper is to offer some philosophical remarks concerning the concept of moral application in applied ethics. In doing so, I argue in favour of a philosophical approach towards applied ethics as a unitary form of moral experience. In fact every form of applied ethics, no matter how specific, moves from a problem of application and tries to fill a gap between moral theory and practice. This essential unity of applied ethics as a moral phenomenon is of great philosophical interest, since it belongs to the core problem from which moral thinking itself originates. For this reason, what applied ethics may reveal to a philosophical inquiry could provide valuable insight into the nature of moral experience itself. This is why it is important to reflect on what applied ethics is and whether the way in which application is usually framed be ts the properties of moral experience or not. In the first section I submit some preliminary remarks concerning the theoretical requirements to any philosophical approach to applied ethics. In the second section I present how application is commonly understood in the applied ethics debate by discussing the deductive and the procedural models of application. Both models, however, draw upon a technological conception of application which fails to t the structure of moral experience. Finally, I brie y sketch out the main features and the future tasks of what seems to me to be the most promising approach to the issue, i.e., the hermeneutic concept of application.

The question on the essence of man and his relationship to nature is certainly one of the most important themes in the philosophy of Hans Jonas. One of the ways by which Jonas approaches the issue consists in a comparison between the contemporary interpretation of man and forms of wisdom such as those conveyed by ancient Greek philosophy and the Jewish tradition. The reconstruction and discussion of these frameworks play a fundamental role in Jonas’s critique of the modern mind. In the first section I introduce the anthropological problem in Hans Jonas’s oeuvre. Moreover, I clarify why it becomes essential for Jonas to resort to different forms of traditional wisdom. In the second and third sections I try to give an account (as complete as possible) of the two generalisations which Jonas shapes in order to criticise the modern concepts of man and nature. In the last section I show how Jonas links these generalisations to his own philosophical assessment of modernity. Finally, I focus on his methodology, which exemplifies how critical thinking may arise from a reconsideration of traditional contents.

Il pensiero di Hans Jonas è comunemente inteso nel segno di una netta reazione all’interpretazione gnostica del sé e del mondo. Egli si dedicò allo studio della gnosi dalla metà degli anni venti fino al secondo dopoguerra, e il frutto delle sue ricerche è raccolto nei due volumi di Gnosi e spirito tardoantico (1934, 1964). Questa lettura polemica della sua filosofia è davvero in grado di rendere conto dei rapporti che la proposta jonasiana, come filosofia della biologia e etica della responsabilità, intrattiene con le strutture caratteristiche del mito gnostico? Attraverso una approfondita analisi de Il concetto di Dio dopo Auschwitz, momento nel quale l’approccio unitario della filosofia jonasiana è più evidente, possono essere ritrovati i segni di un confronto positivo con la gnosi. Anche i caratteri del pensiero gnostico, dunque, concorrono a guidare la ricerca di Hans Jonas verso i temi propri della sua riflessione matura.

Il problema della rappresentazione, connaturato ad ogni mediazione linguistica del rapporto di mente e mondo, è nelle sue molteplici forme un tema antico della riflessione filosofica. La rappresentazione letteraria appartiene alla stessa categoria e pone problemi analoghi al pensiero. Che cosa significa rappresentare poeticamente? Il concetto di finzione letteraria può avere solo un senso peggiorativo o limitante nei confronti della comunicazione dell’universale, o ne può essere una modalità? Il tema del saggio è il rapporto tra realtà e finzione letteraria che pare emergere da I falsari di André Gide. Seguendo le intuizioni e i suggerimenti dello scrittore, si proverà a tracciare le linee principali di un’interpretazione positiva della finzione letteraria, che ne riconosca la potenza espressiva senza soffocarne i caratteri distintivi. Non è detto, poi, che ciò che vale per la rappresentazione poetica non possa avere un senso anche sotto punti di vista più generali.

During the Fifties and the Early Sixties Hans Jonas developed a theory of man based on a series of concepts as separation of form from matter, image and symbol. By reflecting on these themes, Jonas seems to refer to the aesthetic abilities man embodies as the essence of human life. In this article I try to analyse Jonas’ thoughts on man and to determine to what extent it is possible to consider his theory as an aesthetic anthropology. Eventually, I discuss what Aesthetics may win by directing its attention to this author