Steven Gouveia

Does artificial intelligence (AI) exhibit consciousness or self? While this question is hotly debated, here we take a slightly different stance by focusing on those features that make possible both, namely a basic or fundamental subjectivity. Learning from humans and their brain, we first ask what we mean by subjectivity. Subjectivity is manifest in the perspectiveness and mineness of our experience which, ontologically, can be traced to a point of view. Adopting a non-reductive neurophilosophical strategy, we assume that the point of view exhibits two layers, a most basic neuroecological and higher order mental layer. The neuroecological layer of the point of view is mediated by the timescales of world and brain, as further evidenced by empirical data on our sense of self. Are there corresponding timescales shared with the world in AI and is there a point of view with perspectiveness and mineness? Discussing current neuroscientific evidence, we deny that current AI exhibits a point of view, let alone perspectiveness and mineness. We therefore conclude that, as per current state, AI does not exhibit a basic or fundamental subjectivity and henceforth no consciousness or self is possible in models such as ChatGPT and similar technologies.

This volume collects twenty original essays on the philosophy of film. It uniquely brings together scholars working across a range of philosophical traditions and academic disciplines to broaden and advance debates on film and philosophy. The book includes contributions from a number of prominent philosophers of film including Noël Carroll, Chris Falzon, Deborah Knight, Paisley Livingston, Robert Sinnerbrink, Malcolm Turvey, and Thomas Wartenberg. While the topics explored by the contributors are diverse, there are a number of thematic threads that connect them. Overall, the book seeks to bridge analytic and continental approaches to philosophy of film in fruitful ways. Moving to the individual essays, the first two sections offer novel takes on the philosophical value and the nature of film. The next section focuses on the film-as-philosophy debate. Section IV covers cinematic experience, while Section V includes interpretations of individual films that touch on questions of artificial intelligence, race and film, and cinema's biopolitical potential. Finally, the last section proposes new avenues for future research on the moving image beyond film. This book will appeal to a broad range of scholars working in film studies, theory, and philosophy.

This volume addresses key questions related to how content in thought is derived from perceptual experience. It includes chapters that focus on single issues on perception and cognition, as well as others that relate these issues to an important social construct that involves both perceptual experience and cognitive activities: aesthetics. While the volume includes many diverse views, several prominent themes unite the individual essays: a challenge to the notion of the discreet, and non-temporal, unit of perception, a challenge to the traditional divide between perception and cognition, and a challenge to the traditional divide between unconscious and conscious intentionality. Additionally, the chapters discuss the content of perceptual experience, the value of traditional notions of content, disjunctivism, adverbialism, and phenomenal experience. The final section of essays dealing with perception and cognition in aesthetics features work in experimental aesthetics and unique perspectives from artists and gallerists working outside of philosophy. Perception, Cognition and Aesthetics is a timely volume that offers a range of unique perspectives on debates in philosophy of mind surrounding perception and cognition. It will also appeal to scholars working in aesthetics and art theory who are interested in the ways these debates influence our understanding of art. ists and gallerists working outside of philosophy. Perception, Cognition and Aesthetics is a timely volume that offers a range of unique perspectives on debates in philosophy of mind surrounding perception and cognition. It will also appeal to scholars working in aesthetics and art theory who are interested in the ways these debates influence our understanding of art.

"Offering a complete guide to the philosophical implications of Predictive Processing, this volume's contributors come from disciplines including philosophy, neuroscience and psychology. Together they explore the many philosophical applications of Predictive Processing, including mental health, cognitive science and neuroscience. These approaches are brought together by an introduction that provides an outline of this topic suitable for newcomers to the field, identifying the nuances of the topic"--

With worldwide spending estimates of over $97 billion by 2023, it is no surprise that Artificial Intelligence is one of the hottest topics at present in both the private and public spheres. Comprising of vital contributions from the most influential researchers in the field, including Daniel Dennett, Roman V. Yampolskiy, Frederic Gilbert, Stevan Harnad, David Pearce, Natasha Vita-More, Vernon Vinge and Ben Goertzel, 'The Age of Artificial Intelligence: An Exploration' discusses a variety of topics ranging from the various ethical issues associated with A.I. based technologies in terms of morality and law to subjects related to artificial consciousness, artistic creativity and intelligence. The volume is organized as follows: Section I is dedicated to reflections on the Intelligence of A.I., with chapters by Soenke Ziesche and Roman V. Yampolskiy, Stevan Harnad, Daniel Dennett and David Pearce. Next, Section II discusses the relationship between consciousness, simulation and artificial intelligence, with chapters by Gabriel Axel Montes and Ben Goertzel, Cody Turner, Nicole Hall and Steven S. Gouveia. Section III, dedicated to aesthetical creativity and language in artificial intelligence, includes chapters by Caterina Moruzzi, René Mogensen, Mariana Chinellato Ferreira and Kulvinder Panesar. The subsequent Section IV is on the Ethics of the Bionic Brain with the participation of Peter A. DePergola II, Tomislav Miletic and Frederic Gilbert, Aníbal M. Astobiza, Txetxu Ausin, Ricardo M. Ferrer and Stephen Rainey and Natasha Vita-More. Finally, Section V follows on the Ethics of Artificial Intelligence with chapters by Federico Pistono and Roman V. Yamploskiy, Hasse Hämäläinen, Vernon Vinge and Eray Özkural. The Age of Artificial Intelligence is imminent, if not here already. We should ensure that we invest in the right people and the right ideas to create the best possible solutions to the problems of the present and prepare for those of the future. This edited volume will be of particular interest to researchers in the field of A.I. as well of those in Cognitive Science, Aesthetics and Arts, Applied Ethics and Political Philosophy / Law. Students studying the aforementioned topics can also benefit from its contents.

This volume addresses key questions related to how content in thought is derived from perceptual experience. It includes chapters that focus on single issues on perception and cognition, as well as others that relate these issues to an important social construct that involves both perceptual experience and cognitive activities: aesthetics. While the volume includes many diverse views, several prominent themes unite the individual essays: a challenge to the notion of the discreet, and non-temporal, unit of perception, a challenge to the traditional divide between perception and cognition, and a challenge to the traditional divide between unconscious and conscious intentionality. Additionally, the chapters discuss the content of perceptual experience, the value of traditional notions of content, disjunctivism, adverbialism, and phenomenal experience. The final section of essays dealing with perception and cognition in aesthetics features work in experimental aesthetics and unique perspectives from artists and gallerists working outside of philosophy. Perception, Cognition and Aesthetics is a timely volume that offers a range of unique perspectives on debates in philosophy of mind surrounding perception and cognition. It will also appeal to scholars working in aesthetics and art theory who are interested in the ways these debates influence our understanding of art. ists and gallerists working outside of philosophy. Perception, Cognition and Aesthetics is a timely volume that offers a range of unique perspectives on debates in philosophy of mind surrounding perception and cognition. It will also appeal to scholars working in aesthetics and art theory who are interested in the ways these debates influence our understanding of art.

This book brings together researchers from a variety of fields to jointly present and discuss some of the most relevant problems around the conscious mind. This academic plurality perfectly characterizes the complexity with which a current researcher is confronted to discuss and work on this topic. The volume is organized as follows: Part I introduces the general problems of Philosophy of Mind and some historical perspectives. Part II focuses on understanding the input that the empirical sciences can offer to the theoretical problems. Part III discusses some of the core concepts of the field, namely, perception, memory and experience. Part IV debates human and artificial intelligence and, finally, Part V deliberates about the computation and the ethics of big data and artificial intelligence. The book contains valuable material for researchers in several fields such as Cognitive Science and Neuroscience, Psychology and Artificial Intelligence, and Philosophy. It can also be used as a guide to some courses at various levels, from BAs to MAs and PhD courses of several fields. It is our belief, as it is claimed in the preface by Georg Northoff, that there is an urgent need for a truly transdisciplinary exchange between philosophy and the sciences in order to stimulate some real progress. We hope that this book will become a sound step for such an interdisciplinary enterprise.

The human mind is one of the most extraordinary mysteries of the contemporary sciences and philosophy. We know for sure that we have one, and that we have feelings and conscious experience. But why is that? This anthology addresses contemporary issues in the field of study that is the philosophy of mind. It is divided into five main parts: i) the concept of Self in the contemporary philosophy of mind; ii) sensory experience: odors, vision and colors; iii) Artificial Intelligence: the future, the ethics and the costs; iv) the relationship between neuroscience and philosophy; and, finally, v) the influences and history of the philosophy of mind. This book will be useful for specialists of the field, but also for others who are interested in some of the more updated sciences of the mind.