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New York University’s Liberal Studies, in Collaboration with Nietzsche Circle, Presents:

Nietzsche and the Disadvantage of History: The rise of Western Oikophobia

More Info & RSVP:
If you like to attend, Please RSVP by sending email to Luke Trusso at luke.trusso@gmail.com

Presented by SWIP-Analytic

There is a broad consensus that Aristotle introduced the concept of matter in order to develop a consistent account of substantial change. However, it is disputed which role matter fulfills in substantial change. According to the traditional interpretation, matter persists while taking on or losing a substantial form. According to a rival interpretation, matter does not persist in substantial change; instead, it is an entity from which a new substance can emerge and which ceases to exist in this process. In my view, both interpretations are problematic in the light of Aristotle’s broader ontological project and are at odds with the way Aristotle describes the substantial generation of living beings. On the basis of Aristotle’s biological theory, I will suggest that Aristotelian matter is a continuant in substantial generation, but does not satisfy the common criteria for persistence that apply to individual substances.

Anna Schriefl
Anna Schriefl is Wissenschaftliche Mitarbeiterin (assistant professor) at the University of Bonn, and currently a visiting scholar at the New School. She has published a book about Plato’s criticism of money and wealth, and most recently an introduction into Stoicism (both in German).

Generative art made with algorithms has existed since the early days of computing in the 1960s. In recent years, a new strand of generative art has emerged: AI-generated art, which leverages the recent progress of artificial intelligence to create artworks. Unlike old-fashioned generative art, AI-generated art is not produced with an explicit set of programming instructions provided by human artists; instead, it involves training an algorithm on a dataset so that it can later produce artworks (images, music, or video clips) using its own internal parameters that have not been explicitly defined by a human. This process raises fascinating questions at the intersection of computer science, art history, and the philosophy of art. At a superficial level of analysis, AI-generated art seems to offload much of the creative impetus of art production to the machine, requiring minimal intervention from the artist. On closer inspection, however, it involves a novel process of curation at two key stages: upstream in the selection of the dataset on which the algorithm is trained, and downstream in the selection of the outputs that should qualify as artworks. Instead of replacing human artists with computers, AI-generated art can be understood as a new kind of collaboration between mind and machine, both of which contribute to the aesthetic value of the final artwork.

This seminar will bring together AI artists and philosophers to explore the significance of this new mode of art production. It will discuss the implications of AI-generated art for the definition of art, the nature of the relationship between artists and tools, the process of digital curation, and whether AI systems can be as creative as humans.

Event Speakers

• Sougwen Chung, artist and researcher
• Helena Sarin, visual artist
• Anne Spalter, digital mixed-media artist
• Katherine Thomson-Jones, Professor of Philosophy at Oberlin College
• Moderated by Raphaël Millière, Presidential Scholar in Society and Neuroscience at Columbia University

Event Information

Free and open to the public. Registration is required via Eventbrite. Registered attendees will receive an event link shortly before the seminar begins.

This event is hosted by the Presidential Scholars in Society and Neuroscience as part of the Seminars in Society and Neuroscience series.

The Center for Science and Society makes every reasonable effort to accommodate individuals with disabilities. If you require disability accommodations to attend a Center for Science and Society event, please contact us at scienceandsociety@columbia.edu or (212) 853-1612 at least 10 days in advance of the event. For more information, please visit the campus accessibility webpage.

This talk will develop the idea that racial identities are best understood as formed through large scale historical events, and that this genesis can only be obscured by disavowals of racial categories as conceptually mistaken and inevitably morally pernicious.  In this sense, races are formed not simply as ideas, or ideologies and policies, as many social constructivists about race argue, but as forms of life with associated patterns of subjectivity including, as a wealth of social psychology has shown, presumptive attitudes and behavioral dispositions (Jeffers 2019; Steele 2010; Sullivan 2005). Because they are historical formations, racial identities are thoroughly social, contextual, variegated internally, and dynamic. It is history that will alter them, not merely policy changes.

This talk reads contemporary debates about structural racism and US history from the perspective of philosophical questions about identity and difference. While many people have argued that America needs to come to terms with or “work through” the racism in its history that has shaped and continues to shape its present structures, it remains difficult to explain what connects this past and the present. Are we talking about one racism with many different past and present forms? Or are there multiple racisms that only share some similar features? In this talk, I draw attention to how these divisions play out particularly in contemporary Black Studies and argue that the philosophy of Gilles Deleuze can offer us resources for thinking about these questions through his discussions of repetition. I argue that understanding our conversations about structural racism and history as conversations about a racism that repeats, can help us to better understand why racism seems to reappear, how to think its disparate forms together, and what presuppositions operate in many attempts to “work through” the past.

Bio: Eyo Ewara is Assistant Professor of Philosophy at Loyola University Chicago. His teaching and research explores the relationships between 20th Century Continental Philosophy, Critical Philosophy of Race, and Queer Theory.  His work has appeared in Theory and Event, Puncta, Philosophy Today, Critical Philosophy of Race, Political Theology, and other venues. His current research project is particularly interested in engaging work in Continental Philosophy, Queer Theory, and Black Studies to address questions of identity and difference amongst concepts of race, forms of racism, and forms of anti-racism. How can we better account for the relations between at times radically disparate concepts, structures, and practices such that they can all specifically and recognizably be called racial? What might our account of these relations say about our ability to address racism’s harms?