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Efforts to diversify philosophy, at the curricular level, often focus on increasing the content covered in a semester: i.e., making room for more women on the syllabus, making room for more non-Western texts and thinkers, etc. Similarly, efforts to diversify philosophy, at the professional level, often focus on making room for marginalized topics and/or members of under-represented groups at conferences, in anthologies, and among faculty (both in terms of demographics and research specializations). This all serves to create an antagonistic situation where marginalized voices must fight to be heard and those in the discipline must make “tough choices” about where to cede precious resources such as syllabus space, publication credits, and faculty hires. I suggest that part of the antagonism, at least in the case of Asian philosophy, arises because we are trying to fit non-European texts and thinkers into disciplinary structures that are themselves designed to accommodate a Eurocentric model for philosophy. By “disciplinary structures” I mean the philosophical canon and historical narrative as well as departmental course offerings, curricular requirements for majors and minors, classroom pedagogical practices, and academic research methodologies. Truly transformative change must take place at the structural level. In this brief talk, I consider the scope of such changes, in concrete terms, and raise questions about the effects these changes would have on the disciplinary identity of philosophy as we know it today.

With a response from:

Andrew Lambert (College of Staten Island, CUNY)

Jacob Soll, in conversation with Pierre Force, John Shovlin, Carl Wennerlind, and Emmanuelle Saada

After two government bailouts of the U.S. economy in less than twenty years, free market ideology is due for serious reappraisal. In Free Market: the History of an Idea, Jacob Soll details how we got to this current crisis, and how we can find our way out by looking to earlier iterations of free market thought. Contrary to popular narratives, early market theorists believed that states had an important role in building and maintaining free markets. But in the eighteenth century, thinkers insisted on free markets without state intervention, leading to a tradition of ideological brittleness. That tradition only calcified in the centuries that followed. Tracing the intellectual evolution of the free market from Cicero to Milton Friedman, Soll argues that we need to go back to the origins of free market ideology in order to truly understand it—and to develop new economic concepts to face today’s challenges.

Jacob Soll is professor of history and accounting at the University of Southern California. He has been awarded numerous prestigious prizes including two NEH Fellowships, the Jacques Barzun Prize, a Guggenheim Fellowship, and, in 2011, the MacArthur Fellowship. He also advises political and financial leaders across the globe to promote accounting standards and financial transparency.

Joining Jacob Soll to discuss his book will be: Pierre Force, Professor of French and History at Columbia; John Shovlin, Professor of History at NYU; and Carl Wennerlind, Professor of History at Barnard College. Emmanuelle Saada, Professor of History and French at Columbia, will moderate the discussion.

This event is co-sponsored by the Maison Française and the Department of History.

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.

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