Search Results (4)

This essay explores the metaphysical and philosophical implications of Artificial Intelligence (AI) and Machine Learning (ML) through the intersecting insights of René Guénon (ʿAbd al-Wāḥid Yaḥiā), Martin Heidegger, and Ibn al-ʿArabī. It argues that modern AI systems, particularly in their statistical and data-centric forms, are not merely instrumental tools but expressions of a deeper metaphysical worldview-one rooted in quantification, abstraction, and utility. Guénon’s critique of the “reign of quantity” and Heidegger’s notion of Enframing (Gestell) converge in diagnosing the loss of qualitative and sacred dimensions in modern life. While Heidegger’s phenomenology provides a powerful immanent critique of technological reductionism from within the Western philosophical tradition, Guénon’s metaphysical traditionalism articulates a diagnosis of modernity that resonates with Islamic metaphysics, especially as articulated by Ibn al-ʿArabī. The essay includes Heidegger in the argument as a representative of a critique of modern technology issuing from the Western tradition itself, and by emphasizing his shared concerns with Guénon, whose metaphysics resonates with Ibn al-ʿArabī’s metaphysics. Through a comparative metaphysical framework, this paper proposes an Islamic response to AI that avoids both technophilia and technophobia, insisting instead on a spiritually grounded ethic of technology that preserves human’s dignity and mission. Methodologically, the essay restores a prior order often inverted in contemporary AI ethics: ontology (what AI is) grounds epistemology (what it can know), and only then can ethical evaluation be coherent. Full article

Our future effects on the earth, in light of the Anthropocene, are all dire expressions of a depleted world left in piles of detritus and toxic ruin—including the diminished human as an assemblage of impoverished existence, yet adumbrating that handicapped existence with an ersatz advanced technology. In the cyberpunk films, these expressions are primarily visual expressions—whether through written prose thick with densely dark adjectives describing the world of cyberpunk, or more widely known, the comic books and films of cyberpunk, whose representations have become classically understood as SF canon. The new films of the cyberpunk redux however, represent an evolution in cyberpunk visuality. Despite these debatable issues around this term, it will provide this paper with its primary object of visuality, that of the “rich sight”, a further term that arose from the allure created in the late 19th century development of department stores that innovated the display of the goods laid out in a spectacular view, presenting the shopper with a fantasy of wealth and fetishized objects which excited shoppers to purchase, but more paradoxically, creating the desire to see a fantasy that was at the same time also a reality. This particular and enframed view—so deeply embedded and beloved in our commodity-obsessed culture—is what I suggest so profoundly typifies the initial cyberpunk postmodern representation in the Blade Runner films, and its continuing popularity in the early part of the 21st century. Both films are influenced by Ridley Scott’s initial vision of the cinematic cyberpunk universe and organized as sequential narratives. Consequently, they serve as excellent examples of the evolution of this visual spectacular. Full article

This is an article in three movements. Each takes as its object a public phenomenon of emotion: first, the representation of human emotions as homunculi in a recent children’s movie; second, the performance of the Australian cricket captain at a press conference concerning the death, on the field, of a team-mate; and, finally, the mass contagion of public grief in response to that death. Using these three episodes, the article develops an understanding of Martin Heidegger’s thought in relation to, first, the “enframing” of human being within technology, in which the nothing from which being is brought into presence is concealed; second, the mood of anxiety in and through which Dasein—Heidegger’s term for the kind of being we “are”—asserts itself into that nothing; and, finally, the potential for post-aesthetic art to move beyond the logics of representation and subjectification, and in so doing, to reveal what Heidegger understands as the struggle between earth and world. The former refers to the “background” against and through which any particular “world” exists with the latter referring to a particular web of significances in which Dasein lives, and allowing truth to spring forth. Full article

The argument of this paper is that sustainability requires a new worldview-paradigm. It critically evaluates Gore’s liberal-based environmentalism in order to show how “shallow ecologies” are called into question by deeper ecologies. This analysis leads to the notion that global warming is better understood as a symptom indicative of the worldview that is the source for environmental crises. Heidegger’s ontological hermeneutics and its critique of modern technology show that the modern worldview involves an enframing (a totalizing technological ordering) of the natural. Enframing reveals entities as standing reserve (on demand energy suppliers). My thesis maintains that enframing is geographically expressed as automobility. Because of the energy needs used to maintain automobility, reaching the goal of sustainability requires rethinking the spatial organization of life as a function of stored energy technologies. Full article