Magnus Green, B.Sc. (Hons.)
Wissenschaftliche Hilfskraft, Research Group Ethico-Aesthetics of the Visual & Digital Humanities Lab
Magnus Green is a political philosopher working at the intersection of technology, power, and aesthetic life. He is currently a Graduate Research Assistant at the Kunsthistorisches Institut in Florenz, contributing to “The Art of AI: Rethinking Notions of Creativity, Aesthetics and Ethics”. Drawing on contemporary philosophy, his work asks whether the concepts of creativity, perception, and memory that define art can, or should, be extended to artificial intelligence.
He is Founder and Director of the Istituto Fiorentino di Critica Culturale (IFCC), dedicated to the critical study of power, visibility, and meaning in the digital age.
He is completing a Master's in Political and Ethical Philosophy at Sorbonne Université, focusing on Kant and technological mediation. Through U-BI, he contributes to research on ethical AI and data governance in dialogue with UNESCO’s Phase 2 AI Readiness framework.
He contributes to FOUND, leading strategy and external affairs, working to drive systemic change in government responses to disappearance and the identification of clandestine graves in Mexico.
- Political philosophy
- Philosophy of technology
- Aesthetic theory
- Phenomenology
- AI ethics
- Philosophy of memory
Can artificial intelligence create? The question is deceptively simple. It presupposes that we know what creation is, that we have settled accounts of creativity, perception, and memory against which machine behaviour can be measured. We do not.
This research brings the history of philosophy into dialogue with contemporary debates on artificial intelligence. Drawing on resources ranging from Kant’s account of aesthetic judgement to Bergson’s philosophy of memory, it interrogates the conceptual foundations on which claims about AI creativity rest, asking what we actually mean when we speak of creativity, perception, and thought, and how these categories have been historically and culturally constructed.
The research asks whether the concepts that have long defined our understanding of art can be extended to artificial intelligence, and whether they should be. These are not equivalent questions. The first is descriptive; the second is normative, and ultimately political. What we are willing to recognise as thought, and what we refuse to, has consequences that extend well beyond aesthetics into questions of agency, responsibility, and democratic life.