In this article, I explore the problems of ficta ‘generation’ and ‘properties’ in light of the philosophies of Alexius Meinong and Roman Ingarden. Comparing Ingarden and the historical Meinong is not a novel idea. By contrast, comparing Ingarden and a phenomenological Meinong has not, to my knowledge, yet been explored. Here, I rely on Alberto Voltolini’s ‘phenomenological conception of außerseiende entities’. I devise Ingarden’s phenomenological ontology to account for the problems of ascription and generation that cripple (...) Meinong’s account. In short, I argue that Ingarden’s account is better suited to accommodate ficta’s generation and properties in a way that does not complicate our approach to fiction. (shrink)

In the third chapter of his major work, the Controversy over the Existence of the World, Roman Ingarden discusses four varieties of dependence entities might exhibit. The aim of this essay is to explore these varieties and to put the claims Ingarden makes concerning them on a rigorous footing.

The Controversy over the Existence of the World (henceforth Controversy) is the magnum opus of Polish philosopher Roman Ingarden. Despite the renewed interest for Ingarden’s pioneering ontological work whithin analytic philosophy, little attention has been dedicated to Controversy's main goal, clearly indicated by the very title of the book: finding a solution to the centuries-old philosophical controversy about the ontological status of the external world. -/- There are at least three reasons for this relative indifference. First, even at (...) the time when the book was published, the Controversy was no longer seen as a serious polemical topic, whether it was disqualified as an archaic metaphysical pseudo-problem, or taken to be the last remnant of an antiscientific approach to philosophy culminating in idealism and relativism. Second, Ingarden’s reasoning on the matter is highly complex, at times misleading, and even occasionally faulty. Finally, his analysis is not only incomplete – Controversy being unachieved – but also arguably aporetic. -/- One may wonder, then, why it is still worth excavating this mammoth treatise to study an issue apparently no longer relevant to contemporary philosophy. Aside from historical and exegetical purposes, which are of course very interesting in their own right, Ingarden’s treatment of the Controversy remains one of the most detailed and ambitious ontological undertakings of the twentieth century. Not only does it lay out an incredibly detailed map of possible solutions to the Controversy, but it also tries to show why the latter is a genuine and fundamental problem that owes its hasty disqualification to various oversimplifications over the course of the history of philosophy. -/- In this chapter, I first give an overview of Ingarden’s method, which relies mainly on a combinatorial analysis. Then, I summarize his examination of possible solutions to the Controversy, and determine which ones can be ruled out on ontological grounds. Finally, I explain why this ambitious project ultimately leads to a theoretical impasse, leaving Ingarden unable to come up with a definitive solution to the Controversy – regardless of the fact that the book is unachieved. I argue that his analysis of the problem yields a more modest but nonetheless valuable result. (shrink)

While Roman Ingarden is well known for his work in aesthetics and studies in ontology, one of his most important and lasting contributions has been largely overlooked: his approach to a general ontology of social and cultural objects. Ingarden himself discusses cultural objects other than works of art directly in the first section of “The Architectural Work”1, where he develops a particularly penetrating view of the ontology of buildings, flags, and churches. This text provides the core insight into (...) how his more lengthy studies of the ontology of works of art in The Literary Work of Art and the rest of The Ontology of the Work of Art, combined with the ontological distinctions of Der Streit um die Existenz der Welt, may be used to understand social and cultural objects. The view that results, I will argue, is based in foreseeing problems with the reductivist and projectivist views that remain popular, and is capable of resolving central problems still thought to plague those who would offer a theory of cultural objects. (shrink)

This essay critically assesses Roman Ingarden’s 1915 review of the second edition of Edmund Husserl’s Logical Investigations. I elucidate and critique Ingarden’s analysis of the differences between the 1901 first edition and the 1913 second edition. I specifically examine three tenets of Ingarden’s interpretation. First, I demonstrate that Ingarden correctly denounces Husserl’s claim that he only engages in an eidetic study of consciousness in 1913, as Husserl was already performing eidetic analyses in 1901. Second, I show (...) that Ingarden is misguided, when he asserts that Husserl had fully transformed his philosophy into a transcendental idealism in the second edition. While Husserl does appear to adopt a transcendental phenomenology by asserting–in his programmatic claims–that the intentional content and object are now included in his domain of research, he does not alter his actual descriptions of the intentional relationship in any pertinent manner. Third, I show Ingarden correctly predicts many of the insights Husserl would arrive at about logic in his late philosophy. This analysis augments current readings of the evolution of Ingarden’s philosophy, by more closely examining the development of his largely neglected early thought. I execute this critical assessment by drawing both from Husserl’s later writings and from recent literature on the Investigations. By doing so, I hope to additionally demonstrate how research on the Investigations has matured in the one hundred years since the release of that text, while also presenting my own views concerning these difficult interpretative issues. (shrink)

The present article discusses the main issues and threads of the ontological and aesthetic considerations of Roman Ingarden. The point of departure of this Polish thinker’s philosophy is the controversy over the existence of the world. It is around this problem that he focuses the systemicity of his thoughts in combination with complex structuring and precise analysis of detailed philosophical issues. Yet it is ontology that is Ingarden’s first study, free of any assumptions or premises derived from other (...) disciplines. The first part of the present article, devoted to ontological issues, constitutes an introduction to the individual chapters of this book on the topic of ontology. The second part of the article deals with aesthetic issues, which Ingarden also understood systemically, meaning that his aesthetics remained closely related to his ontology and epistemology. Aesthetic research was particularly important for this Polish philosopher, as it was aimed at the creation of an original systemic proposal concerning phenomenological aesthetics. A discussion of the most important aesthetic issues raised by Ingarden serves as an introduction to the second part of this book, which concerns new interpretations of Ingarden’s aesthetics and philosophy of art. (shrink)

Roman Ingarden (1893-1970) apparteneva a quegli allievi di Husserl che si designano come “fenomenologia di Gottinga”. Si tratta della prima generazione di fenomenologi, nella quale rientravano, fra gli altri, anche Adolf Reinach, Hedwig Conrad-Martius ed Edith Stein. I ricercatori di questo gruppo erano influenzati soprattutto dalle Ricerche logiche di Husserl e reagirono un po’ stupiti alla sua successiva svolta idealistica. Per quanto riguarda lo stesso Ingarden, egli incontrò Husserl solo dopo la pubblicazione delle Idee, tuttavia filosoficamente appartiene senza (...) dubbio al periodo della prima fenomenologia “realistica”. (shrink)

For Meinong, familiarly, fictional entities are not created, but rather merely discovered (or picked out) from the inexhaustible realm of Aussersein (beyond being and non-being). The phenomenologist Roman Ingarden, in contrast, offers in his Literary Work of Art of 1931 a constructive ontology of fiction, which views fictional objects as entities which are created by the acts of an author (as laws, for example, are created by acts of parliament). We outline the logic of fiction which is implied by (...) Ingarden’s approach, showing how it distinguishes the properties possessed by fictional objects (for instance of having been created by such and such an author in such and such a work) from characteristics (for instance of smoking a pipe, of living in Baker Street) which are merely associated with such objects. (shrink)

The paper seeks to apply the work of the Polish phenomenologist Roman Ingarden to certain problems in literary theory; contrasts the notions of ontological and epistemological incompleteness of the represented objects of a literary work and considers the question of the nature of such objects. The paper concludes by analyzing some of the degrees of freedom possessed by the readings of literary work in relation to the work itself.

The extremely extensive philosophical legacy of Roman Witold Ingarden, a student of Edmund Husserl, including papers in the fields of ontology, epistemology, and aesthetics, has been consistently arousing the interest of researchers from around the world for several decades. The year 2020 marked the fiftieth anniversary of Ingarden’s death. The present book constitutes a unique contribution honoring the philosopher’s memory and academic legacy. An ambitious project that brings together the thoughts of many intellectuals, the book includes research problems, (...) contemporary interpretations of Ingarden’s thought, and comparative studies, placing his philosophy in a broader historical and cultural context. This approach perfectly reflects the relevance, refinement, and depth of Ingarden’s theories. Although the essays presented in the book undoubtedly constitute a due tribute to an important figure in contemporary philosophy, this collection is not exclusively retrospective, but also shows the present and future development of philosophical thought inspired by Ingarden’s works. Including a substantial introduction by the editors, the book contains eight chapters from some of the most significant scholars in the field, covering the historical and comparative approach to Ingarden’s thought, as well as from young, ambitious scholars developing new interpretations of selected aspects of Ingarden’s theories. Specifically, the reader will find chapters on existential ontology (Peter Simons, Jan Woleński), Ingarden’s theory of questions (Giuditta Corbella), music ontology (Edward Świderski), empathy and aesthetic experience (Jeff Mitscherling), the aesthetics of computer games (Matthew Gladden), aesthetic attention (Harri Mäcklin), and Ingarden’s theory and aesthetics of time (Charlene Elsby). (shrink)

In its examination of the intersection of ethics and ontology, Roman Ingarden’s philosophy bears a striking resemblance to the thought of the contemporaryFrench philosopher Alain Badiou. Though no formal influence is claimed, this paper explores several ways in which Badiou’s theory of the event and existential agency is foreshadowed in the writings of Ingarden. In so doing, the author suggests the continued importance of this unjustly neglected philosopher for contemporary thinking on questions of value.

In its examination of the intersection of ethics and ontology, Roman Ingarden’s philosophy bears a striking resemblance to the thought of the contemporaryFrench philosopher Alain Badiou. Though no formal influence is claimed, this paper explores several ways in which Badiou’s theory of the event and existential agency is foreshadowed in the writings of Ingarden. In so doing, the author suggests the continued importance of this unjustly neglected philosopher for contemporary thinking on questions of value.

About the ontology of the Polish philosopher Roman Ingarden, as presented in his treatise 'The Controversy about the Existence of the World'.

Ontology is doubtless the most important part of Roman Ingarden’s (1893-1970) philosophy. Contrary to Husserl, Ingarden always believed that any serious philosophical investigation must involve an ontological basis and he tried to formulate a solid ontological framework for his philosophy. There are several reasons why this ontology deserves our attention. For those who are interested in Husserl’s transcendental phenomenology, Ingarden’s ontology could be treated as an ingenious attempt to analyse the conceptual structure and hidden ontological assumptions of (...) Husserl’s transcendental idealism. For those who want to understand the immanent dialectics of the post-Brentanian development of the ontology of intentionality, Ingarden’s conception of the purely intentional object could be a very valuable tool. But Ingarden’s ontology has also independent value, and hence it is also interesting for those who pursue ontology for its own sake. In this paper, I will investigate the basic scheme of Ingarden’s ontology, including pure qualities, individual real objects, purely intentional objects and ideas. This schema will prove to be in many aspects generated by his phenomenological, i.e. descriptive and anti-reductionist, ideology. (shrink)

European Journal of Philosophy, EarlyView.

In der Geschichte der Philosophie finden wir viele Intentionalitätstheorien, die spezielle Gegenstände zur Erklärung des Intentionalitätsphänomens einführen. Solche Theorien wurden in erster Linie von Philosophen eingeführt, die durch Franz Brentano beeinflusst waren. Gegenstände, um die es hier geht, werden üblicherweise intentionale Gegenstände genannt. Eine Theorie der intentionalen Gegenstände, die vom ontologischen Standpunkt aus betrachtet besonders detailliert ausgearbeitet ist, hat Roman Ingarden formuliert. Auch Ingardens Theorie ist daher Gegenstand einer oft geäußerten Kritik. Man behauptet, dass alles, was intentionale Gegenstände leisten, (...) auch in einer ontologisch sparsameren Weise zu erreichen ist. Wir werden allerdings zeigen, dass diese Behauptung unbegründet ist. Die Einführung intentionaler Gegenstände hat ihre guten Gründe und es ist unklar, ob eine ontologisch sparsamere Variante überhaupt funktionieren kann. Die adverbiale Theorie, die oft als ein Gegenkandidat vorgeschlagen wird, stößt jedenfalls auf große Schwierigkeiten. Was die Ingardensche Version der Theorie betrifft, so erweist sie sich als eine etwas kuriose Mischform der Theorie der intentionalen Gegenstände und der adverbialen Theorie. Wir werden sehen, dass der adverbiale Teil aus dieser Theorie am besten entfernt werden soll. (shrink)

This article presents Roman Ingarden’s theory of causation, as developed in volume III of The Controversy about the Existence of the World, and defends analternative which uses some important insights of Ingarden. It rejects Ingarden’s claim that a cause is simultaneous with its effect and that a cause necessitates its effect. It uses Ingarden’s notion of ‘inclinations’ and accepts Ingarden’s claim that an event cannot necessitate a later event.

Rather than being concerned with questions of aesthetic standards, Ingarden focuses on the question of where a musical work exists. Thus he attempts to draw clear distinctions between musical works, scores, and performances. Yet, while these distinctions seem questionable even from the standpoint of classical music, in jazz, which operates under a paradigm in which improvisation is primary, they prove far more problematic. A crucial assumption behind Ingarden's view of music is that musical performance is essentially a kind (...) of faithful reproduction. But the question is: why does Ingarden assume this musical model? The only way to answer this question is by examining some of the basic presuppositions by which classical music functions and which Ingarden simply takes over. Although Ingarden's investigation of the musical work is usually seen as a phenomenology of music in general, precisely because Ingarden restricts his analysis to works of classical music, his conception of music turns out to be a highly limited one. In the end, the issue of aesthetic value — which Ingarden claims should come after a phenomenology of music — turns out to be what his investigation of music assumes. (shrink)

While Roman Ingarden remains best known among English‐speaking philosophers and literary theorists for his work in aesthetics, and primarily for his study of the literary work of art, his studies in aesthetics and art belong in fact to the comprehensive program of phenomenological research in ontology and metaphysics that occupied him for his entire career. In this article I briefly describe this program of phenomenological research, then I discuss some of the major features of Ingarden’s analyses of works (...) of art and the aesthetic experience. (shrink)

Roman Ingarden (1893 -- 1970) was a Polish phenomenologist, ontologist and aesthetician. A student of Edmund Husserl's from the Göttingen period, Ingarden was a realist phenomenologist who spent much of his career working against what he took to be Husserl's turn to transcendental idealism. As preparatory work for narrowing down possible solutions to the realism/idealism problem, Ingarden developed ontological studies unmatched in scope and detail, distinguishing different kinds of dependence and different modes of being. He is best (...) known, however, for his work in aesthetics, particularly on the ontology of the work of art and the status of aesthetic values, and is credited with being the founder of phenomenological aesthetics. His work.. (shrink)

Ingarden’s phenomenology of aesthetics is characterised primarily as a realist ontological approach which is secondarily concerned with acts of consciousness. This approach leads to a stark contrast between spatiotemporal objects and literary objects. Ontologically, the former is autonomous, totally determined, and in possession of infinite attributes, whilst the latter is a heteronomous intentional object that has only limited determinations and infinitely many “spots of indeterminacy.” Although spots of indeterminacy are often discussed, the role they play in contrasting the real (...) and literary object is not often disputed. Through a close reading of Ingarden’s ontological works and texts on aesthetics, this essay contests the purity of Ingarden’s ontological approach and the ensuing disparity between real and literary object, particularly on the question of spots of indeterminacy. I do this by demonstrating the following five theses: 1) Ingarden’s claim that the real object has an infinitude of properties belies an epistemology, and we should instead conclude that ontologically the real object’s properties are finite. 2) Ingarden’s a priori argument that absent properties of real objects are ontologically determined is unsound. 3) The radical difference between the infinitude and finitude of givenness and absence of the real and the literary object ought to be relativised. 4) Indeterminacies within the novel are concretised in much the same way that absent properties of real objects are intended. 5) Literature makes claims that have a truth value that we can attribute to their author. (shrink)

: For Meinong, familiarly, fictional entities are not created, but rather merely discovered (or picked out) from the inexhaustible realm of Aussersein (beyond being and non-being). The phenomenologist Roman Ingarden, in contrast, offers in his Literary Work of Art of 1931 a constructive ontology of fiction, which views fictional objects as entities which are created by the acts of an author (as laws, for example, are created by acts of parliament). We outline the logic of fiction which is implied (...) by Ingarden’s approach, showing how it distinguishes the properties possessed by fictional objects (for instance of having been created by such and such an author in such and such a work) from characteristics (for instance of smoking a pipe, of living in Baker Street) which are merely associated with such objects. (shrink)

Roman Ingarden, one of Husserl’s most gifted students, devoted several thousand pages to the development of an ontological, epistemological, aesthetical and even anthropological framework that would allow him to firmly reject the so-called “idealistic turn” of his master Husserl. This paper aims at reconstructing an often overlooked side of his philosophy: his theory of consciousness and his analysis of the constitutive process involved in sense perception. After emphasizing the distinctive character of Ingarden’s ontological frame and its impact on (...) understanding concepts as fundamental as consciousness or intentionality, this paper tries to sketch Ingarden’s answers to several genetic questions raised by Husserl: the relation between time and consciousness, the nature of the ultimate sense data and the question of motivation. (shrink)

"Ingarden held that philosophy divides into ontology and metaphysics. Ontology is an autonomous discipline in which we discover and establish the necessary connections between pure ideal qualities by intuitive analysis of the contents of ideas. This is an indispensable preparation for metaphysics, which aims to elucidate the necessary truths of factual existence. Each section of philosophy - theory of knowledge, philosophy of man, philosophy of nature and so on - has ontological and metaphysical aspects. Ingarden argues that every (...) being is a triple unity of matter (contents), form (of the.. (shrink)

An account of Roman Ingarden's ontology of literature.

The papers collected in this volume vividly reflect the strikingly wide range of interests characterizing current research in phenomenology inspired by Roman Ingarden. One of Husserls closest and most devoted students, and at the same time one of his earliest and sharpest critics, Ingarden himself explored numerous fields of philosophy in considerable depth. While he remains best known for his groundbreaking work in aesthetics, ontology, and metaphysics, he also dealt extensively in ethics, epistemology, philosophical anthropology, and cognitive science, (...) and his work was characterized throughout by a deep and abiding interest in the sciences and an unwavering respect for painstakingly thorough logical investigation. Issues from all of these areas of study provide the topics dealt with by the authors contributing to this volume. Several authors focus explicitly on historical matters, often casting surprising new light on the development of early phenomenology in general and of Ingardens own realist phenomenology in particular. Other authors have concentrated instead on specific areas or particular topics of long-standing interest, such as the aesthetic experience, the philosophy of music, and artistic creation, while others have explored the relevance of Ingarden's ontological and anthropological analyses to current research into everything from the interpretation of texts to the study of technological posthumanization. With contributions from both established experts and young scholars, this collection brings together three generations of researchers who share the same basic philosophical goals and methodology, yet exhibit noticeably distinct styles, making this collection not only accessible and topical but also unusually lively. (shrink)

In the vast field of Roman Ingarden’s ontology, film seems to occupy very little space. Indeed, Ingarden dedicated only two short texts to it. This paper aims at reconstructing Ingarden’s theory of film by expanding on the intuitions and sketches presented in those texts, using Ingarden’s general inquiries on aesthetics and specific inquiries on various forms of art The paper first focuses on the mode of being of film, trying to elaborate the distinctions made by (...) class='Hi'>Ingarden between physical foundation, work of art, and aesthetic object and elucidating the relations between film and reality. The paper then moves on to the investigation of silent pictures as an art of pure visibility, then to talking pictures, taking into consideration all the modifications induced by sound and music. Ontological and aesthetical considerations jointly underpin this attempt to show the richness and significance of Ingarden’s theories. (shrink)

In _Roman Ingarden’s Philosophy of Literature_ Wojciech Chojna makes Ingarden’s philosophy of literature more consistent with Husserl’s phenomenology and more immune to both absolutism and relativism. The latter is overcome not through falling back on essentialism but from within itself.

Phenomenology of music has been a perspective trend of phenomenological aesthetics for more than a hundred years. The topic of the paper is fixation the main problems and vectors of development of phenomenology of music. The authors execute an analysis of Roman Ingarden’s position in the discussions concerning the methodological and ontological problems of phenomenology of music. The paper aims at revealing succession in Roman Ingarden’s solutions to the phenomenology of music problems. The other aim is reflection on (...) the originality of Ingarden’s ideas in the context of phenomenological interpretations of music in 20th and 21st centuries. The solution to these tasks allows the authors to fix key problems and identify the principal positions of phenomenology of music. The main sources of the comparative and historical analysis are the studies carried out by Husserl, Sartre, Merleau-Ponty, Clifton, and Ihde. The most important ontological problems of phenomenology of music are: spatiotemporal constitution of music, reduction of a work of music to its performance, and ontological status of a work of music. The analysis of Ingarden’s position on these problems allows us to characterize it as something different from the existing versions. According to the conception, the time of music is a special type of time, that is, quasi-time. A piece of music is a purely intentional, heteronomous, and intersubjective object. There are a number of methodological specificities of Ingarden’s approach: a refusal of reduction of musical theoretical data, a tendency for independence of a piece of music from conscious and mental processes, and an interpretation of a piece of music as a non-sounding phenomenon. In conclusion, the authors demonstrate how the originality and radical nature of Ingarden’s conclusions made his position defenseless against critique and simultaneously marked the tendency in the contemporary phenomenological studies of music. (shrink)

Das Buch ist eine analytische Darstellung der Hauptideen der Erkenntnistheorie Ingardens. Es basiert zum größten Teil auf dem bis vor kurzem noch unpublizierten bzw. ausschließlich in polnischer Sprache verfaßten Material und wendet sich vor allem an die Phänomenologen aber auch an die analytischen Philosophen, die sich für die Erkenntnistheorie und Ontologie der Intentionalität interessieren. Die Ingardensche Erkenntnistheorie, seine Theorie der Intentionalität und die Hauptzüge seiner Ontologie werden auf dem Hintergrund der Brentanoschen und Husserlschen Tradition präsentiert und mit den begrifflichen Werkzeugen (...) der zeitgenössischen analytischen Philosophie analysiert. Die Erkenntnistheorie Ingardens bildet das Ergebnis einer Synthese der Husserlschen phänomenologischen Methode mit der ontologischen Präzision, die für die Schriften Ingardens so charakteristisch ist. Sie besteht aus zwei Disziplinen: der reinen und der angewandten Erkenntnistheorie. Die reine Erkenntnistheorie ist eine absolutistische, Cartesianische Disziplin. Sie formuliert die Definition der Erkenntnis und beruht auf einem besonderen, selbstreferierenden Bewußtseinszustand, den Ingarden Intuition des Durchlebens nennt. Die angewandte Erkenntnistheorie untersucht dagegen die konkreten Fälle der Erkenntnis und ist eine empirische, hypothetische und fehlbare Wissenschaft. (shrink)

Recent phenomenological research has picked up on the old claim that sometimes artworks seem to take possession of the perceiver. Simon Høffding and Tone Roald have argued that Edmund Husserl’s not...

Roman Ingarden’s theory of the musical work is usually criticized for not being able to handle the problems of avant-garde music. The most important reason for this criticism is its dependence on the musical score and, generally, on the conventions of pre-twentieth century European classical music. In my article I offer a revision of Ingarden’s theory, which on the one hand leaves its substantial arguments intact and on the other allows the theory to tackle the problem of avant-garde (...) music successfully. I ultimately hope to demonstrate that this revised theory is suitable for dealing with the problem, and can yield fruit when applied. (shrink)

Translated by Bernard Linsky This is the first English translation of Roman Ingarden’s paper presented at the 8th World Congress of Philosophy held in Prague in 1934: “Der Logistische Versuch einer Neugestaltung der Philosophie: Eine Kritische Bemerkung”, translated here as “The Logical Attempt at a New Formulation of Philosophy: A Critical Remark”. Also translated here are brief discussions by Rudolf Carnap and Otto Neurath. These essays were published in the original German in the Proceedings of the Congress in 1936. (...) This statement of Ingarden’s criticisms of the doctrines of the Vienna Circle has been mentioned in print, but his views have not been discussed, or indeed accurately reported to date. (shrink)

From his earliest published writings to his last, Roman Ingarden displayed an interest in theoretical biology and its efforts to clarify what distinguishes living organisms from other types of entities. However, many of his explorations of such issues are easily overlooked, because they don’t appear in works that are primarily ontological, metaphysical, or anthropological in nature but are “hidden” within his works on literary aesthetics, where Ingarden sought to define the nature of living organisms in order to compare (...) literary works to such entities. This article undertakes a historical textual analysis that traces the evolution of Ingarden’s thought regarding the nature of the literary work of art as an organism-like entity and uncovers its links with the simultaneous development of his systems theory and its central concept of the “relatively isolated system”: for Ingarden, a literary work and an organism are each a systematically transforming, “living,” functional-structural whole that comprises a system of hierarchically arranged and partially isolated elements whose harmonious interaction allows the literary work or organism to fulfill its chief function. Having completed that historical analysis, we test Ingarden’s assessment of works of art as organism-like entities in a novel context by investigating the organism-like qualities of the contemporary computer game; insofar as their AI-driven behavior displays a form of agency, such games might appear to be even more “alive” than traditional works of art. We show that Ingarden’s conceptual framework provides a useful tool for understanding the “organicity” of such games as works of art, despite the fact that they differ qualitatively from those art forms with which Ingarden was directly familiar. (shrink)