About this topic
Summary Experimental philosophy is a new movement that uses systematic experimental studies to shed light on philosophical issues. In other words, experimental philosophers apply the methods commonly associated with psychology (experimentation, statistical analysis, developmental research, reaction time studies, patient studies, and so on), but they use those methods to address the kinds of questions that have been traditionally associated with philosophy. The experimental philosophy movement is united more by a shared methodology than by a shared research agenda or metaphilosophical viewpoint. Thus, while work in experimental philosophy makes use of systematic empirical study, this methodology has been applied to a wide array of different philosophical questions, and researchers have offered quite different views about the way in which such experimental work can prove philosophically valuable. So perhaps the best way to become acquainted with the field of experimental philosophy is to look in detail at the actual research findings.
Key works Key work in experimental philosophy has been done in virtually all areas of philosophy including philosophy of language (Turri 2013, Machery et al 2004), mind (Sytsma & Machery 2010), metaphysics (Alicke et al 2011), intentionality (Knobe 2010, Young et al 2006), free will and moral responsibility (Nichols & Knobe 2007Nichols 2011), metaethics (Sarkissian et al 2011Sarkissian et al 2010), and epistemology (Weinberg et al 2001, Beebe & Buckwalter 2010, Starmans & Friedman 2012).
Introductions Buckwalter & Sytsma 2016 provide a general introduction to experimental philosophy. Knobe & Nichols 2008  and Knobe & Nichols 2013 include collections of some of the early papers in experimental philosophy that established the field, as well as new commentaries and responses from a broader range of philosophers. Knobe et al 2012 provides an up-to-date review of research in experimental philosophy. This introduction is written for an audience of psychologists and therefore tends to emphasize empirical findings rather than philosophical implications. There have also been several excellent introductory textbooks including Sytsma & Livengood 2015, Alexander 2012, and Mallon & Nichols 2012 juxtaposing traditional and cutting edge experimental readings. Experimental philosophy is a rapidly growing field, and breaking xphi news and results can be found at the Experimental Philosophy Blog and on Facebook and Twitter
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3247 found
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Experimental Aesthetics
  1. The Problem of Taste to the Experimental Test.Filippo Contesi, Enrico Terrone, Marta Campdelacreu, Ramón García-Moya & Genoveva Martí - 2024 - Analysis 84 (2):239-248.
    A series of recent experimental studies have cast doubt on the existence of a traditional tension that aestheticians have noted in our aesthetic judgments and practices, viz. the problem of taste. The existence of the problem has been acknowledged since Hume and Kant, though not enough has been done to analyse it in depth. In this paper, we remedy this by proposing six possible conceptualizations of it. Drawing on our analysis of the problem of taste, we argue that the experimental (...)
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  2. On the Value of Sad Music.Mario Attie-Picker, Tara Venkatesan, George E. Newman & Joshua Knobe - 2024 - The Journal of Aesthetic Education 58 (1):46-65.
    Many people appear to attach great value to sad music. But why? One way to gain insight into this question is to turn away from music and look instead at why people value sad conversations. In the case of conversations, the answer seems to be that expressing sadness creates a sense of genuine connection. We propose that sad music can also have this type of value. Listening to a sad song can give one a sense of genuine connection. We then (...)
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  3. Experimental Ontology of Music.Elzė Sigutė Mikalonytė - manuscript
    This chapter focuses on the methodological challenges and practical implications of the experimental ontology of music. It offers an overview of the existing research, primarily focusing on how people judge whether two musical performances are of one and the same or two distinct musical works, followed by a discussion of the current methodological debates in this field and, finally, an exploration of its potential legal implications.
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  4. True Beauty.Ryan P. Doran - forthcoming - British Journal of Aesthetics.
    What is the nature of the concept BEAUTY? Does it differ fundamentally from nearby concepts such as PRETTINESS? It is argued that BEAUTY, but not PRETTINESS, is a dual-character concept. Across a number of contexts, it is proposed that BEAUTY has a descriptive sense that is characterised by, inter alia, having intrinsically pleasing appearances; and a normative sense associated with deeply-held values. This account is supported across two, pre-registered, studies (N=500), and by drawing on analysis of corpus data. It is (...)
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  5. Truly, Madly, Deeply: Moral Beauty & the Self.Ryan P. Doran - forthcoming - Ergo: An Open Access Journal of Philosophy.
    When are morally good actions beautiful, when indeed they are? In this paper, it is argued that morally good actions are beautiful when they appear to express the deep or true self, and in turn tend to give rise to an emotion which is characterised by feelings of being moved, unity, inspiration, and meaningfulness, inter alia. In advancing the case for this claim, it is revealed that there are additional sources of well-formedness in play in the context of moral beauty (...)
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  6. Freedom, Harmony & Moral Beauty.Ryan P. Doran - forthcoming - Philosophers' Imprint.
    Why are moral actions beautiful, when indeed they are? This paper assesses the view, found most notably in Schiller, that moral actions are beautiful just when they present the appearance of freedom by appearing to be the result of internal harmony (the Schillerian Internal Harmony Thesis). I argue that while this thesis can accommodate some of the beauty involved in contrasts of the ‘continent’ and the ‘fully’ virtuous, it cannot account for all of the beauty in such contrasts, and so (...)
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  7. Experimental Philosophy of Aesthetics: Aesthetic Judgment.Florian Cova - 2023 - In Alexander Max Bauer & Stephan Kornmesser (eds.), The Compact Compendium of Experimental Philosophy. Berlin and Boston: De Gruyter. pp. 393-416.
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  8. What is Art? The Role of Intention, Beauty, and Institutional Recognition.Elzė Sigutė Mikalonytė & Markus Kneer - 2023 - Proceedings of the Annual Meeting of the Cognitive Science Society 45:3039-3047.
    In two experiments (N=888), we explore to what extent the folk concept of art is compatible with the leading philosophical definitions of art, and whether it is an essentialist or a non-essentialist concept. We manipulate three factors: whether an object is created intentionally, whether it has aesthetic value, and whether it is institutionally recognized. In addition, we also manipulate the artistic domain (visual art or music). The results suggest that none of the three properties is seen by the folk as (...)
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  9. Does the Phineas Gage Effect Extend to Aesthetic Value?Elzė Sigutė Mikalonytė & Clément Canonne - forthcoming - Philosophical Psychology.
    In the last twenty years, a large number of studies have investigated judgments of the identity of various objects (e.g., persons, material objects, institutions) over time. One influential strand of research has found that identity judgments are shaped by normative considerations. People tend to believe that moral improvement is more compatible with the continuity of identity of a person than moral deterioration, suggesting that persons are taken to be essentially morally good. This asymmetry is often referred to as the “Phineas (...)
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  10. Entra nei miei sogni. Recensione di G. Grossi, La notte dei simulacri. Sogno, cinema, realtà virtuale, Johan & Levy, Monza 2021. [REVIEW]Giulia Andreini - 2022 - Cinergie 22:207-209.
  11. The Folk Concept of Art.Elzė Sigutė Mikalonytė & Markus Kneer - manuscript
    What is the folk concept of art? Does it track any of the major definitions of art philosophers have proposed? In two preregistered experiments (N=888) focusing on two types of artworks (paintings and musical works), we manipulate three potential features of artworks: intentional creation, the possession of aesthetic value, and institutional recognition. This allows us to investigate whether the folk concept of art fits an essentialist definition drawing on one or more of the manipulated factors, or whether it might be (...)
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  12. Will a Haiyan Museum Heal or Traumatise? Insights from Survivor-Curators.Jan Gresil Kahambing - 2022 - Museological Review 26 (1):55-65.
    To commemorate the tragic event of Super Typhoon Yolanda (International Name: Haiyan) last 2013, local leaders of the province of Leyte, Philippines, are speculating on establishing a Haiyan Museum in 2023, a decade later. With connotations of ‘dark tourism’, one way to look at the speculative decade-inspired establishment is through Amy Sodaro’s ‘memorial museums’ with the purpose of ‘education-based memorialization.’ Juxtaposing this with Paul Morrow’s philosophical perception of objects in memorial museums as possible provocateurs of repulsive feelings, there is a (...)
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  13. Are aestheticians' intuitions sitting pretty?Jonathan Weinberg - 2018 - In Florian Cova & Sébastien Réhault (eds.), Advances in Experimental Philosophy of Aesthetics. London: Bloomsbury Academic.
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  14. Aesthetic testimony and experimental philosophy.James Andow - 2018 - In Florian Cova & Sébastien Réhault (eds.), Advances in Experimental Philosophy of Aesthetics. London: Bloomsbury Academic.
    Aesthetic testimony is testimony about aesthetic properties. For example, in aone straightforward case, one person might tell another that something is beautiful. Philosophical discussion about aesthetic testimony centers on the question of whether there are any important differences between aesthetic testimony and testimony about non-aesthetic descriptive matters. In particular, the focus is often on the respective epistemic credentials of aesthetic and non-aesthetic testimony relative to firsthand judgments in the respective domains. Most are inclined to think that in some way and (...)
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  15. Intuitions in the Ontology of Musical Works.Elzė Sigutė Mikalonytė - 2022 - Review of Philosophy and Psychology 13 (2):455-474.
    An impressive variety of theories of ontology of musical works has been offered in the last fifty years. Recently, the ontologists have been paying more attention to methodological issues, in particular, the problem of determining criteria of a good theory. Although different methodological approaches involve different views on the importance and exact role of intuitiveness of a theory, most philosophers writing on the ontology of music agree that intuitiveness and compliance with musical practice play an important part when judging theories. (...)
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  16. De gustibus est disputandum: An empirical investigation of the folk concept of aesthetic taste.Constant Bonard, Florian Cova & Steve Humbert-Droz - 2022 - In Jeremy Wyatt, Julia Zakkou & Dan Zeman (eds.), Perspectives on Taste: Aesthetics, Language, Metaphysics, and Experimental Philosophy. pp. 77-108.
    Past research on folk aesthetics has suggested that most people are subjectivists when it comes to aesthetic judgment. However, most people also make a distinction between good and bad aesthetic taste. To understand the extent to which these two observations conflict with one another, we need a better understanding of people's everyday concept of aesthetic taste. In this paper, we present the results of a study in which participants drawn from a representative sample of the US population were asked whether (...)
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  17. Further exploration of anti-realist intuitions about aesthetic judgment.James Andow - 2022 - Philosophical Psychology 35 (5):621-661.
    Experimental philosophy of aesthetics has explored to what extent ordinary people are committed to aesthetic realism. Extant work has focused on attitudes to normativism – a key commitment of realist positions in aesthetics – the claim that aesthetic judgments/statements have correctness conditions, invariant between subjects, such that there is a fact of the matter in cases of aesthetic disagreement. The emerging picture is that ordinary people strongly and almost universally reject normativism and thus there is no strong realist tendency in (...)
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  18. Experimental Aesthetics and Conceptual Engineering.Clotilde Torregrossa - 2022 - Erkenntnis (3):1027-1041.
    Experimental Philosophy (X-Phi) is now a fully-fledged methodological project with applications in almost all areas of analytic philosophy, including, as of recently, aesthetics. Another methodological project which has been attracting attention in the last few years is conceptual engineering (CE). Its areas of implementation are now diverse, but as was the case initially with experimental philosophy, aesthetics has unfortunately been left out (or perhaps aestheticians have failed to pay attention to CE) until now. In this paper, I argue that if (...)
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  19. Experimental philosophy of aesthetics.Florian Cova - 2023 - In Alexander Max Bauer & Stephan Kornmesser (eds.), The Compact Compendium of Experimental Philosophy. Berlin and Boston: De Gruyter.
    In this chapter, I present a comprehensive review of the literature on experimental philosophy of aesthetics.
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  20. Methodological worries on recent experimental philosophy of music.Nemesio García-Carril Puy - 2022 - Philosophical Psychology 35 (3):410-441.
    This paper discusses methodological issues of two recent experiments conducted by Christopher Bartel, and Elzė S. Mikalonytė and Vilius Dranseika, respectively, about the repeatability and individuation of musical works. I argue, first, that the reliability of their results about people’s intuitions in our everyday musical practices can be questioned due to the use of descriptions instead of musical stimuli of the works and performances involved in the cases tested. This procedure is prone to place participants in an epistemic situation in (...)
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  21. The Role of Teleological Thinking in Judgments of Persistence of Musical Works.Elzė Sigutė Mikalonytė & Vilius Dranseika - 2022 - Journal of Aesthetics and Art Criticism 80 (1):42-57.
    In his article “The Ontology of Musical Versions: Introducing the Hypothesis of Nested Types,” Nemesio Puy raises a hypothesis that continuity of the purpose is both a necessary and a sufficient condition for musical work’s identity. Puy’s hypothesis is relevant to two topics in cognitive psychology and experimental philosophy. The first topic is the prevalence of teleological reasoning about various objects and its influence on persistence and categorization judgments. The second one is the importance of an artist’s intention in the (...)
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  22. Aesthetic Animism.Ryan P. Doran - 2022 - Philosophical Studies 179 (11):3365-3400.
    I argue that the main existing accounts of the relationship between the beauty of environmental entities and their moral standing are mistaken in important ways. Beauty does not, as has been suggested by optimists, confer intrinsic moral standing. Nor is it the case, as has been suggested by pessimists, that beauty at best provides an anthropocentric source of moral standing that is commensurate with other sources of pleasure. I present arguments and evidence that show that the appreciation of beauty tends (...)
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  23. Thick and Perceptual Moral Beauty.Ryan P. Doran - 2022 - Australasian Journal of Philosophy:1-18.
    Which traits are beautiful? And is their beauty perceptual? It is argued that moral virtues are partly beautiful to the extent that they tend to give rise to a certain emotion— ecstasy—and that compassion tends to be more beautiful than fair-mindedness because it tends to give rise to this emotion to a greater extent. It is then argued, on the basis that emotions are best thought of as a special, evaluative, kind of perception, that this argument suggests that moral virtues (...)
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  24. Lost in musical translation: A cross-cultural study of musical grammar and its relation to affective expression in two musical idioms between Chennai and Geneva.Constant Bonard - 2018 - In Florian Cova & Sébastien Réhault (eds.), Advances in Experimental Philosophy of Aesthetics. London: Bloomsbury Academic.
    Can music be considered a language of the emotions? The most common view today is that this is nothing but a Romantic cliché. Mainstream philosophy seems to view the claim that 'Music is the language of the emotions' as a slogan that was once vaguely defended by Rousseau, Goethe, or Kant, but that cannot be understood literally when one takes into consideration last century’s theories of language, such as Chomsky's on syntax or Tarski's on semantics (Scruton 1997: ch. 7, see (...)
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  25. Emotion in imaginative resistance.Dylan Campbell, William Kidder, Jason D’Cruz & Brendan Gaesser - 2021 - Philosophical Psychology 34 (7):895-937.
    Imaginative resistance refers to cases in which one’s otherwise flexible imaginative capacity is constrained by an unwillingness or inability to imaginatively engage with a given claim. In three studies, we explored which specific imaginative demands engender resistance when imagining morally deviant worlds and whether individual differences in emotion predict the degree of this resistance. In Study 1 (N = 176), participants resisted the notion that harmful actions could be morally acceptable in the world of a narrative regardless of the author’s (...)
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  26. CLAUDE LÉVI-STRAUSS AND THE MYTH ANAMORPHOSES.Gustavo Ruiz da Silva & Mariza Martins Furquim Werneck - 2021 - Revista Avesso: Pensamento, Memória E Sociedade 1 (2):1-17.
    The article intends to demonstrate that, when building his science, Claude Lévi- Strauss abandons the categories used by the traditional studies of the myth and creates singular epistemological tools, suggested by the music, by the natural science and by the plastic arts. These tools, which we can denominate aesthetic operators, light up, in an exemplary way, the dissolution process that suffers the mythical matter when transforming in the time and in the space. When establishing that new form of thinking, the (...)
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  27. Maggots are delicious, sunsets hideous: false, or do you just disagree? Data on truth relativism about judgments of personal taste and aesthetics.Dylan Murray - 2020 - In Tania Lombrozo, Shaun Nichols & Joshua Knobe (eds.), Oxford Studies in Experimental Philosophy Volume 3. Oxford University Press. pp. 64-96.
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  28. Being quasi-moved: a view from the lab.Jérôme Pelletier - 2018 - In Florian Cova & Sébastien Réhault (eds.), Advances in Experimental Philosophy of Aesthetics. London: Bloomsbury Academic. pp. 123-141.
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  29. Why is that art?Richard Kamber & Taylor Enoch - 2018 - In Florian Cova & Sébastien Réhault (eds.), Advances in Experimental Philosophy of Aesthetics. London: Bloomsbury Academic. pp. 79-102.
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  30. Measuring the unimaginable: Imaginative resistance to fiction and related constructs.Jessica Black & Jennifer Barnes - 2017 - Personality and Individual Differences 111 (1):71-79.
    Imaginative resistance refers to a perceived inability or unwillingness to enter into fictional worlds that portray deviant moralities (Gendler, 2000): we can all easily imagine that dragons exist, but many people feel incapable of imagining fictional worlds in which morality works differently. Although this phenomenon has received much attention from philosophers, no one has attempted to operationalize the construct in a self-report scale. In Study 1, we developed the Imaginative Resistance Scale (IRS), investigated its relationship to theoretically related constructs, and (...)
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  31. Impossible or improbable: The difficulty of imagining morally deviant worlds.Barnes Jennifer & Black Jessica - 2016 - Imagination, Cognition and Personality 36 (1):27-40.
    Prior research has investigated children’s ability to distinguish between possible and impossible events in our own world, but relatively little empirical research has investigated adults’ intuitions about the boundaries or limitations of imaginary worlds. Here, we presented participants with brief scenarios that were either Morally Deviant, Factually Unlikely, or Conceptually Contradictory. Participants rated how easy it was for them to imagine a world in which each description held true and assessed whether such a world was improbable or impossible. Worlds in (...)
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  32. Perspectives on Taste: Aesthetics, Language, Metaphysics, and Experimental Philosophy.Jeremy Wyatt, Julia Zakkou & Dan Zeman (eds.) - 2022 - Routledge.
    This book offers a sustained, interdisciplinary examination of taste. It addresses a range of topics that have been at the heart of lively debates in philosophy of language, linguistics, metaphysics, aesthetics, and experimental philosophy. Our everyday lives are suffused with discussions about taste. We are quick to offer familiar platitudes about taste, but we struggle when facing the questions that matter--what taste is, how it is related to subjectivity, what distinguishes good from bad taste, why it is valuable to make (...)
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  33. Interpretation of Modern Art Masterpieces: No Motor Reflection.Paolo Bartolomeo Pascolo & Andrea Bucci - 2021 - Progress in Neuroscience 5 (4-5):12.
    The article is an experiment that deals with "Embodied Simulation" and " Embodied Cognition". This work follows the procedures of studies of the Parma Group and against them try to demonstrate their failure. The cognition is not embodied at all, maybe a little and at least.
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  34. Moral Beauty, Inside and Out.Ryan P. Doran - 2021 - Australasian Journal of Philosophy 99 (2):396-414.
    In this article, robust evidence is provided showing that an individual’s moral character can contribute to the aesthetic quality of their appearance, as well as being beautiful or ugly itself. It is argued that this evidence supports two main conclusions. First, moral beauty and ugliness reside on the inside, and beauty and ugliness are not perception-dependent as a result; and, second, aesthetic perception is affected by moral information, and thus moral beauty and ugliness are on the outside as well.
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  35. Can Artificial Intelligence Make Art?Elzė Sigutė Mikalonytė & Markus Kneer - 2022 - ACM Transactions on Human-Robot Interactions.
    In two experiments (total N=693) we explored whether people are willing to consider paintings made by AI-driven robots as art, and robots as artists. Across the two experiments, we manipulated three factors: (i) agent type (AI-driven robot v. human agent), (ii) behavior type (intentional creation of a painting v. accidental creation), and (iii) object type (abstract v. representational painting). We found that people judge robot paintings and human painting as art to roughly the same extent. However, people are much less (...)
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  36. Ecos de 60: Impossibilidade macroestrutural, possibilidades microestruturais. Com Júlia M. Rebouças.Gustavo Ruiz da Silva & Mariana Slerca - 2020 - Revista Avesso: Pensamento, Memória E Sociedade 1 (1):160-171.
    Entrevista com Júlia Rebouças, curadora, pesquisadora e crítica de arte.
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  37. Investigating Everyday Musical Interaction During COVID-19: An Experimental Procedure for Exploring Collaborative Playlist Engagement.Ilana Harris & Ian Cross - 2021 - Frontiers in Psychology 12.
    Musical Group Interaction (MGI) has been found to promote prosocial tendencies, including empathy, across various populations. However, experimental study is lacking in respect of effects of everyday forms of musical engagement on prosocial tendencies, as well as whether key aspects—such as physical co-presence of MGI participants—are necessary to enhance prosocial tendencies. We developed an experimental procedure in order to study online engagement with collaborative playlists and to investigate socio-cognitive components of prosocial tendencies expected to increase as a consequence of engagement. (...)
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  38. Measuring metaaesthetics: Challenges and ways forward.David Moss & Lance S. Bush - 2021 - New Ideas in Psychology 62.
    A growing body of psychological research seeks to understand how people's thinking comports with long-standing philosophical theories, such as whether they view ethical or aesthetic truths as subjective or objective. Yet such research can be critically undermined if it fails to accurately characterize the philosophical positions in question and fails to ensure that subjects understand them appropriately. We argue that a recent article by Rabb et al. (2020) fails to meet these demands and propose several constructive solutions for future research.
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  39. Virtual Terroir and the Premium Coffee Experience.Francisco Barbosa Escobar, Olivia Petit & Carlos Velasco - 2021 - Frontiers in Psychology 12.
    With its origin-centric value proposition, the specialty coffee industry seeks to educate consumers about the value of the origin of coffee and how the relationship with farmers ensures quality and makes coffee a premium product. While the industry has widely used stories and visual cues to communicate this added value, research studying whether and how these efforts influence consumers' experiences is scarce. Through three experiments, we explored the effect of images that evoke the terroir of coffee on the perception of (...)
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  40. Aesthetic Judgments of Live and Recorded Music: Effects of Congruence Between Musical Artist and Piece.Amy M. Belfi, David W. Samson, Jonathan Crane & Nicholas L. Schmidt - 2021 - Frontiers in Psychology 12.
    The COVID-19 pandemic has brought the live music industry to an abrupt halt; subsequently, musicians are looking for ways to replicate the live concert experience virtually. The present study sought to investigate differences in aesthetic judgments of a live concert vs. a recorded concert, and whether these responses vary based on congruence between musical artist and piece. Participants made continuous ratings of their felt pleasure either during a live concert or while viewing an audiovisual recorded version of the same joint (...)
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  41. Considerations in Audio-Visual Interaction Models: An ERP Study of Music Perception by Musicians and Non-musicians.Marzieh Sorati & Dawn M. Behne - 2021 - Frontiers in Psychology 11.
    Previous research with speech and non-speech stimuli suggested that in audiovisual perception, visual information starting prior to the onset of corresponding sound can provide visual cues, and form a prediction about the upcoming auditory sound. This prediction leads to audiovisual interaction. Auditory and visual perception interact and induce suppression and speeding up of the early auditory event-related potentials such as N1 and P2. To investigate AV interaction, previous research examined N1 and P2 amplitudes and latencies in response to audio only, (...)
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  42. The Vanity of Small Differences: Empirical Studies of Artistic Value and Extrinsic Factors.Shen-yi Liao, Aaron Meskin & Jade Fletcher - 2020 - Aesthetic Investigations 4 (1):412-427.
    To what extent are factors that are extrinsic to the artwork relevant to judgments of artistic value? One might approach this question using traditional philosophical methods, but one can also approach it using empirical methods; that is, by doing experimental philosophical aesthetics. This paper provides an example of the latter approach. We report two empirical studies that examine the significance of three sorts of extrinsic factors for judgments of artistic value: the causal-historical factor of contagion, the ontological factor of uniqueness, (...)
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  43. Lost in Intensity: Is there an empirical solution to the quasi-emotions debate?Steve Humbert-Droz, Amanda Ludmilla Garcia, Vanessa Sennwald, Fabrice Teroni, Julien Deonna, David Sander & Florian Cova - 2020 - Aesthetic Investigations 4 (1):460-482.
    Contrary to the emotions we feel in everyday contexts, the emotions we feel for fictional characters do not seem to require a belief in the existence of their object. This observation has given birth to a famous philosophical paradox (the ‘paradox of fiction’), and has led some philosophers to claim that the emotions we feel for fictional characters are not genuine emotions but rather “quasi-emotions”. Since then, the existence of quasi-emotions has been a hotly debated issue. Recently, philosophers and psychologists (...)
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  44. Form and meaning in music: Revisiting the affective character of the major and minor modes.Timothy Justus, Laura Gabriel & Adela Pfaff - 2018 - Auditory Perception and Cognition 1 (3–4):229–247.
    Musical systems develop associations over time between aspects of musical form and concepts from outside of the music. Experienced listeners internalize these connotations, such that the formal elements bring to mind their extra-musical meanings. An example of musical form-meaning mapping is the association that Western listeners have between the major and minor modes and happiness and sadness, respectively. We revisit the emotional semantics of musical mode in a study of 44 American participants (musicians and non-musicians) who each evaluated the relatedness (...)
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  45. Method Development for Multimodal Data Corpus Analysis of Expressive Instrumental Music Performance.Federico Ghelli Visi, Stefan Östersjö, Robert Ek & Ulrik Röijezon - 2020 - Frontiers in Psychology 11.
    Musical performance is a multimodal experience, for performers and listeners alike. This paper reports on a pilot study which constitutes the first step toward a comprehensive approach to the experience of music as performed. We aim at bridging the gap between qualitative and quantitative approaches, by combining methods for data collection. The purpose is to build a data corpus containing multimodal measures linked to high-level subjective observations. This will allow for a systematic inclusion of the knowledge of music professionals in (...)
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  46. The Attraction of Synchrony: A Hip-Hop Dance Study.Colleen Tang Poy & Matthew H. Woolhouse - 2020 - Frontiers in Psychology 11.
    This study investigated an evolutionary-adaptive explanation for the cultural ubiquity of choreographed synchronous dance: that it evolved to increase interpersonal aesthetic appreciation and/or attractiveness. In turn, it is assumed that this may have facilitated social bonding and therefore procreation between individuals within larger groups. In this dual-dancer study, individuals performed fast or slow hip-hop choreography to fast-, medium-, or slow-tempo music; when paired laterally, this gave rise to split-screen video stimuli in which there were four basic categories of dancer and (...)
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  47. Why don't we trust moral testimony?James Andow - 2020 - Mind and Language 35 (4):456-474.
    Is there a problem with believing based on moral testimony? The intuition that there is a problem is a starting point for much research on moral testimony. To arbitrate between various attempts to account for intuitions about moral testimony, we need to know the exact nature of those intuitions. The current study investigates this empirically. The study confirms an asymmetry in the way we think about testimony about moral and descriptive matters and explores the extent to which this asymmetry is (...)
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  48. Morality and the imagination: Real-world moral beliefs interfere with imagining fictional content.Jessica Black & Jennifer Barnes - 2020 - Philosophical Psychology 33 (7):1018-1044.
    The purpose of this paper was to test whether imaginative resistance – a term used in the philosophical literature to describe the reluctance to imagine counter-moral worlds – is experienced by peo...
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  49. A defence of experimental philosophy in aesthetics.Clotilde Torregrossa - 2020 - Inquiry: An Interdisciplinary Journal of Philosophy 63 (8):885-907.
    Although experimental philosophy is now over a decade old, it has only recently been introduced to the domain of philosophical aesthetics. So why is there already a need to defend it? Because, as I argue in this paper, we can anticipate the three main types of objection generally addressed to experimental philosophy and show that none of them concern experimental philosophers in aesthetics. I begin with some general considerations about experimental philosophy and its, sometimes conflicting, characteristics. This framework is designed (...)
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