Experimental Philosophy

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 (...) willing to consider robots as artists than humans, which is partially explained by the fact that they are less disposed to attribute artistic intentions to robots. (shrink)

Entrevista com Júlia Rebouças, curadora, pesquisadora e crítica de arte.

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.

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. (...) A multitude of diverse claims exist regarding folk intuitions and matters of musical practice in the literature on the ontology of musical works. In this review paper, a systematized collection of about one hundred empirical claims extracted from the theoretical literature is presented. All of the empirical claims are categorized thematically. The paper also includes a short discussion on the role of appeals to common intuitions in methodological literature, as well as some suggestions for future research. (shrink)

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 (...) concert given by a university band and a United States Army band. Each band played two pieces: a United States patriotic piece and a non-patriotic piece. Results indicate that, on average, participants reported more pleasure while listening to pieces that were congruent, which did not vary based on live vs. lab listening context: listeners preferred patriotic music when played by the army band and non-patriotic music when played by the university band. Overall, these results indicate that felt pleasure in response to music may vary based on listener expectations of the musical artist, such that listeners prefer musical pieces that “fit” with the particular artist. When considering implications for concerts during the COVID-19 pandemic, our results indicate that listeners may experience similar degrees of pleasure even while viewing a recorded concert, suggesting that virtual concerts are a reasonable way to elicit pleasure from audiences when live performances are not possible. (shrink)

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, (...) and the contextual factor of appreciative environment. We explore the context of appreciation by performing studies in a museum as well as the lab. We found that contagion made a difference to judgments of artistic value in both settings. These results are congruent with previous empirical research as well as recent philosophical work that defends the artistic significance of authenticity. However, uniqueness only made a difference in the lab setting, but not in the museum. This suggests that the context of appreciation may make a difference to judgments of artistic value. Of broader significance, these studies show the value of experimental philosophical aesthetics and the value of doing in situ empirical research on art. (shrink)

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 (...) have proposed to solve this debate by using empirical methods and experimentally studying differences between ‘real’ and ‘fictional’ emotions. In this paper, our goal is to assess the success of these attempts. We begin by surveying the existing empirical literature and stressing the methodological problems that plague most studies that might seem relevant to the debate, before focusing on recent studies that avoid this pitfall. We then argue that, due to conceptual problems, these studies fail to be relevant to the philosophical debate and emphasize new directions for future empirical research on the topic. (shrink)

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 (...) of 96 melody-word pairs. Among the tonal melodies, we manipulated mode (major and minor) and timbre (clarinet and flute) while systematically controlling for other musical factors including pitch register and melodic contour. Similarly, among the English words, we manipulated word affect (happy and sad) while systematically controlling for other lexical factors including frequency and word length. Results demonstrated that participants provided a higher proportion of related responses for major melodies paired with happy words and minor melodies paired with sad words than for the reverse pairings. This interaction between mode and word affect was highly significant for both musicians and non-musicians, albeit with a larger effect for the former group. Further interactions with timbre suggested that while both clarinet and flute conveyed happiness when in the major mode, the clarinet was somewhat more successful than the flute at conveying sadness in the minor mode. Debriefing questionnaires suggested that the majority of the participants, including all of the non-musicians, had no awareness of the major-minor manipulation, and instead directed their attention to register and contour. We argue that the affective character of the major and minor modes is but one example of form-meaning mapping in music, and suggest further exploration of the roles of timbre, register, and contour in conveying musical emotions. (shrink)

Philosophers often consider better compliance with prevalent pre-theoretical intuitions to be an advantage of a theory of ontology of musical works. However, despite many predictions of what these intuitions on relevant questions might be, so far there is only one experimental philosophy study on the repeatability of musical works by Christopher Bartel. We decided to examine the intuitions concerning the individuation of musical works by creating scenarios reflecting the differences in the positions of musical ontologists: pure and timbral sonicism, instrumentalism, (...) and contextualism. The results show that emotional expressivity, instrument, timbre, and images evoked in the listeners were not considered as properties individuating musical works. However, the musical works were held to be different if the composers were different. In most cases, the participants had clear intuitions. Pure sonicism, complemented with additional stress on significance of the composer’s creativity, seems to be the most intuitive position. (shrink)

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.

The nature and consequences of readers’ affective engagement with literature has, in recent years, captured the attention of experimental psychologists and philosophers alike. Psychological studies have focused principally on the causal mechanisms explaining our affective interactions with fictions, prescinding from questions concerning their rational justifiability. Transportation Theory, for instance, has sought to map out the mechanisms the reader tracks the narrative experientially, mirroring its descriptions through first-personal perceptual imaginings, affective and motor responses and even evaluative beliefs. Analytical philosophers, by contrast, (...) have largely focussed on the problems fiction poses for traditional theories of rationality (as in the ‘Paradox of Fiction), challenging fiction’s wider epistemic value. The result has been a theoretical impasse in which the power of fiction to affectively ‘transport’ a reader is at once often lauded (by psychologists) as a privileged route to interpersonal understanding, and condemned (by philosophers) as an abdication of the authority of reason. This chapter surveys some of the central claims on both sides, tracing the source of the debate to competing conceptions of rationality. (shrink)

Many of the methods commonly used to research mathematical practice, such as analyses of historical episodes or individual cases, are particularly well-suited to generating causal hypotheses, but less well-suited to testing causal hypotheses. In this paper we reflect on the contribution that the so-called hypothetico-deductive method, with a particular focus on experimental studies, can make to our understanding of mathematical practice. By way of illustration, we report an experiment that investigated how mathematicians attribute aesthetic properties to mathematical proofs. We demonstrate (...) that perceptions of the aesthetic properties of mathematical proofs are, in some cases at least, subject to social influence. Specifically, we show that mathematicians’ aesthetic judgements tend to conform to the judgements made by others. Pedagogical implications are discussed. (shrink)

In his 2005 paper, DeClercq observes that aesthetic terms such as ‘beautiful’, ‘elegant’, ‘harmonious’, etc. resist metaphorical interpreta­tion and argues that it is the fact that such terms cannot be involved in category-mistakes that explains their metaphorical uninterpretability. While I largely agree with DeClercq’s observation of the metaphorical uninterpret­ability of aesthetic terms, I offer both non-empirical and empirical considerations against his category-based explanation of the phenomenon. I offer the former in a longer version of this paper. In this shorter version, (...) I offer preliminary, empirical evidence against DeClercq’s thesis that the possibility of category mistakes is what is required for metaphor judgments. I do this, in part, by relying on the work of cultural psychologist, Nisbett, who found that, in general, Easterners rely less on categories and more on relational and contextual information than Westerners in making judgments and reasoning inferentially. I report the results of my cross-cultural study on metaphor, which cast some doubt on DeClercq’s thesis that it is the possibility of category-mistakes that explain the metaphorical interpretability of expressions in general. (shrink)

ABSTRACTIn everyday language, the expression ‘guilty pleasure’ refers to instances where one feels bad about enjoying a particular artwork. Thus, one’s experience of guilty pleasure seems to involv...

Since at least Hume and Kant, philosophers working on the nature of aesthetic judgment have generally agreed that common sense does not treat aesthetic judgments in the same way as typical expressions of subjective preferences—rather, it endows them with intersubjective validity, the property of being right or wrong regardless of disagreement. Moreover, this apparent intersubjective validity has been taken to constitute one of the main explananda for philosophical accounts of aesthetic judgment. But is it really the case that most people (...) spontaneously treat aesthetic judgments as having intersubjective validity? In this paper, we report the results of a cross‐cultural study with over 2,000 respondents spanning 19 countries. Despite significant geographical variations, these results suggest that most people do not treat their own aesthetic judgments as having intersubjective validity. We conclude by discussing the implications of our findings for theories of aesthetic judgment and the purpose of aesthetics in general. (shrink)

In this paper I will discuss some issues related to a recent trend in experimental philosophy (or x-phi), and try to show the reasons of its late (and scarce) involvement with aesthetics, compared to other areas of philosophical investigation. In order to do this, it is first necessary to ask how an autonomous experimental philosophy of aesthetics could be related to the long-standing tradition of psychological experimental aesthetics. After distinguishing between a “narrow” and a “broad” approach of experimental philosophy, I (...) will then make a distinction between topics in aesthetics pertaining to perceptual and cognitive processes, and traditional issues involved in the analysis of general and culturally-laden concepts. The narrow program of experimental philosophy, focused on the investigation of folk intuitions, is particularly effective only when two general conditions are met: the use of hypothetical scenarios (testing of thought experiments) and the heuristic role of folk intuitions in drawing philosophically relevant conclusions. I will argue that, when aesthetics is concerned, these requirements are not easily met. These difficulties notwithstanding, I will support a pluralistic view where aesthetics is revealed as an instructive example of how experimental approaches and traditional “armchair” philosophy integrate, and enrich each other. (shrink)

Our goal in this paper is to articulate a novel account of the ordinary concept ART. At the core of our account is the idea that a puzzle surrounding our thought and talk about art is best understood as just one instance of a far broader phenomenon. In particular, we claim that one can make progress on this puzzle by drawing on research from cognitive science on dual character concepts. Thus, we suggest that the very same sort of phenomenon that (...) is associated with ART can also be found in a broad class of other dual character concepts, including SCIENTIST, CHRISTIAN, GANGSTER, and many others. Instead of focusing narrowly on the case of ART, we try to offer a more general account of these concepts and the puzzles to which they give rise. Then, drawing on the general theory, we introduce a series of hypotheses about art concepts, and put those hypotheses to the test in three experimental studies. (shrink)

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 (...) to help me situate the experimental practice in aesthetics within the general movement. I then present the objections and respond to them in turn. Their failure should convince aestheticians to embrace the practice early on and opponents of experimental philosophy to revise their usual objections before addressing them to experimental philosophers in aesthetics. (shrink)

Responding to recent concerns about the reliability of the published literature in psychology and other disciplines, we formed the X-Phi Replicability Project to estimate the reproducibility of experimental philosophy. Drawing on a representative sample of 40 x-phi studies published between 2003 and 2015, we enlisted 20 research teams across 8 countries to conduct a high-quality replication of each study in order to compare the results to the original published findings. We found that x-phi studies – as represented in our sample (...) – successfully replicated about 70% of the time. We discuss possible reasons for this relatively high replication rate in the field of experimental philosophy and offer suggestions for best research practices going forward. (shrink)

An observation of Hume’s has received a lot of attention over the last decade and a half: Although we can standardly imagine the most implausible scenarios, we encounter resistance when imagining propositions at odds with established moral (or perhaps more generally evaluative) convictions. The literature is ripe with ‘solutions’ to this so-called ‘Puzzle of Imaginative Resistance’. Few, however, question the plausibility of the empirical assumption at the heart of the puzzle. In this paper, we explore empirically whether the difficulty we (...) witness in imagining certain propositions is indeed due to claim type (evaluative v. non-evaluative) or whether it is much rather driven by mundane features of content. Our findings suggest that claim type plays but a marginal role, and that there might hence not be much of a ‘puzzle’ to be solved. (shrink)

The present studies investigate morality’s influence on aesthetics and one potential moderator of that influence: genre. Study 1 finds that people’s moral evaluation positively influence their aesthetic evaluation of an artwork. Study 2 and 3 finds that this influence can be moderated by the contextual factor of genre. These results broaden our understanding of the relationship between morality and aesthetics, and suggest that models of art appreciation should take into account morality and its interaction with context. [Unpublishable 2010-2017.].

Experimental philosophy offers an alternative mode of engagement for public philosophy, in which the public can play a participatory role. We organized two public events on the aesthetics of coffee that explored this alternative mode of engagement. The first event focuses on issues surrounding the communication of taste. The second event focuses on issues concerning ethical influences on taste. -/- In this paper, we report back on these two events which explored the possibility of doing experimental philosophical aesthetics as public (...) philosophy. We set the stage by considering the significance and current state of efforts in public philosophy, and by introducing the emerging sub-discipline of experimental philosophical aesthetics. Then, we discuss the research and outreach aspects of the two events on the aesthetics of coffee. Finally, we conclude by reflecting on the prospects and potential pitfalls of experimental philosophy as public philosophy. (shrink)

We challenge an argument that aims to support Aesthetic Realism by claiming, first, that common sense is realist about aesthetic judgments because it considers that aesthetic judgments can be right or wrong, and, second, that becauseAesthetic Realism comes from and accounts for “folk aesthetics,” it is the best aesthetic theory available.We empirically evaluate this argument by probing whether ordinary people with no training whatsoever in the subtle debates of aesthetic philosophy consider their aesthetic judgments as right or wrong. Having shown (...) that the results do not support the main premise of the argument, we discuss the consequences for Aesthetic Realism and address possible objections to our study. (shrink)

The goal of this short paper is to show that esthetic adjectives—exemplified by “beautiful” and “elegant”—do not pattern stably on a range of linguistic diagnostics that have been used to taxonomize the gradability properties of adjectives. We argue that a plausible explanation for this puzzling data involves distinguishing two properties of gradable adjectives that have been frequently conflated: whether an adjective’s applicability is sensitive to a comparison class, and whether an adjective’s applicability is context-dependent.

One aim of this essay is to contribute to understanding aesthetic communication—the process by which agents aim to convey thoughts and transmit knowledge about aesthetic matters to others. Our focus will be on the use of aesthetic adjectives in aesthetic communication. Although theorists working on the semantics of adjectives have developed sophisticated theories about gradable adjectives, they have tended to avoid studying aesthetic adjectives—the class of adjectives that play a central role in expressing aesthetic evaluations. And despite the wealth of (...) attention paid to aesthetic adjectives by philosophical aestheticians, they have paid little attention to contemporary linguistic theories of adjectives. We take our work to be a first step in remedying these lacunae. In this paper, we present four experiments that examine one aspect of how aesthetic adjectives ordinarily function: the context-sensitivity of their application standards. Our results present a prima facie empirical challenge to a common distinction between relative and absolute gradable adjectives because aesthetic adjectives are found to behave differently from both. Our results thus also constitute a prima facie vindication of some philosophical aestheticians’ contention that aesthetic adjectives constitute a particularly interesting segment of natural language, even if the boundaries of this segment might turn out to be different from what they had in mind. (shrink)

This article argues that the so-called Charge from Psychology does not refute the project of defining art. The charge entails that the project is misguided because it falsely presupposes that the concept of art is classically structured. The charge is challenged by distinguishing philosophers’ normative from psychologists’ descriptive aims. Unlike what many philosophers of art themselves believe, defining art is a normative project, since proposed definitions formulate conditions under which the concept of art should be applied, rather than is applied. (...) Therefore, it is not inherently problematic that definitions do not fit empirical data: a normative definition need not reflect how people categorize items as art. In the end, this article shows the significance of empirical data for definitions of art. (shrink)

According to Herman Cappelen and Bernard Molyneux, it is widely assumed that intuitions are used as evidence for philosophical theories in all areas of philosophy. Philosophers’ self-image, however, is wrong. This wrong self-image, so they argue, has merely misled metaphilosophers, but has had no substantial implications for philosophical practices. This article examines the role of intuitions in the project of defining art. In accordance with Cappelen and Molyneux, I demonstrate that philosophers of art believe intuitions are used as evidence for (...) their definitions of art and that this belief is false. In contrast with Cappelen and Molyneux, I maintain that philosophers of art’s false self-image causes substantial damage to their philosophical practice. Firstly, intuitions often are used as persuaders, while, in fact, they do not add philosophical force to the defended position. Secondly, and more importantly, intuition-talk and philosophers’ wrong self-image are partly responsible for the confusi.. (shrink)

In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, aesthetic concepts, and imagination, as (...) well as research from other disciplines that not only are relevant to philosophy of aesthetics but also open new avenues of research for experimental philosophy of aesthetics. Overall, we conclude that the birth of an experimental philosophy of aesthetics is good news not only for aesthetics but also for experimental philosophy itself, as it contributes to broaden the scope of experimental philosophy. (shrink)

It is generally agreed upon that philosophers of art rely on their intuitions to justify or criticize proposed definitions of art. Experimental philosophers, however, have questioned the role of intuition in philosophy, since empirical research shows that philosophers’ intuitions are neither widely shared nor reliable sources of justification. This article aims to apply these experimental challenges to the project of defining art. It will be demonstrated that while experimentalists are right in claiming that philosophers' intuitions cannot be used as epistemic (...) grounds for the definition of art, experimental research itself cannot contribute much to the project of defining art. (shrink)

Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. Philosophers have primarily theorized about this phenomenon from the armchair. In this paper, we demonstrate the utility of empirical methods for investigating imaginative resistance. We present two studies that help to establish the psychological reality of imaginative resistance, and to uncover one factor that is significant for explaining this phenomenon but low in psychological salience: genre. Furthermore, our studies have the methodological upshot of showing (...) how empirical tools can complement the predominant armchair approach to philosophical aesthetics. (shrink)

We challenge an argument that aims to support Aesthetic Realism by claiming, first, that common sense is realist about aesthetic judgments because it considers that aesthetic judgments can be right or wrong, and, second, that becauseAesthetic Realism comes from and accounts for “folk aesthetics,” it is the best aesthetic theory available.We empirically evaluate this argument by probing whether ordinary people with no training whatsoever in the subtle debates of aesthetic philosophy consider their aesthetic judgments as right or wrong. Having shown (...) that the results do not support the main premise of the argument, we discuss the consequences for Aesthetic Realism and address possible objections to our study. (shrink)

Although experimental philosophers have been busy kindling fires under well-worn armchairs in areas of philosophy as varied as epistemology, normative ethics, theories of reference, and the free will controversy, the philosophy of art has remained largely untouched. As Denis Dutton observes: “There is precious little reference to empirical psychology in contemporary philosophical aesthetics, almost as if philosophers of art have wanted to protect their patch from incursions by psychologists.” I intend to show how techniques borrowed from experimental psychology can bring (...) light as well as warmth to the old debate over “What is art?”. (shrink)

This paper presents a series of studies (total N=579) which demonstrate that folk judgments concerning the reasonableness of decisions and actions depend strongly on whether they engender positive or negative consequences. A particular decision is deemed more reasonable in retrospect when it produces beneficial consequences than when it produces harmful consequences, even if the situation in which the decision was taken and the epistemic circumstances of the agent are held fixed across conditions. This finding is worrisome for the law, where (...) the reasonable person standard plays a prominent role. The legal concept of reasonableness is outcome-insensitive: whether the defendant acted in a reasonable fashion or not depends exclusively on her context of action, no matter how things play out. Folk judgments of reasonableness are thus inconsistent with the legal concept of reasonableness. Problematically, in common law jurisdictions, the decision whether a defendant’s behavior was reasonable or not is frequently (though not necessarily) delegated to a lay jury. (shrink)

This study explored pedestrians’ understanding of Fully Autonomous Vehicles intention to stop and what influences pedestrians’ decision to cross the road over time, i.e., learnability. Twenty participants saw fixed simulated urban road crossing scenes with a single FAV on the road as if they were pedestrians intending to cross. Scenes differed from one another in the FAV’s, distance from the crossing place, its physical size, and external Human-Machine Interfaces message by background color, message type, and presentation modality. Eye-tracking data and (...) decision measurements were collected. Results revealed that pedestrians tend to look at the e-HMI before making their decision. However, they did not necessarily decide according to the e-HMIs’ color or message type. Moreover, when they complied with the e-HMI proposition, they tended to hesitate before making the decision. Overall, a learning effect over time was observed in all conditions regardless of e- HMI features and crossing context. Findings suggest that pedestrians’ decision making depends on a combination of the e-HMI implementation and the car distance. Moreover, since the learning curve exists in all conditions and has the same proportion, it is critical to design an interaction that would encourage higher probability of compatible decisions from the first phase. However, to extend all these findings, it is necessary to further examine dynamic situations. (shrink)

This paper considers the practical question of why people do not behave in the way they ought to behave. This question is a practical one, reaching both into the normative and descriptive domains of morality. That is, it concerns moral norms as well as empirical facts. We argue that two main problems usually keep us form acting and judging in a morally decent way: firstly, we make mistakes in moral reasoning. Secondly, even when we know how to act and judge, (...) we still fail to meet the requirements due to personal weaknesses. This discussion naturally leads us to another question: can we narrow the gap between what people are morally required to do and what they actually do? We discuss findings from neuroscience, economics, and psychology, considering how we might bring our moral behavior better in line with moral theory. Potentially fruitful means include nudging, training, pharmacological enhancement, and brain stimulation. We conclude by raising the question of whether such methods could and should be implemented. (shrink)

Intended and merely foreseen consequences: The psychology of the ‘cause or allow’ offence. A short report for the Socio-Legal Community on ESRC Grant RES-000-22-3114.

The debate regarding the nature of joint action has come to a stalemate due to a dependence on intuitional methods. Normativists, such as Margaret Gilbert, argue that action-relative normative relations are inherent in joint action, while non-normativists, such as Michael Bratman, claim that there are minimal cases of joint action without normative relations. In this work, we describe the first experimental examinations of these intuitions, and report the results of six studies that weigh in favor of the normativist paradigm. Philosophical (...) ramifications and further extensions of this work are then discussed. (shrink)

Objective: Compassion has been associated with eudaimonia and prosocial behavior, and has been regarded as a virtue, both historically and cross-culturally. However, the psychological study of compassion has been limited to laboratory settings and/or standard survey assessments. Here, we use an experience sampling method (ESM) to compare naturalistic assessments of compassion with standard assessments, and to examine compassion, its variability, and associations with eudaimonia and prosocial behavior. -/- Methods: Participants took a survey which included standard assessments of compassion and eudaimonia. (...) Then, over four days, they were repeatedly asked about their level of compassion, eudaimonia, and situational factors within the moments of daily life. Finally, prosocial behavior was tested using the Dual Gamble Task and an opportunity to donate task winnings. -/- Results: Analyses revealed within-person associations between ESM compassion and eudaimonia. ESM compassion also predicted eudaimonia at the next ESM time point. While not impervious to situational factors, considerable consistency was observed in ESM compassion in comparison with eudaimonia. Further, ESM compassion along with eudaimonia predicted donating behavior. Standard assessments did not. -/- Conclusion: Consistent with virtue theory, some individual’s reports displayed a probabilistic tendency toward compassion, and ESM compassion predicted ESM eudaimonia and prosocial behavior toward those in need. (shrink)

When explaining human actions, people usually focus on a small subset of potential causes. What leads us to prefer certain explanations for valenced actions over others? The present studies indicate that our moral attitudes often predict our explanatory preferences far better than our beliefs about how causally sensitive actions are to features of the actor's environment. Study 1 found that high-prejudice participants were much more likely to endorse non-agential explanations of an erotic same-sex encounter, such as that one of the (...) men endured a stressful event earlier that day. Study 2 manipulated participants' beliefs about how the agent's behavior depended on features of his environment, finding that such beliefs played no clear role in modeling participants' explanatory preferences. This result emerged both with low- and high-prejudice, US and Indian participants, suggesting that these findings probably reflect a species-typical feature of human psychology. Study 3 found that moral attitudes also predicted explanations for a woman's decision to abort her pregnancy (3a) and a person's decision to convert to Islam (3b). Study 4 found that luck in an action's etiology tends to undermine perceptions of blame more readily than perceptions of praise. Finally, Study 5 found that when explaining support for a rival ideology, both Liberals and Conservatives downplay agential causes while emphasizing environmental ones. Taken together, these studies indicate that our explanatory preferences often reflect a powerful tendency to represent agents as possessing virtuous true selves. Consequently, situation-focused explanations often appear salient because people resist attributing negatively valenced actions to the true self. There is a person/situation distinction, but it is normative. (shrink)

Genetic interventions, which include transgenic engineering, gene editing, and other forms of genome modification aimed at altering the information “in” the genetic code, are rapidly increasing in power and scale. Biosemiotics offers unique tools for understanding the nature, risks, scope, and prospects of such technologies, though few in the community have turned their attention specifically in this direction. Bruni is an important exception. In this paper, I examine how we frame the concept of “side effects” that result from genetic interventions (...) and how the concept stands up to current perspectives of the role of organism activity in development. I propose that once the role of living systems in constructing and modifying the informational value of their various developmental resources is taken into account, the concept of a “side effect” will need to be significantly revised. Far from merely a disturbance brought about in a senseless albeit complex system, a biosemiotic view would take “side effects” as at least sometimes the organism’s active re-organization in order to accommodate or make use of novelty. This insight is nascent in the work of developmental plasticity and niche construction theory, but it is brought into sharper focus by the explicitly interpretive perspective offered by biosemiotics. Understanding the “side effects” of genetic interventions depends in part on being able to articulate when and where unexpected consequences are a result of semiotic activity at various levels within the system. While a semiotic interpretation of “side effects” puts into question the naive attitude that would see all unintended side effects as indications of disturbance in system functionality, it certainly does not imply that such side effects are of no concern for the viability of the organisms in the system. As we shall see, the fact that such interventions do not respect the translation of information that occurs in multi-level biological systems ensures that disruption is still likely. But it does unprivilege the human agent as the sole generator of meaning and information in the products of biotechnology, with important consequences on how we understand our relationship with other species. (shrink)

In a celebrated experiment, Joshua Knobe showed that people are much more prone to attribute intentionality to an agent for a side effect of a given act when that side effect is harmful than when it is beneficial. This asymmetry has become known as ‘the Knobe Effect’. According to Knobe's Moral Valence Explanation, bad effects trigger the attributions of intentionality, whereas good effects do not. Many others believe that the Knobe Effect is best explained in terms of the high amount (...) of blame attributed in the harm condition, and the low amount of praise attributed in the help condition. This Blame Hypothesis explains the high number of intentionality attributions in the harm condition in terms of the high degree of blame people ascribe, and the low number of intentionality attributions in the help conditions in terms of the low degree of praise people attribute. We replicated Knobe's original experiment and conducted a logistic regression on the results to probe more deeply into the relationship between attributions of intentionality and responsibility. The statistical analysis revealed a hitherto unknown interaction effect: intentionality correlates with blame, but not with praise. This interaction effect is consistent with the Moral Valence Hypothesis, but inconsistent with the Blame Hypothesis, as well as with two of the three other hypotheses discussed here. (shrink)

The characteristic asymmetry in intentionality attributions that is known as the Knobe effect can be explained by conjoining an orthodox theory of intentional action with a normative account of intentional omission. On the latter view: omissions presuppose some normative context; there are good reasons why the intentionality of omissions requires agents' knowledge rather than intention. The asymmetry in intentionality attributions in Knobe's cases can be seen to be derivative from an asymmetry in intentional omissions. The omissions account further explains the (...) Butler problem and some related puzzles. It also safeguards the simple view of intentional action from the asymmetry challenge. (shrink)

The aim of this paper is to argue that there has been some mismatch between the naturalist rhetoric of experimental philosophy and its actual practice: experimental philosophy is not necessarily, and not even paradigmatically, a naturalistic enterprise. To substantiate this claim, a case study is given for what genuinely naturalist experimental philosophy would look like.

This research examines the moderating role of regret aversion in reason-based choice. Earlier research has shown that regret aversion and reason-based choice effects are linked through a common emphasis on decision justification, and that a simple manipulation of regret salience can eliminate the decoy effect, a well-known reason-based choice effect. We show here that the effect of regret salience varies in theory-relevant ways from one reason-based choice effect to another. For effects such as the select/reject and decoy effect, both of (...) which were independently judged to be unreasonable bases for deciding, regret salience eliminated the effect. For the most-important attribute effect that is judged to be normatively acceptable, however, regret salience amplified the effect. Anticipated self-blame regret and perceived decision justifiability consistently predicted preferences and thus offer a parsimonious account of both attenuation and amplification of these reason-based choice effects. (shrink)