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  1. 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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  • Experimental Philosophy of Aesthetics.Florian Cova - forthcoming - In Max Bauer & Stephan Kornmesser (eds.), Compact compendium of experimental philosophy. De Gruyter.
    In this chapter, I present a comprehensive review of the literature on experimental philosophy of aesthetics.
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  • 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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  • Methodological Worries on Recent Experimental Philosophy of Music.Nemesio García-Carril Puy - 2022 - Philosophical Psychology 35 (3):410-441.
  • Intuitions in the Ontology of Musical Works.Elzė Sigutė Mikalonytė - forthcoming - Review of Philosophy and Psychology:1-20.
    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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  • Musical Works as Structural Universals.A. R. J. Fisher - forthcoming - Erkenntnis:1-23.
    In the ontology of music the Aristotelian theory of musical works is the view that musical works are immanent universals. The Aristotelian theory is an attractive and serviceable hypothesis. However, it is overlooked as a genuine competitor to the more well-known theories of Musical Platonism and nominalism. Worse still, there is no detailed account in the literature of the nature of the universals that the Aristotelian identifies musical works with. In this paper, I argue that the best version of Musical (...)
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