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 paintings 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.
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.
[straipsnis lietuvių kalba; santrauka ir reikšminiai žodžiai anglų kalba]
Siekiant geriau suprasti ryšius, siejančius muzikos garsų savybes su erdvės ir judėjimo metaforomis, kurios yra įprastai pasitelkiamos kalbant apie muziką, atlikti du tyrimai. Pirmo tyrimo metu aiškintasi, kaip muzikai priskiriamos sinestetinio pobūdžio konceptualiosios metaforos, antro tyrimo metu – kaip priskiriamos sąvokos, išvedamos iš įprasto klausos suvokimo. Rezultatai rodo, kad sąvokų priskyrimas muzikos fragmentams pasižymi tam tikru sistemiškumu, tačiau jis nėra tiek specifiškas, kad vienai garso savybei būtų taikoma tik viena sąvoka, o vienai sąvokai – tik viena garso savybė. Taip pat nebuvo aptikta esminių skirtumų tarp to, kaip sąvokas muzikai priskiria muzikinį išsilavinimą turintys ir jo neturintys tyrimo dalyviai.
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