Positioning technologies, such as GPS are widespread in society but are used only sparingly in behavioural science research, e.g., because processing positioning technology data can be cumbersome. The current work attempts to unlock positioning technology potential for behavioural science studies by developing and testing a research tool to analyse GPS tracks. This tool—psyosphere—is published as open-source software, and aims to extract behaviours from GPSs data that are more germane to behavioural research. Two field experiments were conducted to test application of (...) the research tool. During these experiments, participants played a smuggling game, thereby either smuggling tokens representing illicit material past border guards or not. Results suggested that participants varied widely in variables, such as course and speed variability and distance from team members in response to the presence of border guards. Subsequent analyses showed that some of these GPS-derived behavioural variables could be linked to self-reported mental states, such as fear. Although more work needs to be done, the current study demonstrates that psyosphere may enable researchers to conduct behavioural experiments with positioning technology, outside of a laboratory setting. (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 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)

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 dynamics-from-permutations of classical Ising spins is generalized here for an arbitrarily long chain. This serves as an ontological model with discrete dynamics generated by pairwise exchange interactions defining the unitary update operator. The model incorporates a finite signal velocity and resembles in many aspects a discrete free field theory. We deduce the corresponding Hamiltonian operator and show that it generates an exact terminating Baker–Campbell–Hausdorff formula. Motivation for this study is provided by the Cellular Automaton Interpretation of Quantum Mechanics. We (...) find that our ontological model, which is classical and deterministic, appears as if of quantum mechanical kind in an appropriate formal description. However, it is striking that small deformations of the model turn it into a genuine quantum theory. This supports the view that quantum mechanics stems from an epistemic approach handling physical phenomena. (shrink)

The aim of this paper is to analyze the possibility of semantic content in pure music. The paper argues that pure music does not have semantic content. This conclusion relies on the Gricean analysis of meaning in terms of speakers’ intentions and on Peter Kivy’s argument that pure music does not meet the Gricean requirement for the composers’ intention. First, we analyze the results of empirical studies of metaphorical conceptualization of music; they show that the connections between properties of sound (...) and various metaphors are not “one-to-one” but “one-to-many”. These results support a further argument that it is not possible for a composer to have an intention to communicate by his work of music what is, as we know from the empirical studies, perceived in music by the listeners; and if he has an intention to communicate something more specific than what is perceived by the listeners, the communication is bound to fail. This failure shows the absence of a Gricean communicative intention in the composer, even if an informative intention would be present. (shrink)

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 (...) categorization of artworks. We tested the teleological hypothesis across three studies. Vignettes in these three studies describe a musical work being changed in some of these aspects: purpose either changed or retained; score either changed or retained; change is made either by the same or a different composer. The results suggest that teleological considerations impact judgments on the persistence of musical works, but this impact appears to be relatively weak. The results also suggest that persistence judgments strongly depend on whether acoustical properties were changed, while whether the change was made by the original composer seems to be relatively unimportant. (shrink)

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.

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 (...) Gage effect”. However, normativity extends beyond morality. In particular, it is unknown whether changes in aesthetic value have a similar impact on identity judgments. We investigate whether works of art would be analogously seen as essentially aesthetically valuable. We ran four studies (N=1264) to explore whether aesthetic considerations have a similar influence on judgments of the identity of artworks. We presented the participants with stories describing either a painting or a musical work which undergoes changes and becomes either more or less aesthetically valuable. Overall, we found only mixed evidence for the Phineas Gage effect in relation to the aesthetic value of artworks. Other factors, such as moral value, seem to have a bigger impact on judgments of persistence. (shrink)

Realism about musical works is often tied to some type of Platonism. Nominalism, which posits that musical works exist and that they are concrete objects, goes with ontological realism much less often than Platonism: there is a long tradition which holds human-created objects (artifacts) to be mind-dependent. Musical Platonism leads to the well-known paradox of the impossibility of creating abstract objects, and so it has been suggested that only some form of nominalism becoming dominant in the ontology of art could (...) cause a great change in the field and open up new possibilities. This paper aims to develop a new metaontological view starting from the widely accepted claim that musical works are created. It contends that musical works must be concrete and created objects of some sort, but, nevertheless, they are mind-independent, and we should take the revisionary methodological stance. Although musical works are artifacts, what people think about them does not determine what musical works are. Musical works are similar to natural objects in the following sense: semantic externalism applies to the term ‘musical work’ because, firstly, they possess a shared nature, and, secondly, we can be mistaken about what they are. (shrink)

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 (...) a disjunctive or cluster concept. The results suggest that none of the three manipulated properties are necessary for an object to be art, though some, even by themselves, suffice. The folk concept of art might thus well be a cluster concept instead of an essentialist concept. (shrink)

Experimental philosophy of art and aesthetics is the application of the methods of experimental philosophy to questions about art and aesthetics. By taking a scientific approach to experiences with art and aesthetic phenomena, it is continuous with the longstanding research program in psychology called empirical aesthetics. However, it is also continuous with traditional research in philosophy of art and aesthetics because it is centered on many of the same timeless questions. Like other branches of experimental philosophy, such as experimental moral (...) philosophy, it involves gathering data using empirical methods and bringing analyses of the data to bear on theorizing on a wide range of topics in philosophy of art and aesthetics: definition of art, ontology of art, aesthetic properties, aesthetic judgments, aesthetic adjectives, morality and aesthetics, and emotion and art. In this entry, we briefly examine the history prior to the current movement’s emergence in the 2010s, extensively survey extant works in this movement on each of the topics, and consider methodological debates regarding this movement. (shrink)

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 (...) necessary for an object to be considered art, which suggests that the folk concept of art might be a cluster concept. (shrink)

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 a disjunctive or cluster concept. The results suggest that none of the three manipulated properties alone suffices for an object to be considered art. The folk concept of art might thus well be a cluster concept instead of an essentialist concept. (shrink)

[straipsnis ir santrauka lietuvių kalba; santrauka anglų kalba] Šiame straipsnyje ginama tezė, kad grynoji muzika nereprezentuoja emocijų, bet jas metaforiškai egzemplifikuoja. Tezė grindžiama remiantis N. Goodmano metaforinės emocijų egzemplifikacijos samprata, kurią M. Textoras papildo intencijos kriterijumi (egzemplifikuojama tik tai, ką turima intencija egzemplifikuoti). Straipsnis sudarytas iš dviejų dalių: pirmojoje pateikiama emocijų atpažinimo ir sužadinimo klausantis muzikos analizė. Antrojoje dalyje siekiama pagrįsti, kad emocijų metaforinė egzemplifikacija muzikoje laikytina P. Grice’o nenatūralios prasmės rūšimi, o priėmus šią prielaidą galima apginti metaforinės egzemplifikacijos sampratą (...) nuo pagrindinių kontrargumentų. (shrink)

U središtu ovog teksta nalaze se neki filozofski aspekti Elze Kučere (1883. — 1972.). Kučera je 1909. godine doktorirala filozofiju na Sveučilištu u Zürichu i tako postala prva Hrvatica rođena u Hrvatskoj koja je doktorirala filozofiju. No, glavni joj je interes bila psihologija, a kasnije i bibliotekarstvo te su, osim doktorskih disertacija, gotovo svi njezini objavljeni radovi unutar tih disciplina. No, u arhivu Nacionalne i sveučilišne knjižnice u Zagrebu čuvaju se njezina rukopisna i neobjavljena djela, a među njima se (...) može pronaći i određeni broj čisto filozofskih tekstova. Kako bismo prikazali filozofiju Elze Kučere, u ovom tekstu analiziramo dva aspekta njezina filozofiranja. Prvi je njezina diskusija problema uzročnosti kojim se bavi u pregledu epistemologije Thomasa Browna u svojoj doktorskoj disertaciji pod naslovom Spoznajna teorija Thomasa Browna: povijesna studija (Die Erkenntnislehre von Thomas Brown: eine historische Studie, Zagreb, 1909.). Drugi je pitanje nacionalne filozofije kojim se bavimo u kraćem tekstu o toj temi, napisanom vjerojatno 1918. ili 1919. godine i koji nikad nije objavljen. S obzirom na to da Elza Kučera kao prva žena filozofkinja, eksperimentalna psihologinja i knjižničarka u nas do danas nije dobila dužnu pozornost, donosimo i njezinu biografiju. (shrink)

Život Elze Kučere -- Prva hrvatska knjižničarka -- Kučera kao filozofkinja -- Prva hrvatska eksperimentalna psihologinja -- Dodatak I. Kratak izbor iz proze i poezije Elze Kučere -- Dodatak II. Izbor iz Kučernih knjižničarskih zapisa -- Dodatak III. Kučerin neobjavljen tekst Karakteristika mišljenja i htijenja u vidu eksperimentalnog istraživanja.

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 (...) which their mental capacities for their everyday judgments are not deployed and makes their judgments more vulnerable to the problem of “filling in”. I provide empirical data of an experiment that implements musical stimuli, obtaining large effect sizes regarding the results obtained by Bartel, Mikalonytė and Dranseika. In addition, I argue that the results of three scenarios of the experiment conducted by Mikalonytė and Dranseika are suspicious of being influenced by presentation effects that favor the contextualist intuition that the composer is a relevant parameter in work-individuation. Formal and superficial aspects of the description of their cases would cause these effects. I supply empirical data of an experiment that neutralizes those effects, obtaining moderate and large effect sizes regarding the results of Mikalonytė and Dranseika. (shrink)

Graikiškas tekstas parengtas pagal: Pindar, Vol. 1: Olympian Odes, Pythian Odes (Loeb Classical Library 56); Vol. 2: Nemean Odes, Isthmian Odes, Fragments (Loeb Classical Library 485), edited and translated by William H. Race, Cambridge, MA, London: Harvard University Press, 1997. -/- Iš sen. graikų kalbos vertė filosofinio teksto vertimo seminaro dalyviai: Vytautas Ališauskas, Viktoras Bachmetjevas, Paulius Garbačiauskas, Elzė Sigutė Mikalonytė, Jonas Skarulskis, Julita Slipkauskaitė, Gendvilė Svirskaitė ir Gintarė Vaičiulytė Mokslinis redaktorius Paulius Garbačiauskas.

Wheeler–deWitt equation as well as some relevant current research (Chiou’s timeless path integral approach for relativistic quantum mechanics; Palmer’s view of a fundamental level of physical reality based on an Invariant Set Postulate; Girelli’s, Liberati’s and Sindoni’s toy model of a non-dynamical timeless space as fundamental background of physical events) suggest that at a fundamental level the background space of physics is timeless, that the duration of physical events has not a primary existence. By taking into consideration the two fundamental (...) theories of time represented by the Jacobi-Barbour-Bertotti theory and by Rovelli’s approach, here it is shown that the view of time as emergent quantity measuring the numerical order of material changes (which can above all be derived from some significant current research, such as Elze’s approach of time, Caticha’s approach of entropic time and Prati’s model of physical clock time) introduces a suggestive unifying re-reading. (shrink)