The potential capacity for robots to deceive has received considerable attention recently. Many papers explore the technical possibility for a robot to engage in deception for beneficial purposes (e.g., in education or health). In this short experimental paper, I focus on a more paradigmatic case: robot lying (lying being the textbook example of deception) for nonbeneficial purposes as judged from the human point of view. More precisely, I present an empirical experiment that investigates the following three questions: (a) Are ordinary (...) people willing to ascribe deceptive intentions to artificial agents? (b) Are they as willing to judge a robot lie as a lie as they would be when human agents engage in verbal deception? (c) Do people blame a lying artificial agent to the same extent as a lying human agent? The response to all three questions is a resounding yes. This, I argue, implies that robot deception and its normative consequences deserve considerably more attention than they presently receive. (shrink)

Arthur C. Danto did not live to witness the proliferation of AI in artistic creation. However, his philosophy of art offers key ideas about art that can provide an interesting perspective on artwork generated by artificial intelligence (AI). In this article, I analyze how his ideas about contemporary art, intention, interpretation, and authorship could be applied to the ongoing debate about AI and artistic creation. At the same time, it is also interesting to consider whether the incorporation of AI into (...) artistic creation marks a new chapter in the narrative, which seems to have reached its end, or if it represents a significant rupture with past artistic traditions. (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)