If a robot sends a deceptive signal to a human user, is this always and everywhere an unethical act, or might it sometimes be ethically desirable? Building upon previous work in robot ethics, this article tries to clarify and refine our understanding of the ethics of robotic deception. It does so by making three arguments. First, it argues that we need to distinguish between three main forms of robotic deception (external state deception; superficial state deception; and hidden state deception) in (...) order to think clearly about its ethics. Second, it argues that the second type of deception – superficial state deception – is not best thought of as a form of deception, even though it is frequently criticised as such. And third, it argues that the third type of deception is best understood as a form of betrayal because doing so captures the unique ethical harm to which it gives rise, and justifies special ethical protections against its use. (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)

As machines take over more tasks previously done by humans, artistic creation is also considered as a candidate to be automated. But, can machines create art? This paper offers a conceptual framework for a philosophical discussion of this question regarding the status of machine art and machine creativity. It breaks the main question down in three sub-questions, and then analyses each question in order to arrive at more precise problems with regard to machine art and machine creativity: What is art (...) creation? What do we mean by art? And, what do we mean by machines create art? This then provides criteria we can use to discuss the main question in relation to particular cases. In the course of the analysis, the paper engages with theory in aesthetics, refers to literature on computational creativity, and contributes to the philosophy of technology and philosophical anthropology by reflecting on the role of technology in art creation. It is shown that the distinctions between process versus outcome criteria and subjective versus objective criteria of creativity are unstable. It is also argued that we should consider non-human forms of creativity, and not only cases where either humans or machines create art but also collaborations between humans and machines, which makes us reflect on human-technology relations. Finally, the paper questions the very approach that seeks criteria and suggests that the artistic status of machines may be shown and revealed in the human/non-human encounter before any theorizing or agreement takes place; an experience which then is presupposed when we theorize. This hints at a more general model of what happens in artistic perception and engagement as a hybrid human-technological and emergent or even poetic process, a model which leaves more room for letting ourselves be surprised by creativity—human and perhaps non-human. (shrink)

Sparrow argues that military robots capable of making their own decisions would be independent enough to allow us denial for their actions, yet too unlike us to be the targets of meaningful blame or praise—thereby fostering what Matthias has dubbed “the responsibility gap.” We agree with Sparrow that someone must be held responsible for all actions taken in a military conflict. That said, we think Sparrow overlooks the possibility of what we term “blank check” responsibility: A person of sufficiently high (...) standing could accept responsibility for the actions of autonomous robotic devices—even if that person could not be causally linked to those actions besides this prior agreement. The basic intuition behind our proposal is that humans can impute relations even when no other form of contact can be established. The missed alternative we want to highlight, then, would consist in an exchange: Social prestige in the occupation of a given office would come at the price of signing away part of one's freedoms to a contingent and unpredictable future guided by another agency. (shrink)

Philosophers of music often appeal to intuition to defend ontological theories of musical works. This practice is worrisome as it is rather unclear just how widely shared are the intuitions that philosophers appeal to. In this paper, I will first offer a brief overview of the debate over the ontology of musical works. I will argue that this debate is driven by a conflict between two seemingly plausible intuitions—the repeatability intuition and the creatability intuition—both of which may be defended on (...) the grounds that they are reflective of our actual musical practices. The problem facing philosophers within this debate is that there is no clear way to determine which of the two conflicting intuitions is more reflective of our musical practices. Finally, I offer discussion of an experimental study that was designed to test participants' intuitions regarding the repeatability of musical works. The evidence presented there suggests that the participants broadly accept the repeatability of musical works, but in a much narrower way than philosophers would likely accept. (shrink)

How do people decide what category an artifact belongs to? Previous studies have suggested that adults and, to some degree, children, categorize artifacts in accordance with the design stance, a categorization system which privileges the designer’s original intent in making categorization judgments. However, these studies have all been conducted in Western, technologically advanced societies, where artifacts are mass produced. In this study, we examined intuitions about artifact categorization among the Shuar, a hunter-horticulturalist society in the Amazon region of Ecuador. We (...) used a forced-choice method similar to previous studies, but unlike these studies, our scenarios involved artifacts that would be familiar to the Shuar. We also incorporated a community condition to examine the possible effect of community consensus on how artifacts are categorized. The same scenarios were presented to university student participants in the UK. Across populations and conditions, participants tended to categorize artifacts in terms of a creator’s intent as opposed to a differing current use. This lends support to the view that the design stance may be a universal feature of human cognition. However, we conclude with some thoughts on the limitations of the present method for studying artifact concepts. (shrink)

A comprehensive reassessment of the concept of mimesis in the history of ancient Greek aesthetics and philosophy of art, with particular attention to Plato, Aristotle, Hellenistic philosophy, and neoplatonism. There is also a wide-ranging review of arguments pro and contra the idea of artistic mimesis from the Renaissance to modern literar theory. The book challenges standard accounts in numerous respects and builds a new dialectical model with which to make sense of the entire history of mimeticist thinking in aesthetics.

One of the main difficulties in assessing artificial intelligence (AI) is the tendency for people to anthropomorphise it. This becomes particularly problematic when we attach human moral activities to AI. For example, the European Commission’s High-level Expert Group on AI (HLEG) have adopted the position that we should establish a relationship of trust with AI and should cultivate trustworthy AI (HLEG AI Ethics guidelines for trustworthy AI, 2019, p. 35). Trust is one of the most important and defining activities in (...) human relationships, so proposing that AI should be trusted, is a very serious claim. This paper will show that AI cannot be something that has the capacity to be trusted according to the most prevalent definitions of trust because it does not possess emotive states or can be held responsible for their actions—requirements of the affective and normative accounts of trust. While AI meets all of the requirements of the rational account of trust, it will be shown that this is not actually a type of trust at all, but is instead, a form of reliance. Ultimately, even complex machines such as AI should not be viewed as trustworthy as this undermines the value of interpersonal trust, anthropomorphises AI, and diverts responsibility from those developing and using them. (shrink)

Sophisticated technology is increasingly replacing human minds to perform complicated tasks in domains ranging from medicine to education to transportation. We investigated an important theoretical determinant of people's willingness to trust such technology to perform competently—the extent to which a nonhuman agent is anthropomorphized with a humanlike mind—in a domain of practical importance, autonomous driving. Participants using a driving simulator drove either a normal car, an autonomous vehicle able to control steering and speed, or a comparable autonomous vehicle augmented with (...) additional anthropomorphic features—name, gender, and voice. Behavioral, physiological, and self-report measures revealed that participants trusted that the vehicle would perform more competently as it acquired more anthropomorphic features. Technology appears better able to perform its intended design when it seems to have a humanlike mind. These results suggest meaningful consequences of humanizing technology, and also offer insights into the inverse process of objectifying humans. (shrink)

In this paper, I argue that machines can create works of art. My argument is based on an analysis of the so-called creative machines and focuses on technical functions and intentions. If my proposal is correct, then creative machines are technical artifacts with the proper function to bring about works of art. My account is based on sensible conceptual connections between makers, technical artifacts, intentions, and the creation of art. One upshot of the account presented here is that we do (...) not need a new conceptual framework or dubious assumptions about artistic agency on part of machines in order to arrive at the conclusion that creative machines make art. I will conclude the paper with some remarks regarding the artistic value of items produced by creative machines. (shrink)

The United States Army’s Future Combat Systems Project, which aims to manufacture a “robot army” to be ready for deployment by 2012, is only the latest and most dramatic example of military interest in the use of artificially intelligent systems in modern warfare. This paper considers the ethics of a decision to send artificially intelligent robots into war, by asking who we should hold responsible when an autonomous weapon system is involved in an atrocity of the sort that would normally (...) be described as a war crime. A number of possible loci of responsibility for robot war crimes are canvassed; the persons who designed or programmed the system, the commanding officer who ordered its use, the machine itself. I argue that in fact none of these are ultimately satisfactory. Yet it is a necessary condition for fighting a just war, under the principle of jus in bellum, that someone can be justly held responsible for deaths that occur in the course of the war. As this condition cannot be met in relation to deaths caused by an autonomous weapon system it would therefore be unethical to deploy such systems in warfare. (shrink)

AI research is growing rapidly raising various ethical issues related to safety, risks, and other effects widely discussed in the literature. We believe that in order to adequately address those issues and engage in a productive normative discussion it is necessary to examine key concepts and categories. One such category is anthropomorphism. It is a well-known fact that AI’s functionalities and innovations are often anthropomorphized. The general public’s anthropomorphic attitudes and some of their ethical consequences have been widely discussed in (...) the literature. However, how anthropomorphism permeates AI research itself, and what the epistemological and ethical consequences of this might be have received less attention. In this paper we explore this issue. We first set the methodological/theoretical stage, making a distinction between a normative and a conceptual approach to the issues. Next, after a brief analysis of anthropomorphism and its manifestations in the public, we explore its presence within AI research with a particular focus on brain-inspired AI. Finally, on the basis of our analysis, we identify some potential epistemological and ethical consequences of the use of anthropomorphic language and discourse within the AI research community, thus reinforcing the need of complementing the practical with a conceptual analysis. (shrink)

A great deal of work in analytic philosophy of art is related to defining what counts as art. So far, cognitive approaches to art have almost entirely ignored this literature. In this paper I discuss the role of intuition in analytic philosophy of art, to show how an empirical research program on art could take advantage of existing work in analytic philosophy. I suggest that the first step of this research program should be to understand how people intuitively categorize something (...) as art. Drawing on results from cognitive science and analytic philosophy, I show that the intuitive categorization of an artifact as art rests on the intentions attributed (frequently implicitly) to the creator of the artifact based both on its appearance and on background knowledge. I discuss how the issue of categorization is related to other empirical issues concerning our relationship to works of art, such as perception, appreciation, interpretation and evaluation. (shrink)

ABSTRACTIn our daily lives, we need to predict and understand others’ behavior in order to navigate through our social environment. Predictions concerning other humans’ behavior usually refer to th...

Many ethicists writing about automated systems attribute agency to these systems. Not only that; they seemingly attribute an autonomous or independent form of agency to these machines. This leads some ethicists to worry about responsibility-gaps and retribution-gaps in cases where automated systems harm or kill human beings. In this paper, I consider what sorts of agency it makes sense to attribute to most current forms of automated systems, in particular automated cars and military robots. I argue that whereas it indeed (...) makes sense to attribute different forms of fairly sophisticated agency to these machines, we ought not to regard them as acting on their own, independently of any human beings. Rather, the right way to understand the agency exercised by these machines is in terms of human–robot collaborations, where the humans involved initiate, supervise, and manage the agency of their robotic collaborators. This means, I argue, that there is much less room for justified worries about responsibility-gaps and retribution-gaps than many ethicists think. (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)

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)

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)

Who should decide how a machine will decide what to do when it is driving a car, performing a medical procedure, or, more generally, when it is facing any kind of morally laden decision? More and more, machines are making complex decisions with a considerable level of autonomy. We should be much more preoccupied by this problem than we currently are. After a series of preliminary remarks, this paper will go over four possible answers to the question raised above. First, (...) we may claim that it is the maker of a machine that gets to decide how it will behave in morally laden scenarios. Second, we may claim that the users of a machine should decide. Third, that decision may have to be made collectively or, fourth, by other machines built for this special purpose. The paper argues that each of these approaches suffers from its own shortcomings, and it concludes by showing, among other things, which approaches should be emphasized for different types of machines, situations, and/or morally laden decisions. (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)

In this short paper I begin by underlining the sense in which my intentional-historical theory of art, first proposed in 1979, attributes to art a certain irreducible historicality. I next defend the theory, in broad outline, against a number of objections that have been raised against it in the past ten years. I conclude with some remarks on the similarities and differences between ordinary artefact concepts and the concept of an artwork.

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)

When perceiving, explaining, or criticizing human behavior, people distinguish between intentional and unintentional actions. To do so, they rely on a shared folk concept of intentionality. In contrast to past speculative models, this article provides an empirically-based model of this concept. Study 1 demonstrates that people agree substantially in their judgments of intentionality, suggesting a shared underlying concept. Study 2 reveals that when asked to directly define the term intentional, people mention four components of intentionality: desire, belief, intention, and awareness. (...) Study 3 confirms the importance of a fifth component, namely, skill. In light of these findings, the authors propose a model of the folk concept of intentionality and provide a further test in Study 4. The discussion compares the proposed model to past ones and examines its implications for social perception, attribution, and cognitive development. (shrink)

Recent research shows – somewhat astonishingly – that people are willing to ascribe moral blame to AI-driven systems when they cause harm [1]–[4]. In this paper, we explore the moral- psychological underpinnings of these findings. Our hypothesis was that the reason why people ascribe moral blame to AI systems is that they consider them capable of entertaining inculpating mental states (what is called mens rea in the law). To explore this hypothesis, we created a scenario in which an AI system (...) runs a risk of poisoning people by using a novel type of fertilizer. Manipulating the computational (or quasi-cognitive) abilities of the AI system in a between-subjects design, we tested whether people’s willingness to ascribe knowledge of a substantial risk of harm (i.e., recklessness) and blame to the AI system. Furthermore, we investigated whether the ascription of recklessness and blame to the AI system would influence the perceived blameworthiness of the system’s user (or owner). In an experiment with 347 participants, we found (i) that people are willing to ascribe blame to AI systems in contexts of recklessness, (ii) that blame ascriptions depend strongly on the willingness to attribute recklessness and (iii) that the latter, in turn, depends on the perceived “cognitive” capacities of the system. Furthermore, our results suggest (iv) that the higher the computational sophistication of the AI system, the more blame is shifted from the human user to the AI system. (shrink)