Abstract creationism about fictional characters is the view that fictional characters are abstract objects that authors create. I defend this view against criticisms from Stuart Brock that hitherto have not been adequately countered. The discussion sheds light on how the number of fictional characters depends on authorial intention. I conclude also that we should change how we think intentions are connected to artifacts more generally, both abstract and concrete.

Artifactualism about fictional characters, positing Harry Potter as an abstract artifact created by J. K. Rowling, has been criticized on the grounds that the idea of creating such objects is mysterious and problematic. In the light of such qualms, it is worth homing in on an argument in favor of artifactualism, showing that it is the best way to include the likes of Harry Potter in our ontology precisely because it incorporates authorial creation. To that end, I will be exploring (...) Kripke’s fleeting remarks in his “Naming and Necessity” lectures (1972, 156–7) about expressions like ‘unicorn’ and ‘Harry Potter’. Elsewhere, Kripke motivates artifactualism by suggesting that incorporating authorial creation (as artifactualism does) is a move that is intuitive and natural; but beyond this, he doesn’t provide any arguments in favor of such a move. My purpose in this paper is to construct such an argument based on considerations about Kripke’s general view about proper names, in particular, his seminal causal-historical chain account of reference determination. (shrink)

Propaganda is one of the most apparent avenues of ideological struggle. Amidst the battlefield in the social consciousness, the purpose of this study is to forward revolutionary ideology through intensification of revolutionary propaganda, specifically the pamphlet. It is a crucial step for revolutionaries in the aim to forward their methods of propaganda writing to overcome the illness of stereotypical propaganda writing as described by Mao Zedong. Stereotypical propaganda writing in the practice of progressive propaganda leads to a genesis of a (...) manufactured language characterized by the alienation of the masses from the language of revolutionaries and the alienation of revolutionary-propagandists from the practical experience of the masses. To overcome stereotypical propaganda writing, revolutionary propagandists must have a semiotic framework and a dialectical-materialist understanding of their relationship as Author-propagandists with the Reader-masses. By incorporating modest authorial-intentionalism from E.D. Hirsch and the Model-Reader theory of Umberto Eco into textual relationships, the role and the purpose of the sign as a medium in communicating ideologies can be established. In the process, it poses an alternative against the prevalent post-structuralist view of semantic autonomy and reader-response theory in the field of literary criticism. This paper also uses V.N. Voloshinov’s linguistic theory as the framework for semantico-pragmatic linguistic relations and social intercourse as the material base of the sign. (shrink)

The author of a text originally produced as a literary has the comprehensive authority, in its being situated in certain context of evaluation or interpretation or deployment to declare one's text as philosophical. There would have to be extraordinary or even absurd contexts of evaluation in which one's originally-intended philosophical text is situated for one to declare it as literary.

Une œuvre de fiction contient une mise en suspens si elle se termine au moment où un personnage central se retrouve dans des circonstances périlleuses. Le but de cet article est d’établir que les intentions narratives des auteurs déterminent ce qui se passe ensuite dans les œuvres qui se terminent par des mises en suspens et pour lesquelles aucune suite n’est produite. À cette fin, j’argumente à partir de l’idée qu’une suite écrite par l’auteur original résoudrait de façon unique une (...) œuvre de fiction qui aboutit à une mise en suspens; je conclus que les intentions narratives de l’auteur servent de vérifacteur pour des affirmations sur ce qui arrive ensuite en l’absence d’une telle suite. (shrink)

In the philosophical debate about literary interpretation, the actual intentionalist claims, and the anti-intentionalist denies, that an acceptable interpretation of fictional literature must be constrained by the author’s intentions. I argue that a close examination of the two most influential recent strands in this debate reveals a surprising convergence. Insofar as both sides (a) focus on literary works as they are, where work identity is determined in part by certain (successfully realized) categorial intentions concerning, e.g., title, genre, and large-scale instances (...) of allusion, allegory, and irony and (b) allow that works can acceptably be interpreted for unintended meanings—since an intentional act can, under a different description, exhibit unintended features—then they turn out to share the same interpretive policy concerning authorial intention. This suggests that philosophers should shift the interpretation debate away from issues of authorial intention and toward issues about the aims of interpretation. (shrink)

This paper provides an account of truth in interactive fiction. Interactive fiction allows the audience to make choices, resulting in many different possible fictions within each interactive fiction, unlike in literary fiction where there is just one. Adequately capturing this feature of interactive fiction requires us to address familiar issues regarding impossible fiction and the nature of time in fiction. Truth in interactive fiction thus requires a complex account to capture its multitude of fictions. It is argued that a full (...) account of truth in interactive fiction requires distinguishing two works for each interactive fiction, which contain distinct fictional truths. The actual work encompasses what is in fact represented as fictional (hence mistakes can be fictionally true in this work), whilst in the implied work, truth in fiction is governed by authorial intention, hence mistakes are not fictionally true. This dual account best captures our aesthetic evaluation of interactive fictions, for which we often need to distinguish how the work actually is from how it was intended to be. (shrink)

Since the beginning of the 21st century, technologies like neural networks, deep learning and “artificial intelligence” (AI) have gradually entered the artistic realm. We witness the development of systems that aim to assess, evaluate and appreciate artifacts according to artistic and aesthetic criteria or by observing people’s preferences. In addition to that, AI is now used to generate new synthetic artifacts. When a machine paints a Rembrandt, composes a Bach sonata, or completes a Beethoven symphony, we say that this is (...) neither original nor real art, but simply the complex imitation and reproduction of existing products of human culture. We face the old question concerning the nature of creativity: what kind of recombination of ideas, unusual analogies, and conceptual connections are considered the mark of originality? Can AI produce artworks? Could machines reach a point at which we consider them genuinely creative? We also need to investigate the challenges posed by AI-art to the notion of authoriality: Who is the author of an artificially generated artifact? An artificial system could be considered just an artist’s and a programmer’s tool. However, we are also fascinated by the idea of autonomous artificial creativity in the aesthetic domain, as a manifestation of highly intelligent behavior. This paper will try to define some key questions around what could it mean to consider a machine creative or even equipped with artistic intentionality. (shrink)

Original meaning generally and authorial intent specifically are relevant to textual meaning. The author is not dead—a reasonable common-sense view in the absence of extremely good contrary evidence. If anyone should offer such evidence, they will not be able to take credit for it—at least not for writing it down! Accordingly, humanities teachers should train students to understand original meaning and authorial intent. This is one reason the humanities will continue to be relevant to other fields of study. Finally, this (...) is one reason to support a critical thinking pedagogy. I also connect these considerations to some of the major textual and cultural issues in South Asia. THE VERSION AVAILABLE HERE IS THE ACCEPTED MANUSCRIPT, NOT THE SAME AS THE FINAL PUBLISHED VERSION. (shrink)

It is standardly held that Aristotle denies that artifacts are substances. There is no consensus on why this is so, and proposals include taking artifacts to lack autonomy, to be merely accidental unities, and to be impermanent. In this paper, I argue that Aristotle holds that artifacts are substances. However, where natural substances are absolutely fundamental, artifacts are merely relatively fundamental—like any substance, an artifact can ground such nonsubstances as its qualities; but artifacts are themselves partly grounded in natural substances. (...) Many contemporary metaphysicians view authorial intentions or communal recognition as an essential feature of most artifactual kinds. Drawing on Aristotle’s own examples of artifactual definitions, I note that there is little reason to ascribe this view to Aristotle. So Aristotle has the resources to hold that it is possible that there are kinds with both artifactual and non-artifactual members. (shrink)

This paper is concerned with fictive utterances, the authorial utterances that make up works of fiction. It is widely held that fictive utterances cannot be constative speech acts, such as assertions. Instead, fictive utterances are construed as pretended speech acts, as invitations to make-believe or as declarations. My aim is to challenge the non-constative consensus and to defend a view on which fictive utterances are constative speech acts after all, namely constatives that have a story as their target. I motivate (...) the constative view by discussing works of fiction that feature plot twists. Some of these plot twists indicate that fictive utterances can carry assertoric commitment and can be lies, contrary to what is commonly assumed. And I spell out a version of the constative view that takes cues from Stalnaker’s common ground account of assertion and the debate on commitment and responsibility in constatives. (shrink)

A summary of issues related to symbolic capital, authorial presences, and intellectual property rights, and the necessity of finding a way out of 500-600 years of capitalist exploitation of the knowledge commons.

Amie Thomasson’s Easy Ontology program is influential and attractive, but faces criticism for being too easy in a way that undercuts its realism by failing to recognize objects which don’t fall under known kinds and generating spurious and duplicative objects by mere conceptual engineering. We suggest that restricting the Easy Ontology program to artifacts avoids these difficulties. We also propose an Easy Ontology-inspired analysis of artifact which cuts through the major extant objections to existing analyses. As Thomasson suggests, our special (...) authorial role with regard to artifacts grants us privileged knowledge of them, which both disarms objections to Easy Ontology and allows a very easy ontology for artifacts. Easy Ontology and artifacts are made for each other. (shrink)

This paper offers a defense of ‘publishing without belief’ (PWB) – the view that authors are not required to believe what they publish. I address objections to the view ranging from outright denial and advocacy of a belief norm for publication, to a modified version that allows for some cases of PWB but not others. I reject these modifications. In doing so, I offer both an alternative story about the motivations for PWB and a diagnosis of the disagreement over its (...) permissibility. The original defense focused on consequentialist reasons for allowing PWB, offering mostly defensive arguments against potential criticisms. But I argue that once we shift our focus to the reasons why authors might be prone to PWB, we see a difference in two types of motivation: whereas I imagine PWB as arising from underconfident agents, critics point to cagey or nefarious authorial practices, or authors’ failure to clarify their own degrees of belief. Underlying the debate over norms of philosophical publishing, we find two different conceptions of philosophy itself. (shrink)

P.F. Strawson famously suggested that employment of the objective attitude in an intimate relationship forebodes the relationship’s demise. Relatively less remarked is Strawson's admission that the objective attitude is available as a refuge from the strains of relating to normal, mature adults as proper subjects of the reactive attitudes. I develop an account of the strategic employment of the objective attitude in such cases according to which it denies a person a power of will – authorial power – whose recognition (...) is necessary for sustaining intimacy. This conception of the objective attitude in its strategic employment presses those who urge universal adoption of the objective attitude (perhaps in its nonreactive, emotionally toned species) to confront the costs of their proposal. (shrink)

Assume for the sake of argument that doing philosophy is intrinsically valuable, where ‘doing philosophy’ refers to the practice of forging arguments for and against the truth of theses in the domains of metaphysics, epistemology, ethics, etc. The practice of the history of philosophy is devoted instead to discovering arguments for and against the truth of ‘authorial’ propositions, i.e. propositions that state the belief of some historical figure about a philosophical proposition. I explore arguments to think that doing history of (...) philosophy is valuable, specifically, valuable in such a way that its value does not reduce to the value of doing philosophy. Most such arguments proffered by historians of philosophy fail egregiously, as I show. I then offer a proposal about what makes doing history of philosophy uniquely valuable, but it is one that many historians will not find agreeable. (shrink)

(I) According to J.L Austin all speech and all utterance is the doing of something with words and signs, challenging a metaphysics of language that would posit denotative, propositional assertion as the essence of language and meaning. -/- (II) Since doing things with words implicates authorial intention and rationalization, writing a text implies a psychogenetical origin. -/- (III) The text in the process of charitable interpretation, as a sociolinguistic outcome and practice, acquires new meaning or significance by its claims being (...) rendered true or utilizable. The original psychogenesis is incriminated into sociogenesis through the merger of horizons between the author and the interpreter by effectively bridging a historical abyss (sociogenesis of claims to truth or agreed-upon utility). In writing primarily-psychogenetical context causes and precedes its text. In reading the text causes and precedes its primarily-sociogenetical context. (shrink)

The semantic issues that Saul Kripke addressed in Naming and Necessity overlap substantially with those that were addressed by Michel Foucault in “What Is an Author?”. The present essay examines their area of overlap, with a view to showing that each of these works affords a perspective on the other, from which facets that are usually obscure can be brought into view. It shows that Foucault needs to take some assumptions from Kripke’s theory of naming in order to secure one (...) of his arguments for treating authorial names as special. It then shows that, once it has been placed on these Kripkean foundations, Foucault’s position avoids the metaphysically peculiar commitments that are sometimes thought to be essential... (shrink)

Antithetical desires displayed throughout Kierkegaard’s authorship indicate the disjunctive assumption that the individual exists either in a state of increasing autonomy, expressed negatively as striving for freedom from divine constraint, or in a state of self-annihilating submission, expressed positively in terms of kenotic unification. Proximity to the divine thereby entails forfeiture of individuality, contrary to the explicit aim of Kierkegaard’s authorial project, and aversion to materiality. This essay enunciates the conflict (I), traces the crescendo of loss that births the pseudonymous (...) authorship and ends in realized longing for death (II), and approaches a more holistic vision of psycho-spiritual development (III). (shrink)

At several points throughout his career, Foucault suggests that publishing texts without authors’ names attached would be a useful step towards dismantling what he calls the “author-function:” a social and political role structured according to the way discourse is treated and disseminated in a particular social setting. I discuss Foucault’s criticisms of the author-function in terms of its relationship to the political role of intellectuals, and I argue that the demise of this role cannot be achieved through the means of (...) authorial anonymity, as Foucault suggests. Rather, it must be undermined from a position within this role itself. (shrink)

1 Introduction1 In the 1980s, hermeneutics was often incorporated into deconstructionism and literary theory. Rather than focus on authorial intentions, the nature of writing itself including codes used to construct meaning, socio-economic contexts and inequalities of power,2 Gadamer introduced a different perspective; the interplay between effects of history on a reader’s understanding and the tradition(s) handed down in writing. This interplay in which a reader’s prejudices are called into question and modified by the text in a fusion of understanding and (...) topic revitalized the study of the printed word. Gadamer’s turn to language for understanding the meaning of Being also appealed to the post-modern antipathy toward modernity and metaphysics.3 If the truth and validity of interpretations are limited to communities of language, then our mode of being in history cannot but be historical. This point of view rendered Gadamer’s phenomenological hermeneutics vulnerable to the critique of moral and epistemological relativism. However, Gadamer’s theory of interpretation also stems from re-examination of the beginning of knowledge in the Pre-Socratics and Plato, and on this basis, is receptive to another dimension of inquiry than that which was trending in North America. -/- At the East-West Center, University of Hawai’i at Manoa in 1982, Chung-ying Cheng for the first time introduced onto-hermeneutics to an audience of esteemed philosophers including Li Zehou, Ren Jiyu, Feng Youlan, and Zhang Liwen.4 In contrast to schools of deconstruction and literary theory that had disengaged the interpreter from trans-historical sources of meaning and truth, Cheng explained that interpreters exist within a cosmological order inextricable from responsibility to harmonize Heaven and Earth in creative acts of interpretation. By integrating Chinese cosmology into hermeneutics through ontology, he tacitly challenged philosophers in the West to re-examine assumptions about humanity’s place in nature and by implication, Gadamer’s recovery of the beginnings of knowledge in Western philosophy. -/- Cheng’s Neo-Confucianism is inspired by the method and goals of Thomé H. Fang. The following words by Fang seem to prefigure, although in an indistinct and bundled way, aspects of Cheng’s philosophy including a Mencian theory of human nature, comprehensive observation, and creativity: “In the very process of living in concord with creative Nature, Man is charged with an ideal to be fully realized in the light of the principle of comprehensive harmony.”5 Like Fang, Cheng reinvigorates Chinese culture and language, but not solely in order to vindicate the insights of Neo-Confucianism. He has studied Western thought, from pragmatism and the analytic school to German idealism and phenomenology, to unlock and clarify philosophical concepts within the Yijing tradition and thereby render them intelligible to Anglophones. The result has been an awakening of Western scholars to the moral and cultural consequences of decoupling their thought from metaphysical foundations that are neither dogmatic nor doctrinal. -/- Not unlike the dialectic of Gadamer’s dialogue form, onto-generative hermeneutics integrates contrary positions on the same topic in order to blend both sides into a world philosophy, or as Cheng says, a “totalizing or integrative theory,”6 not to be confused with a theoretical rewording of a theory. On the contrary, the universal scope and relevance of hermeneutics stems from personal experience. Just as Gadamer, in response to faction and strife, immersed himself in Plato during the war years, and developed a method with which to harmonize opposites, so too, according to On-cho Ng, was Cheng moved by faction, strife and political persecution to develop a path toward unity.7 Gadamer taught at McMaster University in Hamilton, Ontario, and Cheng at the University of Hawai’i at Manoa among other institutions in North America. They facilitated trans-continental educational and cultural ties. Similar experiences yield similar insights irrespective of differences of time and place. Hence, authors in this issue who reside in Europe, China and North America, delineate the differences between Gadamer and Cheng, yet also, in light of Cheng’s onto-generative method and cosmology, develop integrative theories. Due to the page-budget restriction of the publisher, certain articles of this special theme will be subsequently published in the next issue. -/- 2 Integrative Theory This special issue of The Journal of Chinese Philosophy confirms a dimension of hermeneutics that Cheng has both motivated and inspired. The contributors do not abide by the conviction that since thought is mediated by language, interpretations cannot transcend culture. On the contrary, their research exemplifies the fruits of trans-historical onto-dialogical hermeneutics within limits defined by their field inquiry, organized into Parts I and II, around three themes: language, the philosophy of history and ethics. -/- Andrew Fuyarchuk introduces the theme of ontology in relation to Gadamer’s turn to language. Fuyarchuk argues that Chung-ying Cheng’s criticism of Gadamer’s hermeneutics is informed by Heidegger’s concept of Dasein and thereby overlooks how Gadamer’s Platonic-Pythagorean problem of the division between the One and Many is harmonized in the event of language, which in turn positions Gadamer in proximity to the presupposed grounds of receptivity in Cheng’s onto-generative hermeneutics. Lauren Pfister’s contributing article addresses the year 2000 meeting between Cheng and Gadamer in Heidelberg and expands the transhistorical grounds of meaning in Gadamer to matters of theology. Pfister’s summary of the written Chinese record of their conversation indicates that Cheng does not address the role of Christian philosophy and hence, the role of the inner word in Gadamer’s hermeneutics. This is important not only for detecting changes in Cheng’s philosophical development, but also for modifying his hermeneutics along the lines of a living conversation, possibilities explored by Pfister in a sequel to the article submitted to this issue. Nevertheless, by raising the issue of how Gadamer’s turn to language for understanding the meaning of Being extends possibilities in Cheng’s thought, Pfister anticipates the article by Katarina Gajdosova. She returns to the roots of Chinese thought during the Warring States period and broadens the meaning of names in recently excavated texts. Contrary to the conventions about how to understand terms, she appeals to both Heidegger’s ontology and Cheng’s notion of receptivity and creativity to reinterpret naming in relation to cosmology. Along the same lines, insofar as the event of Being is lingual, Jay Goulding captures its emergent structure in an evolving community of scholars and scholarship. He recalls his philosophical journey toward Cheng’s philosophy that begins in conversations with Gadamer at McMaster University in Hamilton, leads to Heidegger and Asian thought, expands into turning points with teachers and colleagues from various backgrounds that by increments contributed to Goulding’s formulation of “Daoist phenomenology.” -/- Although differing traditions guide their inquiries and research, Cheng and Gadamer recall the wisdom of the past to ameliorate the fragmentation in contemporary life. This leads them to re-examine the origins of philosophy; historical roots and thus sources of creative re-interpretations East and West whose affinities are developed in contributions by Hyun Höchsmann and Friederike Assandri. Höchsmann assesses convergences and divergences in the origins of Chinese and Western philosophy (Confucius and Socrates, the Yijing and Pre-Socratics) that culminates in pairing Gadamer’s understanding of paideia in the context of Plato’s political cosmology in the Timaeus with moral and social cultivation in The Western Inscription. She delineates the limits of this comparison which in turn justifies introducing Vattimo’s notion of locality. Assandri’s comparative analysis moves between India and China, Buddhism and Tang Daoism. Based on Gadamer’s argument that writing detaches concepts from their cultural moorings, she defines and applies three levels of understanding in onto-generative hermeneutics to Buddhist terms that were assimilated into the Benji Jing and in so doing clarifies essential dimensions of Daoism. -/- Contributions by Stephen Palmquist and Nicholas Brasovan position Cheng in relation to Kant and Gadamer by way of Aristotle’s ethics respectively. On the one hand, Palmquist plots Cheng’s evolving criticism of Kant’s moral philosophy and draws on crucial dimensions of Gadamer’s hermeneutics to reposition that criticism in a constructive relation to Kant’s emphasis on the philosophical conditions of morality while also indicating how religious dimensions of his thought answer Cheng’s concerns for lived moral action. For Palmquist, Gadamer enables a constructive criticism of Cheng. On the other hand, Brasovan compares Cheng’s Yijing-based account of moral deliberation with Gadamer’s Aristotelian-based ethics and reasons that in contrast to Cheng, Gadamer’s hermeneutical consciousness is disengaged from practical knowledge. For Brasovan, Cheng is a constructive critic of Gadamer. Palmquist and Brasovan’s divergent angles on Gadamer and Cheng map onto a dialectic of contrast and complementarity that constitutes the inner logic of Cheng’s philosophy. In other words, Gadamer and Cheng ought to be read alongside one another for the sake of removing discrepancies and contradictions, which constitutes the organic structure of their thinking. -/- 3 Our Mode of Being in History Is Not Historical The conversations between Cheng and Gadamer in this issue of The Journal of Chinese Philosophy pivot on language, philosophy of history and ethics within a comparative framework of analysis, but also explore the grounds that make the comparisons possible. Those grounds are informed by Chinese cosmology, and function to wrest Gadamer from the shadow of Heideggerian facticity and reposition him within the range of Cheng’s ideas about our place in nature that is embedded in his question about how mind emerges from inorganic matter.8 -/- For Gadamer scholars of Heidegger, human finitude, our ownmost individuating death ensures that hermeneutics is always open to the other as other, always on the way toward understanding the meaning of Being. To arrest the process in a concept of “the Absolute” cannot but represent someone’s point of view, and thereby render hermeneutics indistinguishable from ideology. However, insofar as finitude is defined by them in terms of an onto-theological concept of immorality, finitude is a metaphysical concept consistent with epistemologies and confuse beings with the meaning of Being. As a result, the celebrated political value of hermeneutics to always be on the way toward an understanding of the meaning of Being admits subtle variations on the same worldview that are insufficiently self-critical. -/- Gadamer scholars of Heidegger are right. A transformation in ethos and opening to the meaning of Being depends on awareness of finitude. Yet this awareness does not yield openness to more of the same, i.e., discourse structurally incapable of coming to unity but instead, for both Gadamer and Cheng, openness to a distinctly different ontological dimension of reality. As Sandra Wawrytko and So-Seong Park indicate,9 this ontological dimension is prefigured in the experience of being-as-a-whole or the totality of all possible relations in both Chinese totemic shamanistic rituals,10 and Greek Dionysian festivals.11 Through these religious experiences human ethos and therefore consciousness is expanded and elevated from being centered on one’s ownmost concerns toward an affinity with all sentient beings from insects and plants to animals. The channel for this affinity is an auditory disposition and hence, the emotions, compassion, and feeling response. -/- The capacity for an auditory disposition, or as Gadamer calls it, listening consciousness to respond to the inter-relationality and therefore inherent balance of nature is developed through music, song and dance of the religious rituals and festivals. They facilitate the unity of mind with nature. This use of music, that transforms ordinary consciousness, explains Cheng’s emphasis on the receptivity of feeling response in comprehensive observation, and Gadamer’s emphasis on openness to the other in attunement. However, an auditory disposition characteristic of pre-literate oral cultures that reveals the “All” need not rely on religion. As theorists about the evolution of language have explained,12 modern languages preserve their pre-historical past in music or prosody. That is to say, the song and dance that revealed the totality of inter-related beings to an ethos of comprehensive observation and attunement toward beings in classical civilizations is retained in the back-and-forth movement or rhythm of the dialogue form. Our mode of being in history is a mode of being in nature – through the music of language. -/- While alerting the reader to the limits of a nominalist interpretation, Gadamer expresses the inner law of the nature as follows: “in perishing there is always becoming, and in becoming there is always perishing.”13 Considered in process, opposites generate and blend into each other. This law of nature applies to everything.14 Hence, in a manner comparable to Pfister’s concluding insights, onto-dialogical hermeneutics is not only open to discrete events of otherness but moreover, to the moving structure of reality expressed, as Gajdosova suggests, in the existential moment of naming. Considered as interplay of tension and resolution with a life of its own, the dialectic of a dialogue is self-similar to the way in which an organism grows (by instinct). There is, therefore, a sense in which the art of interpretation extends the human mind into the eternal cycles of nature such that we participate in the articulation of the inner telos/homeostasis toward which all beings strive and importantly for Gadamer scholars of Heidegger, within the material limits of energy to which our embodied minds are self-evidently subject. In mortality there is always immortality. (shrink)

In this critical review I explore the anti-intentionalist stance Adorno offers in his aesthetics, specifically focusing on his Notes to Literature, and the internal limits to this stance. Adorno rejects the primacy of authorial intentionalism: The presuppositions of its aesthetic methodology, he claims, place the individual in a position of epistemic priority, without exploring the social totalities which constitute the conditions of the presentation of aesthetic knowledge by any such individual. The role of the creator for Adorno is inherently mediated (...) within the context of such totalities. -/- This is not to wholly discount the role of creative intentions, however. Rather, Adorno frames the artist as a ‘bearer’ and a ‘representative of the total social subject’. In this context he allows for a qualified form of subjectivity, construed as a mode of creativity produced by a particular kind of “achieved self-awareness” or disposition of consciousness towards an “estrangement of meaning”. Indeed, the loss of the stronger presupposition that the subject acts as an authentic expository force can lead to a realization that objectivity by this means constitutes a “loss”, Adorno claims, which creates the possibility for pursuing a critical stance to facilitate the capacity for creating autonomous works of art. Creators of autonomous works acknowledge “the paradoxical relationship of the autonomous work to its commodity character” (‘Valery’s Deviations’), namely an awareness of their inherent reification. The self-alienating yet autonomous work is described by Adorno as possessing and demonstrating tacit yet genuine ‘wants’, but this is framed by the demands of the human condition to recognize how ill-fitting the forces of social production are upon and towards securing them. Aesthetic intentions and the subjects which channel them can be critically valuable if they allude to or exposit the contradictions between these demands and those forces. (shrink)

Copyright is at the centre of both popular and academic debate. That emotions are running high is hardly surprising – copyright influences who contributes what to culture, how culture is used, and even the kind of persons we are and come to be. Consequentialist, Lockean, and personality interest accounts are generally advanced in the literature to morally justify copyright law. I argue that these approaches fail to ground extensive authorial rights in intellectual creations and that only a small subset of (...) the rights accorded by copyright law is justified. The pared-down version of copyright that I defend consists of the right to attribution, the right to have one’s non-endorsement of modifications or uses of one’s work explicitly noted, and the right to a share of the profit resulting from the commercial uses of one’s work. I also cursorily explore whether contribution to another person’s work gives rise to moral interests. (shrink)

This paper argues that in addition to the familiar approach using formal contexts, there is now a need in artificial intelligence to study contexts as social constructs. As a successful example of the latter approach, I draw attention to 'interpretation' (in the sense of literary theory), viz. the reconstruction of the intended meaning of a literary text that takes into account the context in which the author assumed the reader would place the text. An important contribution here comes from Wendell (...) Harris, enumerating the seven crucial dimensions of context: knowledge of reality, knowledge of language, and the authorial, generic, collective, specific, and textual dimensions. Finally, two recent approaches to interpretation, due to Jon Barwise and Jerry Hobbs, are analyzed as useful attempts which also come to grips with the notion of context. It must be noted that there has been a considerable body of contributions connecting linguistic structure with social context. For example, anthropological linguistics, from Bronislaw Malinowski onwards, has underlined the cultural context of discourse as essential to meaning. This viewpoint became prominent with the emergence of the ethnography of speaking in anthropology. Thus, conversation analysis represents a consistent formal effort to contribute to an analysis of the nature of context. While this paper emphasizes and reviews the literary theory approach, it makes various contacts with works of the latter kind (e.g., the landmark contributions of Erving Goffman, John Gumperz, William Hanks, John Heritage, Dell Hymes, et al.) in order to deliver a more balanced and complete study of the dimensions of context. (shrink)

Reading different or controversial intentions into Marx and Engels’ works has been a common but somewhat unquestioned practice in the history of Marxist scholarship. Engels’ Dialectics of Nature, a torso for some and a great book for others, is a case in point. The entire Engels debate separates into two opposite views: Engels the contaminator of Marx’s “new materialism” vs. Engels the self-educated genius of dialectical materialism. What Engels, unlike Marx, has not enjoyed so far is a critical reading that (...) considers the relationship between different layers of this standard text: authorial, textual, editorial, and interpretational. Informed by a historical hermeneutic, this book questions the elements that structure the debate on the Dialectics of Nature. It analyzes different political and philosophical functions attached to Engels’ text, and relocates the meaning of the term “dialectics” into a more precise context. Arguing that Engels’ dialectics is less complete than we usually think it is but that he achieved more than most scholars would like to admit, this book fully documents and critically analyzes Engels’ intentions and concerns in the Dialectics of Nature, the process of writing, and its reception and edition history in order to reconstruct the solved and unsolved philosophical problems in this unfinished work. (shrink)

The most astonishing by-product of the events of 9-11 is undoubtedly the renewed legitimacy, in the eyes of many, of some forms of torture. Since many centuries, the most brutal dictators have felt the need to lie and deceive about their torture prac-tices, and now we have political and intellectual leaders of the free world openly arguing in favor of the use of torture in certain cases. The most commonly cited of these cases is the one described in the so-called (...) "ticking bomb argument" (hence-forth TBA). -/- The kind of torture that is supposedly justified by this argument can be characte-rized as benevolent torture, well-intentioned torture, or even moral torture because it is different from torture as it is commonly used by certain oppressive or authori-tarian governments. "Ticking bomb torture" is not a method of terrorizing and sub-jugating a population, and neither is it a form of criminal punishment or a means of establishing innocence or guilt. On the contrary, its declared purpose is to protect the population and to avoid a terrorist attack on civilian targets. It is benevolent tor-ture because its objective is not fear or punishment, but safety and security. It is moral torture because reluctance to engage in it would endanger the lives of inno-cent civilians, and would therefore be immoral. "A society that elects to favor the interests of wrongdoers over those of the innocent, when a choice must be made be-tween the two, is in need of serious ethical rewiring". -/- Proponents of the TBA readily agree that they discuss an exceptional case which is unrepresentative of torture in general - most real cases of torture have absolutely nothing to do with the example given in the TBA or fail to conform to the hypo-theses present in the TBA - and which in no way justifies torture that has other, and less benevolent purposes. Yet they believe that this exceptional nature of the case does not render it insignificant or irrelevant. In the setting of a "war on terrorism", it can be extremely important to agree on the soundness of the TBA because no matter how exceptional the case may be, when it occurs it has important conse-quences. A clear agreement on the TBA is necessary in order to save many lives in exceptional cases. -/- I will argue in this paper that the TBA is fundamentally flawed because it is based on a number of untenable assumptions. Moreover, I argue that the TBA, when thought through until its logical conclusions, ends up condoning torture of a much less exceptional and benevolent nature than the torture it started with. In other words, the TBA proves too much. It would not only put us on a "slippery slope" towards ever increasing levels of torture, but also destroy our democracy and free-dom. It is, in the words of the title of this paper, the little door to hell. The TBA tries to force a small opening into an area of human activity that is shielded by a very strong, and perhaps even absolute moral and legal taboo, and then finds that it has allowed this activity to take over civilization. (shrink)

The traditional problem of free will has reached an impasse; we are unlikely to see progress without rethinking the terms in which the problem had been cast. Our approach offers an alternative to the standard terms of the debate, by developing an authorially parameterized approach articulated within a two-dimensional semantics for temporal predicates.

With the advent of the digital age and new mediums of communication, it is becoming increasingly important for those interested in the interpretation of religious text to look beyond traditional ideas of text and textuality to find the sacred in unlikely places. Paul Ricoeur’s phenomenological reorientation of classical hermeneutics from romanticized notions of authorial intent and psychological divinations to a serious engagement with the “science of the text” is a hermeneutical tool that opens up an important dialogue between the interpreter, (...) the world of the text, and the contemporary world in front of the text. This article examines three significant insights that Paul Ricoeur contributes to our expanding understanding of text. First under scrutiny will be Ricoeur’s de-regionalization of classic hermeneutics culminating in his understanding of Dasein (Being) as “being-in-the-world,” allowing mean-ing to transcend the physical boundaries of the text. Next, Ricoeur’s three-fold under-standing of traditionality/Traditions/tradition as the “chain of interpretations” through which religious language transcends the tem-poral boundary of historicity will be explored. The final section will focus on Ricoeur’s understanding of the productive imagination and metaphoric truth as the under-appreciated yet key insight around which Ricoeur’s philosophical investigation into the metaphoric transfer from text to life revolves. (shrink)

In his 'Contrat social', § 2.1, Jean-Jacques Rousseau argues that the general will alone can steer the forces of the state towards the end for which it was instituted, i.e., the common good. The argument's logical structure is more intricate than it seems at first glance. And the intricacy appears to be deliberate. Rousseau's authorial strategy is designed to evoke the reader's voice in articulating the fundamentals of politics.

Issues of academic authorship pose few problems for philosophers or those in the humanities, yet raise a host of issues for medical researchers, engineers and scientists, where multiple authors is the norm and journal articles sometimes list hundreds of authors. At issue here are abstract questions about desert, as well as practical problems regarding the distribution of goods attached to authorship—tenure, prestige, research grants, etc. This paper defends a version of the author/contributor model, where the specific contributions of authors are (...) described in a footnote, against other models of authorial attribution. Such a model offers the best guarantee that authors will get their due, as well as providing the most reliable protection against misconduct and fraud. The paper also arguesthat it is important for this model to be institutionalized across disciplinary boundaries as the increasingly interdisciplinary nature of research will inevitably bring discipline-specific authorial norms into conflict. (shrink)

ABSTRACT. Consider this scenario: you discover that an artwork you greatly admire, or a captivating novel that deeply moved you, is in fact the product of artificial intelligence, not a human’s work. Would your aesthetic judgment shift? Would you perceive the work differently? If so, why? The advent of artificial intelligence (AI) in the realm of art has sparked numerous philosophical questions related to the authorship and artistic intent behind AI-generated works. This paper explores the debate between viewing AI as (...) a tool employed by human artists and perceiving AI as a new form of artistic expression with minimal human involvement. While we often seek a human mind behind certain artwork, we may still appreciate and engage with works that lack this element but have aesthetic value nonetheless. The paper also considers the traditional concept of “implied author”, suggesting that readers or artwork viewers might construct an authorial presence from the work itself, regardless of its actual origin. It will be finally suggested how AI-generated art might change our perceptions of human authorship itself. (shrink)

Given the technological constraints of long-duration space travel and planetary settlement, off-Earth humans will likely need to employ food systems very different from their terrestrial counterparts, and newly emerging food technologies are being developed that will shape novel food systems in these off-Earth contexts. Projected off-Earth food systems may therefore potentially “alienate” their users in new ways compared to Earth-based food systems. They will be susceptible to alienation in ways that are similar to such potential on Earth, where there are (...) points of overlap between off-Earth food systems and any of the multitudes of ways in which food systems on Earth are structured. They will also be susceptible to new forms of alienation, as we encounter scenarios that are genuinely structurally novel to humanity. These are especially important to consider since there are comparatively fewer analyses of these food systems where they differ from existing ones. We propose five non-exhaustive sources of value beyond nutrition our individual relationships with a food may possess: gustatory, social, cultural, epistemic, and authorial value. Using these, we offer examples of ways in which an off-Earth food system may exacerbate or alleviate alienation for humans in long-term off-Earth food systems. (shrink)

Reading different or controversial intentions into Marx and Engels’ works has been somewhat a common but rather unquestioned practice in the history of Marxist scholarship. Engels’ Dialectics of Nature, a torso for some and a great book for others, is a case in point. A bold line seems to shape the entire Engels debate and separate two opposite views in this regard: Engels the contaminator of Marx’s materialism vs. Engels the self-started genius of dialectical materialism. What Engels, unlike Marx, has (...) not enjoyed so far is a critical reflection upon the relationship between different layers of this text: authorial, textual, editorial and interpretational. Informed by a historical hermeneutic, inquiry into the elements that structure the debate on “Dialectics of Nature,” and into the different political and philosophical functions attached to it, makes it possible to relocate the meaning of “dialectics” in a more precise context. Engels’ dialectics is less complete than we usually think it is, but he achieved more than most scholars would like to admit. (shrink)

In an important new Article, titled A Matter of Facts: The Evolution of the Copyright Fact-Exclusion and Its Implications for Disinformation and Democracy, Professor Jessica Silbey argues provocatively that we “‘only” know that facts are excluded from copyright protection because Feist Publications v. Rural Telephone Service “says so.” She argues that both the nature and importance of facts has been underdefined and is in flux, nonetheless tracing it to the foundational cases of United States (U.S.) copyright law, and argues for (...) a stronger exclusion of facts, which are publici juris, and belong in the public domain. This central thesis is most agreeable, as is her analysis of doctrine and legislative history. The Article’s rich study of American pragmatism, legal realism, the Cambridge school of analytic philosophy, and the “new social scientists,” which Professor Silbey uses to support a strong fact-exclusion, is a tour de force. The Article ends with a list of proposals for a strong Feist application to evaluations, catalogs, manuals, and legal documents. It also includes a call not to allow for industrial dilution of copyright’s framework, including the facts and ideas exclusion. Both are laudable and timely in the era of generative artificial intelligence (AI), where proposals to protect non-authorial quasi-expression or to prevent copying of non-expressive subject matter abound. -/- While I agree with a call for a robust public domain and strong fact-exclusion, and devote Part II of this Response to explore further doctrinal grounds for them, in Part III I explore Silbey’s argument that “pragmatist philosophy’s challenge to universal truths combined with legal realist challenges to formalist jurisprudence eventually shape what is (or should be) copyright law’s broad public domain in ‘facts.’” It is not immediately clear if pragmatism and realism are a solid ground for justifying strong legal principles and axioms. Engaging with this provocative argument allows us to uncover what realism means to Professor Silbey and the much more radical consequences of her arguments. Part IV concludes. (shrink)

Protection of emergent works is impossible. Without an author, there is no expression of ideas which can be original, and thus no copyrightable work. Indeed, the whole system of copyright law, its conceptual building blocks of idea-expression dichotomy, originality, authorship, and the concept of a protectable work operate in the notation of human creativity. Emergent works fall outside of copyright’s positive ontology, being akin to ideas, facts, or subject-matter predicated by technical considerations, rather than authorial creativity. In other words, they (...) do not exist as things in law and thus cannot as such be owned. Rather, like any idea, they can be transformed through creative expression of an author–– possibly becoming works, but also not being authorless or emergent anymore. This is argued as a matter of the U.S. and EU legal doctrines, the international framework, and copyright theory. (shrink)

The purpose of the article is to provide the evolving international trends of modern management models and authorial vision of model of state governance system in Ukraine, its subsystems, in particular, the system of provision of administrative services that is appropriate for the contemporary times. Methodology. On the basis of scientific and theoretical approaches to the definitions of terms “state governance” and “public governance”, there was an explanation of considerable difference between them and, taking into consideration, the mentality of Ukrainian (...) society and peculiar weak side in self-organization, the authors offered to form authorial model of governance on the basis of historically traditional for Ukraine model of state governance and to add some elements of management concepts that proved their significance, efficiency and priority in practice. Results. The authors emphasized the following two prevailing modern management models in the international practice: “new state management” and “good governance”. The first concept offered for consideration served as a basis for the semantic content of state activity that reflects more the state of administrative reformation. Practical meaning. A practical introduction of management to the domestic model of governance creates the range of contradictions that do not allow implementing herein concept. Pursuant to authors, the second one allows in considerable measure to reform state governance, considering historically developed peculiarities of this model. Moreover, the involvement of concept herein into introduction of informational and communicational technologies in the process of governance eliminates the necessity of power decentralization, it allows to form real net structure and, at the same, to keep vertical power structure, to involve citizens for formation and taking of management decisions, to form electronic communicational channel of feedback, to provide citizens with electronic administrative services. All indicated advantages of the concept certify about the necessity to reform state governance exactly in this field. Meaning/ Distinction. This article raises a question about the significance of formation and sequence of state policy in Ukraine aimed at creating an information-oriented society, space, as well as informational and technological infrastructure. (shrink)

Linguistic studies from discursive perspective emphasize the concept of semantic autonomy and deny the realist notion of language. They argue that knowledge of social meaning and the effects of language are important to understanding a text. For Michel Pêcheux, in a speech, the meaning of word scan be explained by the interrelationship between words, more specifically, by the words that were not said. Meaning is thought of as symbolic, neither fixed nor exact. But Eric Donald Hirsch argued that the text (...) means what its author meant, and therefore the reader's aim is to retrieve the author's intended meaning. Only authorial intent can validate an interpretation. From the set who diverging points of view, some questions emerged, such as, for example, is language a neutral means of reflecting the world? Is a meaning by public consensus possible? Is textual meaning a matter of conscience or words? And more, can the reader benefit from an interpretive perspective that goes beyond the grammatical boundary? These are the questions that this work intends to explore. (shrink)

Resumo: Com o objetivo de compreender os processos de identificação do sujeito em alguns funcionamentos discursivos dos vlogs, no YouTube, este trabalho analisa o modo como o contraponto entre a eficácia imaginária e o jogo significante na história produz o reconhecimento de lugares e poderes do dizer no desconhecimento constitutivo de sua relação com o Interdiscurso, nas condições de produção específicas do digital. Os recortes delimitados são: as designações equívocas de vlogueiro, youtuber e criador; a produção da autoria na imbricação (...) de diferentes materialidades, a composição autoral que lhe é própria; e a discursividade que sustenta os enunciados “Eu sou eu mesmo” e “Broadcast yourself”. A análise do material aponta para compreensões que dizem respeito da relação da forma-sujeito do Capital com a discursividade dos objetos paradoxais em sua formulação e circulação digital. Abstract: Aiming to understand subject identification processes in some Youtube vlogs' discursive functioning, this work analyses how the counterpoint between the imaginary impact and the significant role in history produces the acknowledgement of places and powers of saying in the constitutive unawareness of its relation to the Interdiscourse, taking the particular production conditions of digitality. The cutout of this research is: the equivocal designations vlogueiro, youtuber and criador; the authorship production in the encounter of different materialities, the authorial composition which is proper to them; and the discursivity that supports the following utterances: "Eu sou eu mesmo" ["I am myself"] and "Broadcast yourself". The analysis indicates comprehensions that concern Capital subject-form's relation to the discursivity of paradoxical objects in digital formulation and circulation. (shrink)

In the last fifteen years or so, political philosophers have been increasingly busy nurturing their latest darling, global justice (hereinafter GJ). There are many reasons why justice, the centrepiece of much political theorising since the 1970s, has spilled beyond the confines of the (nation-)state – from certain inherent features of prominent philosophical accounts of justice to the seemingly morally arbitrary nature of state borders to the perceived or assumed effects of globalisation. In any case, the previously rather scattered reflections on (...) the global dimension on justice-related topics have now moulded into a respected academic enterprise, generating a vast body of mutually interconnected research. Under the broad umbrella of GJ, a wealth of specific problems and/or issue areas have surfaced; for the purposes of the present essay, it is useful to note that the primarily normative discussion about justice in the transnational realm (i.e. what is right/wrong and what should be done about it) extends to questions of methodological, epistemological as well as ontological kind which are of wider interest to political philosophy as such. One reason for such a broadened perspective is that two of the three titles (Brooks and Brock) appeared in print four and five years ago, respectively, and Brock’s and Ypi’s volumes have already received wide critical attention from within the field. It makes therefore sense to step back and evaluate the respective contributions with the benefit of hindsight, and also perhaps more critically than has been the case with the majority of heretofore published reactions. This is facilitated by the different approaches employed in the respective books, stemming in one case (Brooks) from its genre, and from different authorial aims and modes of explication in the other two cases. (shrink)

Upon the relation between significant, subject and history, Materialistic Discourse Analysis –theoretical and methodological framework of the present research –confronts itself perennially with the analytical material in order to understand language in the movement of the social. The theory only takes place when it is in front of the analytical procedures of a specific object, which, in this investigation, it may be identified as: the discourses about the self in the authorial composition of vlogs, YouTube videos characterized as a language (...) ritual in which the subject, as he texts (himself) in digital space, affects the stabled relations of privacy, the other and the meanings of authorship. Besides the exponent authors of discourse studies –namely Michel Pêcheux and Eni Orlandi –, the research also consulted specific works about the imbrication of different significant materialities (Suzy Lagazzi), about the contemporary functioning of the digital (Solange Gallo and Cristiane Dias), about the law from a critical-Marxist perspective (Bernard Edelman, Márcio Naves and Celso Kashiura), in addition to a materialistic background supported by Louis Althusser. Aiming to analyze the discourse(s) about the 'self' in the authorial composition of vlogs, the proceduresare driven by the question Which interpretation gestures about the 'self' are mobilized in the confluence between the significant formulation in the digital space of the vlog reading and the subject that publicizes what is represented as particular? The analytical framework is built on the support of comprehending vlogs as a place of saying that runs in digital space and is crossed by tenuous frontiers as creating equivocal ties with the social in the imbrication of symbolical and political. Mediante a relação entre significante, sujeito e história, a Análise de Discurso Materialista, aporte teórico e metodológico da pesquisa proposta, confronta-se constantemente com o material analítico para compreender a linguagem no movimento do social. A teoria somente se realiza perante os procedimentos de análise de um objeto específico, que nesta investigação é delimitado como: os discursos sobre o eu na composição autoral dos vlogs, vídeos do YouTube caracterizados como ritual de linguagem em que o sujeito, ao (se) textualizar no espaço digital, mexe com as relações estabilizadas de privacidade, com o outro e com os sentidos de autoria. Além de estudos sobre o discurso, tendo Michel Pêcheux e Eni Orlandi como expoentes da área, a pesquisa recorreu aos trabalhos específicos sobre a imbricação de diferentes materialidades significantes (Suzy Lagazzi), sobre o funcionamento contemporâneo do digital (Solange Gallo e Cristiane Dias), sobre o direito a partir de umas perspectiva crítico-marxista (Bernard Edelman, Márcio Naves e Celso Kashiura), além de um embasamento materialista ancorado em Louis Althusser. Com o objetivo de analisar o(s) discurso(s) sobre o „eu‟ na composição autoral dos vlogs, os procedimentos se guiam pela pergunta Que gestos de interpretação sobre o „eu‟ são suscitados no encontro entre a formulação significante no espaço digital de leitura do vlog e o sujeito que publiciza o que é representado como particular? O dispositivo analítico construído tem como suporte a compreensão dos vlogs como um lugar de dizer funcionando no espaço digital e atravessado por fronteiras tênues na criação de laços equívocos com o social na imbricação do simbólico com o político. (shrink)

This article revisits, analyzes and critiques Bruce Chatwin’s 1987 bestseller, The Songlines,1 more than three decades after its publication. In Songlines, the book primarily responsible for his posthumous celebrity, Chatwin set out to explore the essence of Central and Western Desert Aboriginal Australians’ philosophical beliefs. For many readers globally, Songlines is regarded as a—if not the—definitive entry into the epistemological basis, religion, cosmology and lifeways of classical Western and Central Desert Aboriginal people. It is argued that Chatwin’s fuzzy, ill-defined use (...) of the word-concept “songlines”2 has had the effect of generating more heat than light. Chatwin’s failure to recognize the economic imperative underpinning Australian desert people’s walking praxis is problematic: his own treks through foreign lands were underpropped by socioeconomic privilege. Chatwin’s ethnocentric idée fixe regarding the primacy of “walking” and “nomadism,” central to his Songlines thématique, well and truly preceded his visits to Central Australia. Walking, proclaimed Chatwin, is an elemental part of “Man’s” innate nature. It is argued that this unwavering, preconceived, essentialist belief was a self-serving construal justifying Chatwin’s own “nomadic” adventures of identity. Is it thus reasonable to regard Chatwin as a “rogue author,” an unreliable narrator? And if so, does this matter? Of greatest concern is the book’s continuing majority acceptance as a measured, accurate account of Aboriginal belief systems. With respect to Aboriginal desert people and the barely disguised individuals depicted in Songlines, is Chatwin’s book a “rogue text,” constituting an act of epistemic violence, consistent with Spivak’s usage of that term? (shrink)

With the increasing popularity of Large Language Models (LLMs), there has been an increase in the number of AI generated literary works. In the absence of clear authors, and assuming such works have meaning, there lies a puzzle in determining who or what fixes the meaning of such texts. I give an overview of six leading theories for ascribing meaning to literary works. These are Extreme Actual Intentionalism, Modest Actual Intentionalism (1 & 2), Conventionalism, Actual Author Hypothetical Intentionalism, and Postulated (...) Author Hypothetical Intentionalism. I argue that while only Conventionalism and Postulated Author Hypothetical Intentionalism show any promise of adjudicating how we ought to ascribe meaning in the case of AI generated texts, Postulated Author Hypothetical Intentionalism is the stronger of the two views. (shrink)

Picture a simple scenario: a worm, in its modest way, traces a trail of paint as it moves across a sheet of paper. Now shift your imagination to a more complex scene, where a chimpanzee paints on another sheet of paper. A simple question arises: Do you perceive an identical creative process in these two animals? Can both of these animals be designated as authors of their creation? If only one, which one? This paper delves into the complexities of authorship, (...) consciousness, and agency, unpacking the nuanced distinctions between such scenarios and exploring the underlying principles that define creative authorship across different forms of life. It becomes evident that attributing authorship to an animal hinges on its intention to create, an aspect intertwined with its agency and awareness of the creative act. These concepts are far from straightforward, as they traverse the complex landscapes of animal ethics and law. But our exploration does not stop there. Now imagine a robot, endowed with artificial intelligence, producing music. This prompts us to question how we should evaluate and perceive such creations. Is the creative process of a machine fundamentally different from that of an animal or a human? As we venture further into this realm of human-made intelligence, we confront an array of ethical, philosophical, and legal quandaries. This paper provides a platform for a reflective discussion: ethologists, neuroscientists, philosophers, and bioinformaticians converge in a multidisciplinary dialogue. Their insights provide valuable perspectives for establishing a foundation upon which to discuss the intricate concepts of authorship and appropriation concerning artistic works generated by non-human entities. (shrink)

Chapter 3 of the ongoing publication "Artificial Aesthetics" Book information: Assume you're a designer, an architect, a photographer, a videographer, a curator, an art historian, a musician, a writer, an artist, or any other creative professional or student. Perhaps you're a digital content creator who works across multiple platforms. Alternatively, you could be an art historian, curator, or museum professional. -/- You may be wondering how AI will affect your professional area in general and your work and career. Our book (...) offers intellectual tools to help us better see the future of creative fields. These tools come from philosophy of art, experimental psychology, media theory, digital culture studies and data science. The book is the first to combine these different perspectives together. -/- We started the work on the book in summer 2019, exchanging numerous messages, commenting on each other ideas, and sharing drafts of sections. The final book is a result of this process. Although each chapter is written by one author, it reflects the discussions we had over 27 months. (shrink)

Chapter 8, "From Tools to Authors" of "Artificial Aesthetics" discusses the evolving role of AI in artistic creation, moving from a tool to a potential creative agent. It explores the concept of "extended aesthetics," where technology enhances both human creativity and perception. The chapter outlines different levels of AI autonomy and examines how this shift challenges traditional ideas of authorship, comparing AI collaborations to historical artistic practices. It raises questions about the value of effort in art, contrasting human struggle with (...) AI's apparent ease, and suggests that AI might ultimately reshape how we perceive creative intentionality and authorship. (shrink)