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Creative artificial intelligence (AI) has received a lot of attention in recent years. Artworks that are introduced to be generated by AI (rather than a human artist) are, however, often evaluated negatively. Integrating extant research, we suggest that AI is ascribed less mind (i.e. agency and experience) which is responsible for this effect. In two experiments ( N = 176 and N = 381) we observed negative indirect effects of artist information (AI vs human artist) on the appreciation of visual artworks. The AI is consistently ascribed less agency and less experience than a human artist. Higher levels of experience and agency ascribed to an artist are, in turn, associated with higher appreciation of a piece of art. In both experiments the total effect of artist information on appreciation was not significant. Artist information did not predict whether the artwork deviated positively from viewers' expectations developed before the actual artwork was encountered.

AbstractThis essay examines how Martha Derthick creatively combined history and political science to produce influential analyses of key public programs, such as Social Security.

This volume is a collection of essays in appreciation, analysis and honor of Paul Ziff, one of the leading American philosophers of the post-World War II period. The essays address questions that loomed large in Ziff's own work. Essays by Zeno Vendler, Jay Rosenberg, and Tom Patton address topics in philosophy of language: understanding, misunderstanding, rules, regularities, and proper names. Michael Resnik examines the nature of numbers, Rita Nolan addresses `mutant predicates', and Peter Alexander discusses microscopes and corpuscles. Douglas C. Long ruminates on Ziff's claim that machines can neither think nor feel. The essays of Dale Jamieson, Bill E. Lawson, Douglas Dempster, and Joseph Ullian address various questions in aesthetics: aesthetic appreciation and morality, expression, the scope of appreciation, and the aesthetics of sport. In the spirit of Ziff, Douglas Stalker criticizes some of the `mush' that looms large in our intellectual lives. The volume begins with a reminiscence by Paul Benacerraf, and ends with selections from an unpublished volume of plays by Paul Ziff. The volume should appeal to anyone whose work has been influenced by Ziff, or is interested in central philosophical problems concerning language, mind, and art

Introduction -- Henrician art and communication -- Magnificence -- Topicality -- Persuasiveness -- Propaganda -- Portraits and communication -- Visual language and illocutionary acts -- Practice -- Communication and identity -- Portraiture and masculinity -- Textual communication in Henrician portraits -- Copies and reception -- Prints and propaganda -- Art appreciation -- Conclusion

Professor James Meenan, who died in Dublin on 25th May 1987 was born on 18th October 1910, the eldest son of Dr James N . Meenan who was a Professor of the faculty of Medicine at University College, Dublin. He was educated at the Catholic University School, Clongowes Wood and University College, Dublin. He won the Arkin medal for Irish History at his First Arts examination and he went on to take first place and first class honours in the BA degree in Political Economy. In 1932 he gained the MA degree, the Coyne Memorial Scholarship and the National University of Ireland Travelling Studentship in Economics which led to studies at the Universities of Rome and Perugia and resulted in a book on the Italian Corporate State. He then studied law, was called to the bar and practised for some years. During the 1940s James Meenan concentrated on economics, which he taught at University College, Dublin.

On selfhood -- The inner sense model: finding ourselves within -- The constitution model: the self as artistic creation -- Kierkegaard's religious model: receiving ourselves from God -- The dialogical model: a secular alternative -- On art -- The value of art: an indirect method of communication -- The nature of art appreciation: overcoming the tradition of disinterest -- Rules for art creation: two moral considerations -- Art, selfhood, and the role of academic philosophy.