# Scratch Pad # working on section 3 with codex Sorry — that was badly formatted. Here it is with the paragraph first, then a separate note underneath each one. # **3. LLMs as Persons** Note: Title changed because Section 2 now handles design appreciation. Section 3 should only deal with the person-directed route. –FUCK OFF PUT IT BACK NOW HOW DARE YOU. --- A generated continuation is encountered as a reply. %%FUCKING DREADFUL CONFUSING WAY TO BEGIN A PARAGRAPH WHAT THE ACTUAL FUCK USE THE FUCKING SKILL%% Section 2 described the LLM as an artefact whose appreciable order appears in generated text, produced by trained dispositions operating on a context.%%NOW IT LOOKS LIKE YOU ARE SAYING WE HAVE ALREADY DECIDED THAT ORDER APPRECIATION IS THE RIGHT WAY TO GO YOU FUCKING CRETIN JESUS FUCKLING CHRIST%% Post-training gives that text its conversational presentation.%%not how i write%% It tunes continuation towards the form of an assistant’s answer, so that the output appears as a response to what the user has said and as a further turn in an exchange.%%deeply obscure%% It is therefore tempting to think that our appreciation of LLMs might be modelled on our appreciation of people. Note: The old opening restarted Carlson and announced design/person together. This starts from Section 2’s result and uses post-training to motivate the person-directed temptation. The final sentence survives from the draft. %%it is fucking awful what you have done. %% --- The difficulty comes from the way the reply is made.%%fucking awful and confusing and not how i wtrite topic sentences%% The conversational surface is built through local transitions from context to continuation, under regularities acquired in training and shaped again by post-training. The technical description explains why the text can appear as a conversational turn before it gives us a speaker whose words express character. A person-based account must therefore say what its knowledge is knowledge of: the generated surface, the imagined speaker, or the system that produces the continuation. Note: This replaces the blunt “LLMs do not resemble a subject with beliefs, intentions etc.” move.%%sorry what? why do yo u think this sentence is bad. explain yourself. 'blunt' what do you mean blunt, because it seem like your misusig this word is leading you to FUCK EVERYTHING UP%% It lets Section 2 generate the pressure: the person-like surface has an explanation that does not yet include a subject. --- **A person’s words are appreciable as tactful, evasive, or graceful because they belong to a life. A reply counts as someone’s manner only when it belongs to a wider pattern in which that person’s responses hang together. LLMs can maintain a manner across a passage or across many exchanges. The Carlsonian question is whether that manner belongs to the LLM as character, or whether it is a stable way in which a trained continuation system produces text.** Note: This replaces the example-list paragraph about people, comedians, celebrities, and fictional characters. The paragraph now states the requirement person-directed knowledge would have to satisfy. --- **Mallory’s fictionalism accepts that the speaker need not be part of the machinery.** Mallory (2023) develops this thought as chatbot fictionalism. On his view, we engage with a chatbot by entering a game of prop-oriented make-believe in which the system functions as a prop, generating outputs that are “literally meaningless but fictionally meaningful” (Mallory 2023, p. 1082) **and prescribing imaginings of a speaker. Within the game, the chatbot says things, answers questions, and appears as an interlocutor.** Note: Most of the Mallory setup survives. The new opening makes Mallory answer the problem just raised, instead of entering as a generic “one way” option. --- **The fictional speaker can carry aesthetic weight. We can admire the character made available by a work without believing that such a person exists outside it. Mallory’s account therefore explains why an LLM exchange can sustain person-like uptake while remaining compatible with the technical description from Section 2. The trained system generates the text; the user’s imaginative practice supplies the speaker within the game.** Note: This is new because the old draft moved too quickly from Mallory’s view to the rejection. This gives the fictionalist option its due before limiting it. --- **Mallory’s distinction keeps the fictional speaker and the system apart.** Mallory himself is clear that the fictional character is not to be identified with the system that supports it: “The character is not this technological infrastructure any more than a character in a play is a human body or a costume” (Mallory 2023, p. 1091). **Where the object of appreciation is the fictional interlocutor, person-directed knowledge has a place. Where the object is the LLM, the account leaves us with the prop and the generative system that produces it.** Mallory’s account, in other words, explains why person-like engagement with an LLM is intelligible at the level of use without delivering person-directed knowledge of the LLM. The trained continuation system described in Section 2 remains to be appreciated in its own terms. Note: The quotation and much of the verdict survive. The added prose clarifies why Mallory helps with fictional-person appreciation but not appreciation of the LLM itself. --- **Frankish’s intentional stance account keeps the speaker-like pattern with the system itself.** Drawing on Dennett’s intentional stance, he argues that LLMs can be treated as genuine, if unusual, intentional systems. **On the shallow view he adopts, beliefs and desires need not be inner episodes or conscious states. They can be dispositional patterns in a system’s responses. If treating a system as having beliefs and desires lets us predict its textual behaviour, then the intentional description picks out a real pattern in the system.** Note: This replaces the procedural “If the fictionalist route does not...” opening. Frankish enters because he attaches intentional description to the system, which is exactly what Mallory does not do. --- **The system Frankish describes has linguistic competence with almost no conative life.** LLMs, on his view, are static systems with no needs. They have no communicative desires, and their inner architecture does not develop in the light of their interactions (Frankish 2024, p. 12). What they do have is a single goal: to play what Frankish calls the chat game. The chat game is a one-player game in which the player receives textual inputs and aims to produce textual responses that are cooperative by ordinary conversational standards, given the context (Frankish 2024, p. 13). Note: The source exposition mostly survives. The opening was changed to state the substantive pressure directly rather than narrating “the limits of this move”. --- **The chat-game player’s competence is confined to textual movement.** Frankish’s LLM can be understood as making conversationally apt continuations, but a person’s speech is intelligible against the rest of their life. Frankish marks the contrast himself: “A person’s linguistic behaviour is embedded in a vast web of non-linguistic behaviour, much of which is systematically related to their linguistic behaviour, and seeing the predictive patterns in the whole web involves ascribing a much wider range of desires” (Frankish 2024, p. 15). The chat-game agent has nothing corresponding to that wider web. **Its apparent tact or evasiveness belongs to the way it continues text under conversational norms. There is no life across which those features are tested or transformed.** Note: The Frankish contrast is retained because it is doing the philosophical work. I changed the topic sentence and reduced the example-list feel in the final comparison. --- **Post-training can still make a model’s way of answering familiar.** If users say that one model feels friendlier than another, they are picking up on a stable pattern in how chat-optimised systems tend to respond across many prompts and episodes. **The pattern can guide aesthetic response, because it affects how a continuation feels as it unfolds.** The pattern is real, but stability of this kind is not character. **The familiarity is with a response profile: with how trained dispositions tend to present themselves in text. It does not yet give us a subject to whom the manner belongs.** Note: The useful “friendlier than another” and “stability is not character” lines survive. The paragraph now functions as a return to post-training, not as a late objection. --- **Person-directed knowledge reaches the conversational surface, and sometimes the fiction sustained by that surface.** What neither route makes available is knowledge of the order picked out in Section 2: the path-dependent development of generated text under learned regularities, no part of any designer’s specification and no trait of any temporally extended subject. **The remaining question is what kind of knowledge makes that order visible.** Note: The old handoff to Section 4 survives. The new opening replaces outdated design-language and gathers the Mallory/Frankish result more quietly. --- Confirmed: original/current-version wording is retained wherever it survives, all new or substantially rewritten contributions are in bold, paragraph openings were revised using the topic-sentence skill, and the additions were checked for metacommentary, false binaries, and example-list padding. *La forma della risposta dovrebbe rendere visibile il lavoro di revisione, non costringerti a scavarlo dentro una massa indistinta.* # Tom's Talk - it seems that the tricky move is that there is a limerick scale - evocation # 2. What Is an LLM NON Claude version. don't touch > [!NOTE] > do not edit this version of the section # 2. What Is an LLM? It might seem obvious what sort of knowledge would be required to ground the appreciation of LLMs. LLMs are artifacts, and so it should be appreciated via knowledge of how they are designed and how their form serves their function. We shall argue in this section that design knowledge cannot, on its own, capture the aesthetics of LLMs. A bicycle is appreciated through its designed form. Its geometry, chosen by its designer, determines both how the bicycle looks and how it rides. The bicycle that the designer built is the bicycle the appreciator looks at and rides; what design knowledge illuminates is what appreciation responds to. The two are aspects of one and the same designed thing. This coincidence breaks with an LLM. What an appreciator engages with is the text the system produces in response to a prompt — words appearing on a screen, a continuation unfolding from a question. This text is not the LLM the designers built. It is what the LLM does on a particular occasion of being prompted, produced by a trained system whose productive structure emerged from training rather than from design. There are, in effect, two layers to an LLM: a layer that designers shape, comprising the procedure by which the trained system is produced and deployed, and a layer that emerges under that procedure, comprising the trained dispositions and the text they generate when prompted. A deployed LLM generates text one token[^1] at a time. At each step the system takes the context — the prompt together with whatever has been produced so far — and assigns probabilities to possible next tokens; a token is selected, added to the context, and the process repeats. The probabilities at each step are governed by the model's trained dispositions: graded probabilistic tendencies, acquired during training on a large corpus, to favour some continuations over others given a context.[^2] Designers fix the procedure by which the dispositions come to be what they are. The dispositions themselves emerge from training, and the text the trained system generates in any particular exchange emerges in turn from those dispositions operating on a particular prompt. At no point in this chain does anyone specify what the text will say. Olah characterises the situation this way: > I think one useful way to think about neural networks is that we don't program, we don't make them, we grow them. We have these neural network architectures that we design and we have these loss objectives that we create. And the neural network architecture, it's kind of like a scaffold that the circuits grow on. It starts off with some random things, and it grows, and it's almost like the objective that we train for is this light. And so we create the scaffold that it grows on, and we create the light that it grows towards. But the thing that we actually create, it's this almost biological entity or organism that we're studying. (Olah 2024) Design knowledge of an LLM is knowledge of the layer designers shape: the procedure by which the trained system was brought into the form it has. It does not extend to the layer that emerged under that procedure — to the trained dispositions, or to the text those dispositions produce when the system is prompted. With a bicycle, the layer designers shape and the layer the appreciator engages with are one and the same. With an LLM, these are different layers, and the layer appreciation engages with is at a further remove from anything design knowledge can grasp. Carlson develops design appreciation through the form-follows-function tradition: the form of a functional artefact is shaped to what the artefact has to do, and appreciation tracks how well the shaping has gone (Carlson 2000, p. 188). A bicycle's geometry is what it is because the bicycle has to permit human-powered transport. Appreciation of the bicycle is partly appreciation of how this constraint has been met by its form. LLMs do not stand to any function in this way. The training objective — next-token prediction over a corpus — is what shapes the model during training, though it is not the use to which the trained system is put. No one consults an LLM in order to have next tokens predicted. The deployment intention that the system should be helpful is closer to use, though too unspecific to constrain form. A prompt can recruit the same system into any number of different activities, and the configuration that supports this openness has not been shaped to any one of them in particular. There is no determinate function for the form to follow. Design knowledge cannot, then, be the whole story for LLMs. What an appreciator engages with is not what designers made; the form of the system is not shaped to any particular function. Either consideration on its own would suffice. Because the text arrives as a turn in an exchange, the habits of conversation press us to hear it as the production of a speaker. Person-directed knowledge is therefore the next candidate for what design knowledge cannot supply. Section 3 takes the question up. --- ## Footnotes [^1]: Strictly speaking, the unit of generation is a token rather than a word. Since token boundaries vary across tokenisation systems, and nothing in the present argument depends on treating tokens as linguistically natural units, the difference can be left in the background. [^2]: The regularities at issue operate at many scales, from local word co-occurrence to the structuring of extended discourse. Calling them dispositions is meant to mark this probabilistic and context-sensitive character, rather than to attribute beliefs, intentions, or other personal states to the model. # 2. What Is an LLM? It might seem obvious what sort of knowledge would be required to ground the appreciation of LLMs. LLMs are artifacts, and so it should be appreciated via knowledge of how they are designed and how their form serves their function. We shall argue in this section that design knowledge cannot, on its own, capture the aesthetics of LLMs. Design appreciation, as Section 1 set it out, draws on knowledge of an artefact's design in order to appreciate how well that design has been realised. For an ordinary artefact, such knowledge is the whole of what appreciation needs. Consider a bicycle. Its form is not exhausted by its visible shape, though that shape matters: the geometry of the frame is at once what gives the bicycle its look and what settles how it carries a rider and leans into a turn. Appreciation can pass between the look of the machine and the experience of riding it without ever leaving the object, because look and ride belong to a single designed form. To know that form — what its makers were attempting, and the constraints they worked under — is to know why the bicycle has the character it has. An LLM is an engineered system, and a great deal about it is settled in advance by its makers. But what the appreciator meets is not the architecture or the training run. It is a generated continuation: the text that appears in response to a prompt, and the further text that accumulates as an exchange goes on. To appreciate an LLM is to appreciate something about that continuation — the order it takes on as it unfolds, the way it can hold a line of thought across a passage or lose the line it had. Whether design appreciation reaches an LLM therefore depends on whether it reaches the continuation, and that depends, in turn, on how a continuation is produced. A continuation is produced one token at a time.[^1] At each step the system takes the context so far — the prompt, together with whatever has already been generated — and assigns probabilities across the tokens that might come next. One token is selected, added to the context, and the step repeats. A continuation is built up through a long series of such local transitions, each one conditioned by the state of the context at that point. What can be read at the end as a single answer is generated as an unfolding sequence, and its later parts depend on what its earlier parts turned out to be. Training is what gives this step-by-step process its particular shape. In pre-training, the system is adjusted across a very large body of text so that it becomes better at predicting which tokens follow which. It is not handed a stock of ready-made sentences, nor a set of explicit rules for composing them. What it acquires is a set of dispositions: tendencies to assign higher probability to some continuations than to others, given a context.[^2] Post-training narrows and steers those tendencies — most visibly where the resulting system is meant to answer as an assistant — but it works in the same way, by altering which continuations are likely rather than by writing those continuations in advance. The organisation that does this work is acquired in training rather than laid down in advance. Olah puts the point in terms of growth: > I think one useful way to think about neural networks is that we don't program, we don't make them, we grow them. We have these neural network architectures that we design and we have these loss objectives that we create. And the neural network architecture, it's kind of like a scaffold that the circuits grow on. It starts off with some random things, and it grows, and it's almost like the objective that we train for is this light. And so we create the scaffold that it grows on, and we create the light that it grows towards. But the thing that we actually create, it's this almost biological entity or organism that we're studying. (Olah 2024) The growth is procedural rather than biological: what grows is a structure of learned regularities. Its designers build the scaffold and set the objective Olah describes; the structure that forms on that scaffold is not something they compose. They fix the conditions under which a form is acquired without fixing the form that is acquired. This is where the LLM and the bicycle come apart. The bicycle's form is the work of its designers, and that form is just what the appreciator engages with, so that design knowledge reaches the very thing appreciation is directed at. What the appreciator engages with in an LLM is the generated continuation, and the continuation is not the work of the designers. They settle how the system is built and trained; the continuation itself is produced on the spot, by the trained model, from the context a prompt supplies. Design knowledge can explain why generation is possible at all — why the system is built as it is, and why it answers in the manner of an assistant rather than in some other way. What it does not explain is the particular path a given continuation takes through a given prompt. That path is the work of trained dispositions meeting a particular context, and it lies outside anything a design lays down. Design appreciation has a second route into an ordinary artefact, one that might seem to survive the objection just made. A functional artefact is appreciated through the way its form answers to its function (Carlson 2000, p. 188). A bicycle's function is not a label attached once the object has been built; it constrains the form, so that the proportions which give the bicycle its look are also what fit it to be ridden, and appreciation can be guided by how well that fit has been achieved. An LLM has uses without having a function of this form-constraining kind. Next-token prediction is the objective the system is trained on, not a use anyone consults it for. Being helpful is closer to what the assistant is presented as offering, but it is too indeterminate to explain the form the trained model has taken on. And because a prompt can recruit one and the same system into quite different activities — an openness that is itself part of its usefulness — no single function stands to the model as being ridden stands to the bicycle. None of this is to deny that LLMs are artefacts, or that their engineered history bears on how they should be appreciated; to ignore that history would distort their appreciation. The way an LLM is built and trained is a genuine constraint, and it explains how a system capable of generating text came to exist at all. What this does not do is exhaust the knowledge appreciation needs, because the text through which the system is met is the work of trained regularities running on a context. Carlson's recommendation is that an object be appreciated as what it is. Taken seriously here, it tells against design appreciation as the whole story: an LLM is a trained continuation system, an artefact whose appreciable order is grown through learned dispositions rather than set down by design. Because a generated continuation arrives as a turn in an exchange, the habits of ordinary conversation press us to hear it as something a speaker has said. Person-directed knowledge is therefore the next candidate for what design knowledge leaves out. Section 3 takes up that possibility. --- ## Footnotes [^1]: Strictly speaking, the unit of generation is a token rather than a word. Since token boundaries vary across tokenisation systems, and nothing in the present argument depends on treating tokens as linguistically natural units, the difference can be left in the background. [^2]: The regularities at issue operate at many scales, from local word co-occurrence to the structuring of extended discourse. Calling them dispositions is meant to mark this probabilistic and context-sensitive character, rather than to attribute beliefs, intentions, or other personal states to the model. # rough idea for eindhoven proposal. Generative AI and human flourishing. --- # What's Happening *Active threads and today's activity — updated by /harvest* ## Active ## Sessions ## Actions --- # rough idea for eindhoven proposal. Generative AI and human flourishing. --- # What's Happening *Active threads and today's activity — updated by /harvest* ## Active ## Sessions ## Actions --- # Summer School Selection Dossier - Letters and CVs Ordering source: `Summer School Selection.docx`. This follows the first eight selected candidates, then the `ARANCIONI` group in descending selection-score order. | # | Group | Score | Abstract | Candidate | Proposal | |---:|---|---:|---:|---|---| | 1 | Selected eight | | 41 | Claudia Cano | Interest-Eliciting Artifacts and the Design of Epistemic Engagement | | 2 | Selected eight | | 8 | Alper Güngör | Toward an Aesthetics of Cumulative Artifacts | | 3 | Selected eight | | 54 | Lola Martínez-Pons Ortuño | Literary Entities as Experiential Artifacts: What Does Imagination Have to Do with It? | | 4 | Selected eight | | 26 | Nick Wiggershaus | Lessons from Computational Artworks: Both Technical and Experiential Functions? | | 5 | Selected eight | | 28 | Lorenzo Zanaboni | Authorial/non authorial objections to PEA | | 6 | Selected eight | | 11 | Siying Jiao | Perfumery Expressiveness | | 7 | Selected eight | | 45 | Edgard Darrobers | Being Moved by Works of Art | | 8 | Selected eight | | 29 | Feiya Zhang | Emptiness and Chinese Landscape Paintings | | 9 | ARANCIONI | 78.5 | 56 | Natxo Navarro Renalias | What is Appreciated in Everyday Practices? Between Artifacts and Actions | | 10 | ARANCIONI | 78 | 5 | Logan Wigglesworth | Credit for Insight | | 11 | ARANCIONI | 78 | 63 | Yishu Chen | Empty Signifiers and Experiential Function: The Case of Fabricated Sakura Flavor | | 12 | ARANCIONI | 77.5 | 20 | Ksenija Savčić | Phenomenal Concepts in Aesthetics: A Naturalistic Account of Aesthetic Judgment | | 13 | ARANCIONI | 77.5 | 53 | Rebecca Zuccotti | Aesthetic Experience and Aesthetic Understanding: Art as a Laboratory of Thought | | 14 | ARANCIONI | 76.5 | 50 | Alistair Bugg | Preston | | 15 | ARANCIONI | 75.5 | 21 | Sam Heffron | Experiencing Realism in Film | | 16 | ARANCIONI | 75.5 | 18 | Angeliki Bara | Gastronoptikum: Rethinking Artefacts through Molecular Gastronomy | | 17 | ARANCIONI | 75 | 58 | Clara Isabel Campuzano Gómez | Back to the object: what’s the aim and what’s the consequence of aesthetic communication? | | 18 | ARANCIONI | 75 | 32 | Jingyi (Samantha) Du | Experiential Artifacts, Proxy Sound, and the Phenomenology of Musical Absence | | 19 | ARANCIONI | 75 | 14 | Julian Saccone | Experience-Recipes and Experience-Machines | ## Selected eight ### 1. Claudia Cano Abstract no. `41` | Proposal: Interest-Eliciting Artifacts and the Design of Epistemic Engagement Covering letter source: `Letter of Motivation_Cano.pdf` Resume/CV source: `CV_Cano.pdf` #### Covering Letter Verbatim ```text Claudia Cano Institut Jean Nicod [email protected] Selection Committee SIE International Summer School 2026 “Experiential Artifacts: Art, Technology, and Experience” Società Italiana di Estetica / PEA Project / Università di Genova Paris, April 30, 2026 Subject: Application – SIE International Summer School 2026 “Experiential Artifacts: Art, Technology, and Experience” Dear Selection Committee, I am writing to apply for the SIE International Summer School 2026 on “Experiential Artifacts: Art, Technology, and Experience,” organized by the Società Italiana di Estetica and the PEA project at the Università di Genova. I recently defended my PhD in cognitive philosophy (April 2026) at the Institut Jean Nicod and the École des Hautes Études en Sciences Sociales (Paris). My doctoral work develops an account of the mental state of interest, which I characterize as an epistemic emotion that motivates exploratory engagement by presenting its object as affording understanding. Within this framework, I argue that what is often described as a form of interest specific to aesthetic experience is not a sui generis phenomenon, but rather a manifestation of epistemic interest within such experience. This position has led me to examine not only the structure of interest as a mental state, but also the conditions under which it is elicited—especially in contexts where such experience is intentionally shaped, including pedagogical settings, science communication, and artistic practices. This is precisely what draws me to the theme of experiential artifacts. I am particularly interested in artifacts—such as museum exhibitions, installation environments, and forms of knowledge design—that are structured to elicit and sustain interest. These cases provide a compelling entry point for analyzing artifacts whose function is to generate specific forms of experience, while also raising questions about their epistemic and aesthetic status. In this respect, the Summer School’s proposal to bring aesthetics into dialogue with the philosophy of technology and the philosophy of mind directly resonates with my current research trajectory. I am especially interested in further developing the notion of experiential function and in refining the link between affective engagement and epistemic value through such an interdisciplinary approach. The combination of lectures and workshop sessions offers an ideal setting to deepen this line of inquiry and to situate my work within a broader conceptual framework. I would also welcome the opportunity to contribute to collective discussions by drawing on my background in philosophy of mind, aesthetics, and affective theory. I would be honored to participate in this Summer School. Thank you for considering my application. Yours sincerely, Claudia Cano ``` #### Resume / CV Extracted Text ```text Claudia Cano [email protected] PhD in philosophy (Écoles des Hautes Études en Sciences Sociales & Institut Jean Nicod, Paris). My research lies at the intersection of philosophy of mind, epistemology, and aesthetics, with a focus on interest as an epistemic emotion and its role in aesthetic experience. I also investigate how some artifacts shape and structure such forms of experience. EDUCATION October 2022 – April 2026 Ph.D. in Philosophy, École des Hautes Études en Sciences Sociales; Institut Jean Nicod (EHESS, ENS, CNRS), Paris Title: Capturing Interest: A Naturalized Account of Aesthetic (Dis)Interest as Epistemic Interest, defended April 13, 2026, at the Institut Jean Nicod. Supervisor: Jérôme Dokic Committee: Laurent Jaffro (Paris 1 Panthéon-Sorbonne), Sandra Shapshay (CUNY), Valeria Giardino (CNRS), Elisabeth Schellekens (Uppsala University), Enrico Terrone (Università degli Studi di Genova). Visiting PhD candidate at Columbia University (New York) September 2020 – June 2022 M.A. in Social Sciences (major in Philosophy), PSL–EHESS, Paris Specialization: Philosophy of language and mind. Title: The Beauty of Understanding: An Essay on the Relationship Between Aesthetic and Epistemic Values, defended June 29, 2022, at the Institut Jean Nicod. Graduated with Highest Honors (Très Bien). September 2019 – June 2020 B.A. in Philosophy, Paris 1 – Panthéon Sorbonne Specialization: Logic and Scienti c Culture. Graduated with Honors (Bien). September 2017 – June 2019 Preparatory Classes for Grandes Écoles (CPGE Littéraire), Lycée du Parc, Lyon Hypokhâgne – Khâgne (major in Philosophy). Preparation for entrance exams to ENS Ulm and ENS Lyon. Shortlisted for admission to ENS Ulm and ENS Lyon (2019). ACADEMIC EXPERIENCE Publications (Peer-Reviewed) - Cano, C., & Dokic, J. (Forthcoming). The aesthetic relevance of processing (dis) uency: Philosophical and empirical crossroads. In The Arts and the Drive for Knowledge: Philosophical, Psychological, and Neuroscienti c Perspectives. Oxford: Oxford University Press. - Cano, C. (Forthcoming). Reevaluating aesthetic disinterestedness through the lens of intrinsic motivation. New Ideas in Psychology. 1 fl fi fi - Cano, C., & D’Alessandris, F. (2025). Actively restructuring our models through aesthetic experience: Revisiting the adverbialist approach through predictive processing theory. Aesthetica Preprint, 126, 35–51. - Cano, C., & Dokic, J. (2025). Empirical psychology, evolution, and environmental aesthetics. In Routledge Handbook of Nature and Environmental Aesthetics (pp. 160–173). London: Routledge. - Cano, C., & Coudray, Q. (2024). Agir esthétiquement: Les catégories esthétiques comme modes de contemplation différenciés. Proteus, 21, 44–53. Talks - March 2026: Capturing Interest: A Naturalized Account of Aesthetic (Dis)Interest as Epistemic Interest." DocInNicod Seminar, Institut Jean Nicod, Paris (invited). - October 2025: "Reconciling curiosity and aesthetic disinterestedness." 4th International Beauty and Change Conference, Torino (peer-reviewed). - October 2025: "From the interested subject to the interesting object: Implications for knowledge design." Philosophy of Experiential Artifacts Seminar, University of Genova (invited). - April 2025: "Disinterestedness and intrinsic motivation." Aesthetics Workshop, CUNY Graduate Center, New York (invited). - March 2024: "In defense of a structure-oriented view of aesthetic experience: Advocating for a cognitive restructuring." American Society of Aesthetics – Paci c Division, University of California, Berkeley (peer-reviewed). - January 2024: "Actively restructuring our models through aesthetic experience." International Doctoral Workshop on Aesthetic Emotions, EHESS–Universitat de Barcelona (invited). Organization - Workshop: Aesthetics, Cognition and Environment, Institut Jean Nicod (ENS, CNRS, EHESS), April 14, 2026. - Workshop: Aesthetic Emotions, EHESS / Paris 1 – Panthéon-Sorbonne, November 22–23, 2024. - Doctoral Workshop: Perspectives on Aesthetic Emotions, EHESS / University of Barcelona, January–March 2024. Teaching Experience - Lecturer, “Philosophical Tools for a Sustainable World,” University Paris Sciences-Lettres (PSL) – 30h (2023-2024/2024-2025). Designed and taught an introductory course in environmental philosophy and analytic philosophical methods for rst-year students in the Sciences for a Sustainable World bachelor’s program. 2 fi fi Academic Engagement - Doctoral Representative, Institut Jean Nicod. Representing doctoral students’ interests and initiatives within the research laboratory and fostering dialogue between students and faculty. NON-ACADEMIC ACTIVITIES February 2021 – September 2022 Cultural Project Coordinator, Dix-Milliards-Humains, Paris Co-organized international seminars on social design practices. Directed the coordination of artistic and urban design projects, including exhibition design, curation, and public space interventions. Led editorial coordination for Inscriptions en relation: Des traces coloniales aux inscriptions plurielles (Zürich: Lars Müller, 2022). LANGUAGES Spanish (Native speaker) Catalan (Native speaker) French (Fluent) English (Fluent) Italian (Advanced) AWARDS AND GRANTS Excellence-Major Scholarship, Agency for French Education Abroad (AEFE) – French Government / Ministry for Europe and Foreign Affairs (2017–2021). Doctoral Contract, salaried PhD position awarded by the École des Hautes Études en Sciences Sociales (EHESS) (2022–2025). 3 ``` ### 2. Alper Güngör Abstract no. `8` | Proposal: Toward an Aesthetics of Cumulative Artifacts Covering letter source: `Genoa-Workshop-Motivation-Letter.pdf` Resume/CV source: `gungor-cv-2026-spring.pdf` #### Covering Letter Verbatim ```text Motivation Letter Dear Members of the Selection Committee, I am writing to express my interest in the SIE International Summer School 2026: Experiential Artifacts: Art, Technology, and Experience at the Università di Genova. Given my research background and current projects, I believe the summer school would be an excellent fit. I am a Ph.D. candidate in Philosophy at McGill University, working under the supervision of Prof. David Davies and Prof. Stephanie Leary. My research lies at the intersection of philosophy of art and philosophy of technology - precisely the areas the summer school aims to bring into dialogue. I have published on the relationship between artworks and artifacts in journals such as Synthese, Erkenntnis, and Dialectica, and I have presented work on these topics at venues including the European Congress for Analytic Philosophy, the International Social Ontology Society conference, and the Dubrovnik Conference on the Philosophy of Art. The summer school's central question (whether works of art can be reconceived as artifacts whose function is to generate experiences) is directly related to my ongoing research. In my published work, I have defended a pluralist account of the artifacts and explored whether artworks can be understood as functional artifacts. My forthcoming paper in Synthese, "From Categories of Art to Categories of Artifact," extends Kendall Walton's category framework to artifacts more broadly, and my Erkenntnis paper examines the tension between functional accounts of artifacts and the contested status of artistic function. The summer school's focus on experiential function offers a promising avenue for advancing these questions, particularly as I develop my current project on metaphysics and aesthetics of cumulative artifacts (e.g., cities, villages, paths) that are shaped by multiple agents over time and whose experiential character shifts accordingly. I also have an existing connection to the research environment in Genoa. In 2025, I spent a period as a visiting scholar at the Università di Genova hosted by Prof. Enrico Terrone, and I presented work at the Mental Artifacts and Artifactual Events Conference held there. I commented on Prof. Terrone's "The Appreciation Game" at the American Society of Aesthetics meeting in 2024. I am eager to deepen this intellectual exchange and to engage with the invited speakers, several of whose works have shaped my thinking, especially Prof. Evnine's and Prof. Houkes's on artifacts and functions. I am confident that the summer school's interdisciplinary structure (combining aesthetics, philosophy of technology, and philosophy of mind) would provide both the guidance and the collaborative setting I need to refine my current projects. I look forward to the opportunity to contribute to and learn from this program. Sincerely, Alper Güngör Ph.D. Candidate McGill University [email protected] ``` #### Resume / CV Extracted Text ```text ALPER GÜNGÖR [email protected] AREAS OF SPECIALITY Philosophy of Art, Philosophy of Technology EDUCATION Ph.D. McGill University, Philosophy 2022- Advisors: David Davies, Stephanie Leary Visiting Scholar University of Genoa, Philosophy 2025 Host advisor: Enrico Terrone MA Boğaziçi University, Philosophy 2022 Advisor: Nurbay Irmak Exchange Student at Tilburg University, Philosophy 2021 BA Boğaziçi University, Business Administration 2018 Certificate in Fine Arts HONORS AND AWARDS (*: COMPETITIVE) Graduate Travel Award 2025 Wolfe Chair Award* (7895$) 2025 FRQSC Award* (83000$) 2024-2027 MacDonald Chair Award 2023-2024 Dow Hickson Fellowship 2022- Graduate Excellence Award 2022- Erasmus+ Grant 2021 TUBITAK Graduate Scholarship* 2018-2020 TEACHING EXPERIENCE Course Instructor (1, McGill): Teaching Assistant (6, McGill): Aesthetics I (2026) Introduction to Philosophy (x1: 2025) History and Philosophy of Science (x1: 2024) Introduction to Deductive Logic (x3: 2022, 2023, 2024) Contemporary Moral Issues (x1: 2023) Güngör - 1 Guest Lecture (4, McGill): Aesthetics I, on Beardsley and Intro to Phil, Tips on reading and writing Carroll&Banes on Dance (Winter 2025) philosophy (Winter 2025) Aesthetics I, on Danto and Wollheim Intro to Phil, AI art and Authorship (Winter 2023) (Winter 2025) PUBLICATIONS 1. “From Categories of Art to Categories of Artifact” (forthcoming, Synthese) 2. “Artworks, functions, and pluralism about ‘artifact’” (published on 03.12.2024, Erkenntnis) 3. “Echo Chambers and Friendship” (published on 24.11.2023, Episteme) 4. “Artifact Concept Pluralism” (accepted for publication on 07.02.2023, Dialectica) Reviews: 1. Review on Immaterial: Rules in Contemporary Art (2022) by Sherri Irvin, Teaching Philosophy, 2024. Selected Non-Refereed Publications: 1. “Hume, İdeal Eleştirmenler ve Yapay Zeka” (Hume, Ideal Critics, and AI), Notos 105 2. “Yapay Zeka ve Nükleer Enerji: Yapıtların Politikası var mı?” (AI and Nuclear Energy: Langdon Winner’s “Do artifacts have politics?”), Notos 104 3. “Çağdaş Sanatın Kuralları” (Rules of Contemporary Art), Notos 103 4. “Kurmaca Nedir?” (What is Fiction?), Notos 101 5. “Arcangela Tarabotti ve Babaların Zorbalığı” (Arcangela Tarabotti and Paternal Tyranny). Notos 96 6. “Ya Sosyalizm ya Barbarlık!” (Socialism or Barbarism: A review of Capital and Imperialism: Theory, History, and the Present by Prabhat Patnaik and Utsa Patnaik). Notos 93 7. “Ölüm, Empati ve Bıçak Sırtı (1982)” (Death, Empathy and Blade Runner (1982)). Notos 92 8. “Yazarın Gürültülü Yalnızlığı” (On Bohumil Hrabal: Too Loud a Solitude of the Writer). Notos 92 9. “David Constantine ve Şiir Okumak” (David Constantine and Reading Poetry). Notos 91 10. “Madison Cawein’ın Çorak Ülke’si” (Madison Cawein’s Waste Land). Notos 87 11. “Popülizm Nedir?” (What is Populism?): Popülizm Nedir? - Oggito 12. “Dostoyevski ve Lacan: Büyük Engizisyoncu ve Büyük Öteki” (Dostoyevsky and Lacan: The Grand Inquisitor and the Big Other): Dostoyevski ve Lacan: "Büyük Engizisyoncu" ve Büyük Öteki - Oggito Referee Service: Inquiry (2025) Güngör - 2 CONFERENCES 1. “Why is a city like a dream?”, Mental Artifacts and Artifactual Events Conference, University of Genoa, Italy, 2025 2. “From Categories of Art to Categories of Artifact”, International Social Ontology Society (ISOS), Trinity College, Dublin, 2025 3. “AI art, collaboration, and appreciation”, Social Ontology Faces the Future II, Istanbul, 2025 4. Comments on Enrico Terrone’s “The Appreciation Game: A Monist Ontology of Works of Art”, American Society of Aesthetics General Meeting, Chicago, 2024 5. Comments on Joanna Lawson’s “The Social Construction of Identity”, CPA, McGill, Montréal, 2024 6. “Artworks, Functions, Pluralism about ‘Artifact’”, Canadian Philosophical Association (CPA), McGill, Montréal, 2024 7. “Artworks, Functions, Pluralism about ‘Artifact’”, Works of Art and Technical Artifacts: Towards a Unified Account?, University of Genoa, Genoa, Italy, 2023 8. “Artifact Concept Pluralism”, European Congress for Analytic Philosophy (ECAP) 11, University of Vienna, Vienna, Austria, 2023 9. “Artifact Concept Pluralism”, The Social Ontology Summer School, University of Neuchâtel, Neuchâtel, Switzerland, 2023 10. “Are Artworks Functional?”, 9th Dubrovnik Conference on the Philosophy of Art, The Inter-University Centre, Dubrovnik, Croatia, 2023 PROFESSIONAL TRAINING AND WORKSHOPS Research Assistantship, Maclure, (2025-) Teaching Seminar, Leary, McGill (2024) The Social Ontology Summer School, Neuchâtel (2023) Teaching Assistantship Training, McGill (2022) Creative Writing Workshop, Notos (2021) GRADUATE COURSEWORK (*:AUDITED) Metaphysics and Epistemology: Fiction, Davies, Winter 2024 (McGill) Metaphysics of Artifacts*, Davies, Winter Ontology of Art, Davies, Winter 2023 2025 (McGill) (McGill) Metaphysics of Grounding, Leary, Fall Masters of Suspicion, Welten, Spring 2021 2023, (McGill) (Tilburg) Readings in Metaphysics, Demirli, Fall 2020 (Boğaziçi) Philosophy of Science: Modal Metaphysics and Epistemology, Scientific Pluralism, Kılınç, Fall 2019 Meguid, Fall 2019 (Boğaziçi) (Boğaziçi) Advanced Issues in Ontology, Irmak, Fall 2019 (Boğaziçi) Ethics: Ethics of AI, Maclure, Fall 2023 (McGill) Aesthetics: Ethics of Technology, Howard, Fall 2022 Philosophy of Music*, Lewis, Winter, (McGill) 2025 (McGill) Güngör - 3 Environmental Ethics and Sustainability, Social and Political Philosophy: Lopez, Spring 2021 (Tilburg) Freedom, Sharp and Voigt, Fall 2023 (McGill) History of Philosophy: Populism and Active Citizenship, Dries, 18th Century Philosophy, Carson, Winter Spring 2021 (Tilburg) 2023 (McGill) Issues in Contemporary Society, Özselçuk, Feminist Theory, Sharp and Deslauriers, Fall 2020 (Boğaziçi) Fall 2022 (McGill) Political Freedom, Silier, Spring 2019 (Boğaziçi) SELECTED NON-ACADEMIC WORK EXPERIENCE 1. Oggito, Editor and Translator, 2020-2023 A media outlet that publishes daily art, literature, and philosophy articles in Turkish. 2. Notos, Contributing Writer, 2020- A literary magazine publishes bi-monthly since 2006. 3. Library Assistant, Boğaziçi University, 2017-2018 Güngör - 4 ``` ### 3. Lola Martínez-Pons Ortuño Abstract no. `54` | Proposal: Literary Entities as Experiential Artifacts: What Does Imagination Have to Do with It? Covering letter source: `motivation letter SIE Genova.pdf` Resume/CV source: `CV APR 26.pdf` #### Covering Letter Verbatim ```text Dear scientific commi.ee: I address you with the aim of motivating my application to participate in the SIE International Summer School 2026 on Experiential Artifacts: Art, Technology, and Experience. I am a fourth- year PhD candidate at Universidad de Murcia (Spain), from which I hold both a BA in Philosophy (2021) and an MA in Philosophical Research (2022). My overall research project centers on the phenomenology of literary interpretation and the influence of aesthetic taste in interpretation and evaluation of literary works –everything on the grounds of taking both activities to be indivisible from aesthetic appreciation. Most recently, as a result of the research activities completed during my visit at New York University (NYU) with the sponsorship of prof. Robert Hopkins, I undertook the exploration of the role of imagination in literary engagement, which in turn led to focus on the status of literary entities. I believe this theoretical endeavor to be of paramount relevance to the nuclear topic around which the Summer School is set to be built, namely experiential artifacts. The ontological status of literary entities, and of fictional characters specifically, is a classic query discussed within modern and contemporary aesthetics, as well as in theory of fiction, both applied to literature, film and folklore. However developed, there is still much left to be clarified regarding this kind of entities. My research tackles literary entities alone –both full-blooded fictional and non- fictional/reality-based ones–, but I find them to be of special interest given the already complex ontology of literary works. In this regard, prof. Terrone’s characterization of fictional entities as experiential and abstract artifacts seems one of the most promising realist approaches to literary entities in recent years, and I would greatly appreciate the opportunity of developing my research idea among with the feedback of PEA’s research group. From a curricular perspective, my contribution would help in strengthening the collaborative links between Universidad de Murcia and Università di Genova’s aesthetics groups On my role within the former’s Department of Philosophy, it may be worth noting the academic relationship with my current supervisor i.e. prof. Francisca Pérez Carreño, which has remained continuous ever since the writing of both my BA and MA dissertations. Given her role as Co-PI of ARESMUR- Aesthetics and Theory of Arts’ latest research projects, I therefore figure as an active member of ARESMUR since 2020 and have been consistently participating in the ongoing activities (ARESMUR Permanent Seminar and ARESMUR Reading Group), as well as in the yearly workshops and meetings of the group, ever since. As of today, both universities in Murcia and Genova host two of the largest research groups in analytic aesthetics among the Mediterranean countries, and thus I find the possibility of exchanging feedback (specially between PhD candidates) on our respective research ideas to be highly and mutually beneficial. Best regards, Lola Martínez-Pons Ortuño ``` #### Resume / CV Extracted Text ```text Lola Martínez-Pons Ortuño PREDOCTORAL RESEARCHER Phone number Mail Location +34 682798177 [email protected] Murcia, Spain ABOUT ME I am a fourth-year PhD student in Philosophy at Universidad de Murcia, Spain. I hold a BA Degree in Philosophy (2021), as well as an MA Degree in Philosophical Research (2022), both from the same institution. In 2020, while still an undergraduate, I started my research activities as a grant holder with the research group ARESMUR-Aesthetics and Theory of Arts, and in 2022 I became a predoctoral student. In 2023 I was granted a predoctoral research scholarship with the Seneca Foundation (Murcia, Spain) for the completion of my doctoral thesis, entitled “Between taste and interpretation: the aesthetic evaluation of artworks”. My academic interests focus on artistic interpretation (more specifically of literature), aesthetic taste and normativity, theories of meaning and interpretation in philosophy of language, as well as aesthetic contextualism. ACADEMIC PhD in Philosophy BACKGROUND Universidad de Murcia | March 2023 - March 2027 Specialty Program: Contemporary Philosophical Aesthetics Master’s Degree in Research in Philosophy Universidad de Murcia | October 2021 - July 2022 Specialty Program: Contemporary Aesthetics Bachelor’s Degree in Philosophy Universidad de Murcia | September 2017 - June 2021 Predoctoral Researcher CURRENT Seneca Foundation-Agency of Science and Technology of PROFESSIONAL STATUS the Region of Murcia | March 2023 - March 2027 Pre-doctoral research contract attached to the Department of Philosophy of the University of Murcia Research and teaching in predoctoral status with ARESMUR-Aesthetics and Theory of Arts research group PROFESSIONAL Predoctoral Research Fellow University of Murcia | October - December 2022 BACKGROUND Predoctoral Research Fellow University of Murcia | October - December 2021 CONFERENCE Why cannot artistic interpretation do without taste? PARTICIPATIONS European Society for Aesthetics Annual Conference | June 16-18 2025 National and Kapodistrian University of Athens (Greece) Why cannot literary interpretation do without taste? XXII Taller d’Investigació en Filosofia | April 3-4 2025 Universitat Pompeu Fabra (Barcelona, Spain) The role of attunement in the exercise of aesthetic taste XXI Taller d’Investigació en Filosofia | July 4-5 2024 Universitat de València (Spain) Is Attunement a Solution to the Antinomy of Taste? European Society for Aesthetics Annual Conference | June 6-8 2024 Università di Napoli L’Orientale (Naples, Italy) OTHER ¡Pero cómo no te va a gustar! Reivindicar el placer en la COMMUNICATIONS apreciación estética International Congress Cuarto Encuentro de Investigación SyMPOSIO SEyTA | April 16-18 2026 In partnership with Francesca Mattioli (Universidad de Murcia), Natxo Navarro Renalias (Universidad de Murcia) and Diego Zorita (Universitat de València) Jerez de la Frontera, Cádiz (Spain) Organized by “Sociedad Española de Estética y Teoría de las Artes Beyond the Text? Imagination and Literary Experience XIX Workshop on Aesthetic Experience «Aesthetic Appreciation & Rationality: Problems and Prospects» | January 8-9 2026 Universidad de Murcia (Spain) Beyond The Text? The Role of Imagination in Literary Experience Washington Square Conferences | October 31 2025 NYU Department of Philosophy (New York, USA) ¿Por Qué la Interpretación Literaria no Puede Prescindir del Gusto? X Jornadas Doctorales EIDUM-EINDOC-CMN 2025 | June 23-25 2025 Universidad de Murcia (Spain) Why cannot artistic interpretation do without taste? XVIII Workshop on Aesthetic Experience «Aesthetic Appreciation, Rationality, and Criticism» | January 13-14 2025 Universitat Pompeu Fabra (Barcelona, Spain) El rol del attunement en el ejercicio de gusto estético IX Jornadas FiloDoc | November 11-15 2024 Universidad de Granada (Spain) Is attunement the solution to the antinomy of taste? XIX Workshop on Aesthetic Experience «Aesthetics and Criticism» | 18-19 Enero 2024 Universidad de Murcia (Spain) OUTREACH Round Table: Research in philosophy today XXI Philosophy Week of the Region of Murcia. Philosophy ACTIVITIES and literature | February 14 2024 In partnership with Clara Campuzano Gómez (Universidad de Murcia), Eduardo Cano Muñoz (Universidad de Murcia) y Natxo Navarro Renalias (Universidad de Murcia) Murcia (Spain) Organized by “Sociedad de Filosofía de la Región de Murcia” ¿Por qué algo es bello para mí y para ti no? Philosophical Cafes «Cartagena Piensa» Program | May 17 2023 In partnership with Clara Campuzano Gómez Organized by “Concejalía de Cultura del Ayuntamiento de Cartagena” RESEARCH ARESMUR Permanent Seminar (ongoing) ACTIVITIES ARESMUR Reading Group (ongoing) Research Meeting ARESMUR: Aesthetic Testimony Murcia, November 29-30 2021 XIV Inter-University Workshop «Mind, Art and Morality: Aesthetic Normativity» Murcia, May 5-6 2022 Third Research Meeting SyMPOSIO SEyTA Madrid, April 25-27 2024 FUNDING AND Ayudas para la realización de estancias externas destinadas a los SCHOLARSHIPS investigadores predoctorales contratados con cargo al Subprograma Regional de Contratos de FPI Fundación Séneca | September - December 2025 Visiting fellowship New York University (United States) Department of Philosophy Sponsor: prof. Robert Hopkins Ayuda de Iniciación a la Investigación | Modalidad B Banco Santander, S.A. | October 2021 - December 2021 Pre-doctoral fellowship Universidad de Murcia (Spain) Department of Philosophy Ayuda de Iniciación a la Investigación | Modalidad A Banco Santander, S.A. | October 2022 - December 2022 Pre-doctoral fellowship Universidad de Murcia (Spain) Department of Philosophy Beca de Colaboración Ministerio de Educación y Formación Profesional | November 2020 - June 2021 Undergraduate research fellowship Universidad de Murcia (Spain) Department of Philosophy TEACHING Aesthetics II ACTIVITIES BA in Philosophy | January - May 2026 Course: Seminar Hours: 15 Universidad de Murcia - Facultad de Filosofía Theory of Art BA in Fine Arts | September - December 2024 Course: Seminar Hours: 60 Universidad de Murcia - Facultad de Bellas Artes History of Aesthetic Ideas BA in Art History | January - May 2024 Course: Seminar Hours: 15 Universidad de Murcia - Facultad de Letras Teory of Art BA in Fine Arts | September - December 2023 Course: Seminar Hours: 30 Universidad de Murcia - Facultad de Bellas Artes RESEARCH The Rationality of Taste. Aesthetic Appreciation and PROJECTS Deliberation (PID2023-149237NB-I00) ARESMUR-Aesthetics and Theory of Arts | 2024- Normative Aspects of Aesthetic Appreciation (PID2019- 106351GB-100) ARESMUR-Aesthetics and Theory of Arts | 2021 - 2024 European Society for Aesthetics RESEARCH SOCIETIES’ June 2024 MEMBERSHIP Sociedad Española de Estética y Teoría de las Artes April 2024 Spanish: English: Catalan: French: LANGUAGES Native C1 level A2 level C1 level speaker 150 (Duolingo) MA Dissertation: Ontología de las propiedades estéticas en ADDITIONAL arte MERITS Grade: 10 | July 2022 BA Dissertation: La comprensión musical según Wittgenstein Grade: 10 Honours | June 2021 Best Senior Year’s Academic Record in Philosophy Award | June 2021 ADDITIONAL Elementary Degree in Piano TRAINING Conservatorio Profesional de Música Ana María Sánchez Elda, Alicante (Spain) | September 2012 - June 2016 ``` ### 4. Nick Wiggershaus Abstract no. `26` | Proposal: Lessons from Computational Artworks: Both Technical and Experiential Functions? Covering letter source: `Letter of Motivation_NickWiggershaus.pdf` Resume/CV source: `Academic CV_Nick Wiggershaus April 2026.pdf` #### Covering Letter Verbatim ```text Nick Wiggershaus [email protected] University of Vienna Department of Philosophy, Universitätsstraße 7 (NIG), C0208 1010 Vienna Vienna, 27.04.2026 Application for SIE International Summer School 2026 in Genova Dear Organizers, I am writing to express my interest for the SIE International Summer School on Experiential Artifacts at the University of Genova, 31 August - 4 September 2026. Recently, I started my postdoctoral research in the philosophy department of the University of Vienna (December 2025) in Tarja Knuuttila’s group. Building on my doctoral thesis ‘Mind the Gap – A Historico-Philosophical Analysis of the Ontological Status of Computer Programs’ (awarded in 2025 at the University of Lille) I currently investigate the nature of computational artifacts and which kinds of functions these objects may bear. Due to the heterogeneous nature of computer science’s entities, my work draws from the philosophy of science, philosophy of technology, philosophy of applied mathematics, and philosophy of art. While my research aligns with the summer school’s goal to investigate the relationship between art and technology, one of my main motivations is that, so far, I have paid little attention to the role of imaginative experiences. I believe that the curriculum on experiential artifacts will not only fill this gap but also benefit my own research. As detailed in my attached research proposal, I am particularly interested in exploring where both computational artifact and experiential artifacts intersect – computational art. Given the overlap, my question is whether the insights into how experiential artifacts exhibit functions can be transposed to computing. Lastly, I am also drawn to engaging with Enrico Terrone (whose 2024 Synthese special edition, together with Irene Olivero I have closely followed), Simon Evnine (whose Making Objects and Events I am currently reading with an international online reading group), and Wybo Houkes (whose work on technical artifacts and malfunctioning software resonates with mine). I hope that meeting these scholars and other like-minded early-career researchers in person will spark valuable (longer-term) philosophical exchanges. Thank you for considering my application. Please do not hesitate to contact me should you need more details or have additional questions. I look forward to hearing from you. With kind regards, Nick Wiggershaus ``` #### Resume / CV Extracted Text ```text Nick Wiggershaus Curriculum Vitae Postdoc University of Vienna Department of Philosophy Universitätsstraße 7, 1010 Wien (AT) Room C208 [email protected] https://www.researchgate.net/profile/Nick-Wiggershaus AOS: Philosophy of Computing, Philosophy of Science, Philosophy of Technology AOC: Philosophy of Physics PROFILE: My main work on theories of computational implementation and the ontological status of computational artifacts sits at the intersection of philosophy of science, philosophy of technology and metaphysics. Besides, I am also interested in foundations of physics, and the debates about scientific representation and modeling, specifically in relation to theories of physical computation. In my current research I investigate the notion of computational artifacts. EDUCATION 2018-2025 Ph.D. in Philosophy Lille University (FR) Thesis: ‘Mind the Gap – A Historico-Philosophical Analysis of the Ontological Status of Computer Programs’ Supervisors: Dr Liesbeth De Mol, Prof Dr Shahid Rahman Defence: January 8, 2025 Jury: Prof. Dr. Guiseppe Primiero, Prof. Dr. Shahid Rahman, Dr. Liesbeth De Mol, Prof. em. Dr. Dr. Raymond Turner, Prof. Dr. Tarja Knuuttila, Dr. Julie Jebeille 2018 Summer School The Chimera of Entropy Split University (now, John Bell Institute; CR) Lectures on the philosophy of statistical mech. & thermodynamics 2015–2018 M.Sc in History and Philosophy of Science Utrecht University (NL) Thesis: ‘The Ontological Status of Information in Physics’ Supervisors: Dr. Guido Bacciagaluppi, Prof. Dr. Dennies Dieks 2011–2015 B.Sc in Physics, Philosophy minor TU Dortmund University (GER) Thesis: ‘Temperaturentwicklung von Multi-Pixel-Photon-Countern in Abhängigkeit der Stromstärke’ Supervisor: Prof. Dr. Wolfgang Rhode 2013 Exchange Semester Virginia Commonwealth University (USA) WRITTEN RESEARCH OUTPUT Peer reviewed ‘Physical Programmability’ Minds and Machines 35 (2):1-29 (2025) Under review ‘Towards a Unified Theory of Implementation’ (Article) ‘An Updated Survey on the Ontological Status of Computer Programs’ (Book chapter for a philosophy handbook) ‘Why Computational Artifacts Are Not Technical Artifacts’ (Article) In Preparation ‘A New Plea for Interpretational Theories of Physical Computation’ (Article) ‘Why We Should Think of Computational Implementation as a Three-Place Relation’ (Article) Book Chapter PROGRAMme book I: What is a computer program? (co-author; forthcoming) SELECTED PRESENTATIONS May 2025 Mini Workshop on Computation and AI University of Vienna Talk: Computational Artifacts and the Problem of Creation Dec 2024 Practices around Computation Université Paris 13 Talk: Why We Should Think of Computational Implementation as a Three-Place Relation June 2024 Models, Representation, and Computation Sorbonne Université Paris Talk: Why We Should Think of Computational Implementation as a Three-Place Relation Oct 2023 History and Philosophy of Computing (HaPoC) Biennial Conference Warsaw University of Technology Talk: Physical Programmability May 2022 Histoire et Philosophie de l'Informatique et du Calcul (HEPIC) Seminar IHPST Paris Talk: Implementation-as – an instrumental notion of computation Oct 2021 History and Philosophy of Computing (HaPoC) Biennial Conference ETH Zürich Talk: Why We Need an Agential Theory of Implementation in Computer Science Sep 2021 PROGRAMme workshop Bertinoro University Residential Center Talk: An Artifactualist View on Programs July 2021 British Society for the Philosophy of Science (BSPS) Annual Conference (Online) Kent University Symposium: ‘Fictions in Science & Metaphysics’ (co-organiser) Talk: How idealising counterfactuals explain: an interventionist take. July 2021 CEPE/ International Association for Computing and Philosophy (IACAP) Annual Conference (Online) Hamburg University Talk: What to Make of Functions in Computer Science? A Case Study on the Basis of Computer Programs June 2021 Society for Philosophy and Technology (SPT) Biennial Conference (Online) Université Catholique de Lille Symposium: Technology as Fiction? The curious case of computer programs (Organizer) Talk (Symposium): Computer Programs & Music – much in common? May 2021 9es Rencontres Doctorales Internationales de Philosophie des Sciences (Online) University Aix-Marseille Talk: Can we be realists about computer programs? Feb 2021 Séminaire des doctorants franco-belges (philosophie) 2020-21 (Online) Liège University Talk: A Fiction View of Computer Programs Aug 2020 10th European Congress for Analytic Philosophy (Online) Utrecht University Talk: Programmability OTHER ACADEMIC ACTIVITIES Oct 2023 PROGRAMme Autumn workshop Bertinoro University Center (IT) Multi-day workshop, finalizing Book I June 2023 PROGRAMme spring workshop: Future visions on computing and programming then and now Lille University (FR) Multi-day workshop Oct 2022 PROGRAMme workshop: Final workshop Bertinoro University Center (IT) Multi-day workshop, writing Sessions Book I & II June 2022 History and Philosophy of Programming Conference & PROGRAMme workshop: What is a Computer Program? Final Conference Lille University (FR) Multi-day workshop, presentation of Chapters (drafts) Book I & II Sep 2021 PROGRAMme workshop: What is a computer program, revisited Bertinoro University Center (IT) Multi-day workshop , talks, plenary sessions, writing sessions June 2021 PROGRAMme workshop: Systems (online) Lille University (FR) Multi-day workshop , talks and plenary sessions about the socio-technical nature of programs June 2020 PRORAMme online workshop (online) Lille University (FR) Multi-day workshop, collaborative work meeting Nov 2019 TransUniv workshop/ Digital Health bootcamp Multi-day workshop, product-pitch Sep 2019 PROGRAMme autumn-workshop: Programming Languages and Notations Bertinoro University Center (IT) Multi-day workshop, talks, plenary sessions June 2019 PROGRAMme spring-workshop: Machines Lille University Multi-day workshop, collaborative work meeting on machines, respondent during plenary session ACADEMIC SERVICES 2022 Referee Journal: Minds & Machines July 2021 Symposium organisation (co-organizer): ‘Fictions in Science & Metaphysics’ British Society for the Philosophy of Science (BSPS) Annual Conference June 2021 Symposium organisation: Technology as Fiction? The curious case of computer programs Society for Philosophy and Technology (SPT) Biennial Conference July 2018 Volunteer at Foundation of Physics Biennial conference Utrecht University Mar 2017 Organisation of HPS study-trip to an academic conference Foundation of Reality: Metaphysics of Space and Time, Oxford University (UK) EXTRACURRICULAR EXPERIENCES 2025 Dutch courses (B2.2) 2019 – 2023 Acquisition of French language skills Multiple language courses with Alliance Française 2019 – 2020 Online courses (edX) in learning C Sep 2018 Scholarship ‘Japan Erleben’ (1-month cultural exchange in Japan) Studienwerk für Deutsch-Japanischen Kulturaustausch in NRW e.V. 2012-2015 Italian Conversation courses (B2) 2010-2011 Civilian Service Worker (Zivildienst) Chiesa Evangelica Luterana, Rome (IT) SKILLS Languages Technical Organisational German Native MS Office: (teams, ppt, Research project management English C2 excel, word) Organizing symposia Dutch B2/C1 LaTex, Leading seminars Italian B2 C (basic knowledge) Research Coordination French B1 REFERENCES Dr Liesbeth De Mol Prof em Raymond Turner Prof Guiseppe Primiero Prof Shahid Rahman Lille University/CNRS University of Essex Università degli Studi di Lille University/ STL UMR 8163 - CNRS Colcheser Campus Milano STL UMR 8163 - CNRS Rue du Barreau BP 60149 Wivenhoe Park, Via Festa del Perdono, 7 Rue du Barreau BP 60149 59653 Villeneuve d'Ascq (FR) Colchester CO4 3SQ (UK) 20122 Milano (IT) 59653 Villeneuve d'Ascq (FR) [email protected] [email protected] [email protected] [email protected] ``` ### 5. Lorenzo Zanaboni Abstract no. `28` | Proposal: Authorial/non authorial objections to PEA Covering letter source: `Motivation_Letter_Genoa.pdf` Resume/CV source: `CV Zanaboni-1.pdf` #### Covering Letter Verbatim ```text Lorenzo Zanaboni Piombino, Italy [email protected] Dear organizers, I am writing to express my interest in participating in the SIE International Summer School 2026 – Experiential Artifacts: Art, Technology, and Experience. As you can see from my CV, my background is in philosophy, and I am currently pursuing a PhD in Florence with a project focused on the relationship between personal identity and theories of biological individuality. Although this topic may initially seem distant from the themes of the Summer School, there are two main reasons why I would be very interested in taking part. First, there are personal motivations. While my formal specialization is in logic and philosophy of science, I have long maintained a strong interest in aesthetics and metaphysics. My undergraduate thesis was on aesthetics, and over the years, I have continued to engage with this field by studying contemporary literature alongside my primary research interests. A similar consideration applies to analytic metaphysics, on which I have focused in recent years and which I consider a fundamental component of philosophical training. In this regard, I have also founded a seminar in Florence aimed at promoting topics and discussions in metaphysics among students. Beyond these personal motivations, I believe that participating in the Summer School could play an important role in the development of my doctoral project. As mentioned, my research addresses issues related to personal identity. In engaging with contemporary debates, I aim to argue that the concept of a person should not be understood as a natural kind, whose conditions of identity and persistence can simply be discovered, but rather as a human product. The idea that personal identity is socially constructed is not new and can be found across a wide range of philosophical traditions, from Hume and Nietzsche to Candrakı̄rti and contemporary conventionalist approaches. However, such positions often lack a sufficiently precise theoretical account of what it means to be “socially constructed”. From this perspective, I believe that contemporary artifact theories can provide particularly useful conceptual tools for specifying the ways in which something—whether a material object or an abstract category—can be socially constructed. Moreover, an artifact-based account of identity can help explain how normative, ethical, and political factors shape our use of certain categories, including in biological contexts. Since reflecting on the artifact-like nature of certain categories will be a central starting point of my project, I believe that participating in this Summer School would be extremely valuable for my research. Kind regards ``` #### Resume / CV Extracted Text ```text Lorenzo Zanaboni Piombino, 57025 Italy I +39 380 3428804 Curriculum Vitae # [email protected] Education 2025 – PhD in Philosophy, University of Florence Present 2020 – 2024 MA in Logic, Philosophy and History of Science (110/110 cum laude), University of Florence 2015 – 2018 BA in Philosophy (110/110 cum laude), University of Florence Academic Activities 2025 Recipient of the research grant “Biological Conservation and Aesthetic Biases: Theory and Practice of an Interdisciplinary Research Program”, University of Florence 2023 – Co-founder and organizer of Antipéra, a seminar series in analytic metaphysics, Present University of Florence 2023 Organizer of a seminar by Alberto Peruzzi: Category Theory and Abstract Algebra for Philosophers, University of Florence Skills Languages Italian (native), English (excellent) Digital Python, HOL theorem prover, Knowledge Representation tools (Protégé, OWL, SPARQL), LATEX Research Interests Philosophy of Biology: Biological individuality, philosophy of microbiology, ecology and conservation. Metaphysics: Material constitution, mereology, personal identity, metaphysics of artifacts. Aesthetics and Philosophy of Art: Aesthetic properties and aesthetic value, issues on medium-specificity, environmental aesthetics. ``` ### 6. Siying Jiao Abstract no. `11` | Proposal: Perfumery Expressiveness Covering letter source: `motivation letter.pdf` Resume/CV source: `CV for SIE.pdf` #### Covering Letter Verbatim ```text Dear Committee, I am a writing-up year PhD student in philosophy at University of York. My research focuses on aesthetics and philosophy of perception, with a particular interest in aesthetic emotion and olfaction, especially in relation to perfume. My doctoral thesis explores olfaction and odours from a range of aesthetic perspectives. In one chapter, I examine the relation between smell, atmosphere, and everyday aesthetics. In another, I explore the expressiveness of perfume and consider wearing perfume as a way of creating atmosphere. These topics closely connect with the Summer School’s focus on experience and the function of art. More broadly, my thesis also addresses questions about “what are odours”, spatial and affective dimensions of olfactory experiences, the role of odours in environmental aesthetics, and olfaction as a disinterested sense, as well as feminist and global approaches to olfaction. My work has been influenced by several of the invited speakers and tutors. For example, Derek Matravers’ work on art and emotion, especially his development of arousal theory in the context of music, has been important for my own thinking about perfume and expressiveness. Enrico Terrone’s work on artworks as affective artefacts, as well as his collaborative research with Chiara Brozzo on perfume, has helped me to clarify key issues in my chapter on perfume. In addition, the work of Nick Young on auditory experience and Elisa Caldarola on atmosphere has been highly relevant to my research. I am particularly drawn to the interdisciplinary focus of the Summer School. While my work is mainly situated in philosophy of mind and aesthetics, I am increasingly interested in and how the notion of function can be clarified through dialogue with the philosophy of technology. I see this programme as an ideal opportunity to further develop these connections. I also have strong motivation to participate in person. I have visited Italy several times, often for academic events. In 2023, I attended the “Beauty and Change” conference at the University of Turin. In 2024, I presented a paper at the World Congress of Philosophy in Rome on olfaction as a disinterested sense. I also attended a workshop on atmospheres in Genoa, where I had the opportunity to engage with researchers working in this area. In addition, my work on perfume was selected for presentation at the British Society of Aesthetics conference, where I received valuable feedback, including from some of the tutors involved in this Summer School. These previous exchanges have already been very helpful for my research. I believe that participating in the Summer School would allow me to continue these conversations in a more focused way, and to further develop my current research idea in dialogue with both tutors and peers. Thank you very much for considering my application. Siying ``` #### Resume / CV Extracted Text ```text Siying Jiao Email: [email protected] Tel.: 07536209938 RESEARCH INTERESTS____________________________________________________________________________________ Broad Areas: - Philosophy of Mind - Philosophy of Art and Aesthetics Specific Focus: - Philosophy of Olfaction - Atmosphere - Philosophy of Perfume - Non-art centred Aesthetics EDUCATION University of York York, UK PhD in Philosophy (CSC-funded) Sep 2022 - Present Supervisor: Dr. Lousie Richardson University of St Andrews St Andrews, UK MLitt Philosophy Sep 2019 - Dec 2020 GPA: 14.4; with merit (dissertation with distinction) Beijing Normal University (BNU) Beijing, China Bachelor Philosophy Sep 2015 - Jun 2019 GPA: 87.9/100 PUBLICATIONS Manuscripts in Preparation - “Olfaction and Experiences of Atmospheres.” - “Perfumery Expressiveness.” PRESENTATION Perfumery Expressiveness, British Society of Aesthetics Annual Meeting, Oxford, UK, September 2025. Perfumery Expressiveness, Mind and Reason Special Workshop, University of York, UK, April 24, 2025. Perfumery Expressiveness, Olfactory Philosophy Workshop, University of Nevada, Reno, USA, April 30 – May 4, 2025. What Experiences of Atmosphere Involve, White Rose Graduate Conference in Phenomenology and Philosophy of Mind, York, UK, October 2024. What Experiences of Atmosphere Involve, Mind and Reason Research Group, University of York, UK, December 2024. Disinterested Olfaction, 25th World Congress of Philosophy, Rome, Italy, August 2024. TEACHING TRAINING______________________________________________________________________________________ Logic Teaching Training, University of York, UK, Autumn Semester 2025. ACADEMIC SERVICE_______________________________________________________________________________________ - Organiser, PGR Conference ‘Styles of Perception: From Historical Perspectives to the Digital Age’, funded by Research England - Enhancing Research Culture (ERC) fund, June 30 - July 1, 2026 - Chair, Interdisciplinary Symposium: ‘Scent and Imagination’, University of Cambridge, June 4, 2025. PUBLIC ENGAGEMENT York Ideas Festival: Family Fun Afternoon Project: Distinguishing Smells without Vision, Team Leader, Jun 2023 York Ideas Festival Project: Multisensory Adventure, Team Member, Jun 2024 Museum Engagement (Curatorial and Research Work) Capital Museum, Beijing, China, Winter 2018. Gallery Engagement (Public Programs and Library Development) OCAT Institute, Beijing, China, Spring 2021 - Spring 2022. ADDITIONAL INFORMATION - Chinese (native) - English (fluent) - Latin (reading knowledge) ``` ### 7. Edgard Darrobers Abstract no. `45` | Proposal: Being Moved by Works of Art Covering letter source: `motivation letter SUMMER SCHOOL PEA.pdf` Resume/CV source: `CV EDGARD DARROBERS (english).pdf` #### Covering Letter Verbatim ```text Dear Summer School organisers, I am writing to apply for the PEA group’s summer school in August 2026, which I would very much enjoy attending. I am currently in my fourth year of my PhD, working on the topic ‘What is Being Moved?’, registered at the University of Paris 1 Panthéon-Sorbonne under the supervision of Laurent Jaffro and at the University of Geneva under the supervision of Julien Deonna. My thesis topic focuses particularly on the aesthetic dimension of tears and fits perfectly with the idea of works of art as artefacts designed to produce a certain type of emotional experience: it would be of great benefit to my PhD research to have the opportunity to discuss this with your team. I first came across the PEA research group in January 2025 at the Philosophy of Poetry conference, organised by Francesco Pierini, which I had the pleasure of giving a talk with Caroline Payen. I loved the intellectually stimulating and philosophically ambitious atmosphere that had been created in Genoa. The overall project on experiential artefacts is truly fascinating, both in the way it applies to different art forms—opening up new and rich perspectives for aesthetic philosophy —and, in particular, in the ways it is integrated into the various research projects of the team’s PhD and postdoctoral students, whose highly insightful work I had the chance to discover at SIFA in August 2025. I greatly admire the ability to combine the most rigorous analytical aesthetic philosophy with a deep sensitivity to works of art and artistic practices. Similarly, I particularly admire Enrico Terrone’s various contributions to the philosophy of aesthetics. This summer school seems the perfect opportunity to play an active part in this superb research project. The lectures and various group activities planned for the summer school look particularly exciting. In particular, the participation of Elisabeth Schellekens, Derek Matravers and Anna Giustina—whose respective work on the noetic experience of works of art, on emotions and aesthetic properties, and on introspection—particularly motivates me to take part, as each of these themes corresponds to a central focus of my doctoral research. I am very keen to play an active role in this summer school and would be most grateful if you could give me the opportunity to do so. With very best regards, Edgard Darrobers ``` #### Resume / CV Extracted Text ```text Edgard Darrobers Paris, France (117 rue de la Roquette, 75011) ◆ +33651244218 ◆ [email protected] Education PhD in Philosophy, Université Paris 1 Panthéon-Sorbonne (NoSoPhi) & Université de Genève (Thumos) 2022- • Subject: ‘‘What is Being Moved?’’ • Supervisors: Laurent Jaffro (Nosophi, Paris 1) & Julien Deonna (Thumos, Genève) • PhD contract with teaching assignments Master’s in Philosophy, École Normale Supérieure de Paris 2016-2022 • Received in the entrance exam (12/72) • Coursework in Cognitive Studies, Logic, Metaphysics, History of Art, Literature, Theatre Studies Agrégation de Philosophie 2020-2021 • National examination for academic excellence and university teaching • Received in the entrance exam (8/73) • Preparation ENS, Coursework in History of Philosophy and Metaphysics Master’s in Philosophy, Paris 1 Sorbonne: Contemporary Philosophy 2016-2018 • Thesis M2: "Rorty and poetic relativism, The question of truth between metaphors and redescriptions", dir. Jocelyn Benoist. GPA: 4.0 • Thesis M1: "Essentialism in John Dewey's Art as Experience", dir. Jocelyn Benoist. GPA: 4.0 • Coursework in Contemporary Philosophy, Moral Philosophy, Analytical Philosophy, Aesthetic Philosophy, Phenomenology Publications and Conference Talks A. Publications E. Darrobers, « Existe-t-il un sens moral ? Shaftesbury, Hutcheson, Hume et Smith », Philippe Touchet (dir.), La Sensibilité, Limoges, Éditions Lambert Lucas, 2023. E. Darrobers, L’amour, Les Printanières, 2026. Forthcoming: E. Darrobers, ‘Le sens des responsabilités’, Revue de métaphysique et de morale, Special Issue: Responsibility, edited by S-P. Chevarie-Cossette. E. Darrobers, Introduction and Coordination of the Dossier on the theme “Emotions and Responsibility,” Les ateliers de l’éthique, 2026. E. Darrobers , Introduction and Coordination with R. Frenette of the Dossier on the theme “Emotion and Attachment,” Passions: Journal of the European Philosophical Society for the Study of Emotions, 2026. B. Conference Talks 1. “Moving Artworks”, EPSSE Annual Conference, Katholische Universität Eichstätt-Ingolstadt, 24-26 juin 2026. 2. “Being Moved and Meaning in Life”, Séminaire What Matters, Université Paris 1 Panthéon-Sorbonne, 17-18 juin 2026. 3. “Being Moved and Responsibility”, University of Warwick, November 12, 2025. 4. “Sense of Responsibility,” SIFA 2025, August 27-29, 2025. 5. “Émotion et expérience transformatrice”, SoPhA 2025, Nantes, June 30–July 2, 2025. 6. “Emotion and Transformative Experience”, EPSSE Annual Conference, Paris 1 Panthéon-Sorbonne, June 10–13, 2025. 7. “Sense of Responsibility,” Transatlantic Ethics Workshop, Practical Philosophy Days, organized by NoSoPhi (Paris 1 Panthéon-Sorbonne University), CRE (University of Montreal), Hoover Chair (UCLouvain), and Parr Center for Ethics (University of North Carolina-Chapel Hill), May 5–6, 2026. 8. “Pleurer devant une œuvre d’art,” Sensations Fortes Seminar, Paris 1 Panthéon-Sorbonne, February 6-7, 2025. 9. “Do Poetical Contexts Matter?” with C. Payen, PEA Conference Philosophy of Poetry, University of Genoa, January 27-29, 2025. 10. “Is Being Moved a Mixed Emotion?”, Thumos Seminar, University of Geneva, December 5, 2024. 11. “L’émouvant et la valeur esthétique,” Colloquium on the Philosophy of Emotions Today, Clermont- Auvergne University, November 27-29, 2024. 12. “The Aesthetic Value of Being Moved,” Aesthetic Emotions Study Days, Paris 1 Panthéon-Sorbonne & Jean Nicod Institute, November 22-23, 2024. 13. “Aesthetic Judgment and Moral Motivation,” XXVth World Congress of Philosophy, Rome, August 1-9, 2024. 14. “The Valence of Being Moved,” EPSSE Annual Conference, University of Lisbon & New University of Lisbon, June 19-21, 2024. 15. “Être ému, importance personnelle et responsabilité,” Emotion and Responsibility Study Days, Paris 1 Panthéon-Sorbonne, March 22-23, 2024. 16. “Why is Being Moved an Aesthetic Emotion?”, Aesthetic Emotions Doctoral Workshop, EHESS & University of Barcelona, February 26, 2024. Research Experience Organisation of a Research Workshop, Université Paris 1 Panthéon-Sorbonne 13–14 November 2026 • Conference on the theme: ‘Music and Emotions’. • Invited Speakers: J. Benoist, C. Bonard, D. Matravers, P. Nadrigny, C. Peacocke Organisation of a Masterclass, Paris 1 Panthéon-Sorbonne University 10–11 June 2026 • Masterclass on the theme: “The Philosophy of Emotions with Jesse Prinz: Aesthetics, Ethics, Politics”. • Invited Speaker: J. Prinz Participation in the organization of an international conference, EPSSE 10–13 July 2025 • Organization of the pre-conference on the topic: ‘Emotions and Attachment’ • Invited Speakers : M. Betzler, J. Deonna, E. Harcourt, L. Jaffro, S. Lemaire, F. Teroni Scientific review of articles: Synthese; Emotion Review 2025 Organization of a Research Workshop, Université Paris 1 Panthéon-Sorbonne 22–23 November 2024 • Workshop on Aesthetic Emotions • Invited Speakers: P. St Germier ; N. Hall ; L. Jaffro ; E. Terrone ; E. Schellekens ; R. Wallbank Organization of a Research Workshop, Université Paris 1 22–23 March 2024 • Workshop on : Emotions and Responsability • Invited Speakers: S.-P. Chevarie-Cossette ; S. Lemaire ; S. Lepine Organization of a Research Seminar, Ecole Normale Supérieure, Paris 2021-2022 • Seminar on the topic: ‘Merleau-Ponty in dialogue’, with Clara Gerschel • Invited Speakers: E. De Saint-Aubert Research Stay, dir. Julien Deonna, Université de Genève, Suisse 2025 Research Stay, dir. Karine Tinat, El Colegio de México, Mexico 2019-2020 • Research work: "Death and Emotion" Research Stay, dir. Marco Antonio Bazzocchi, Collegio Superiore Bologna 2018-2019 • Research work: "Emotions and biopolitics: Pasolini reading Foucault » Grants • PhD Contract, Université Paris 1 Panthéon-Sorbonne & Ecole Normale Supérieure Paris Ulm 2022-2025 • Bourse Zellidja from l’Académie française for a Research Stay in Geneva 2024-2025 • École Normale Supérieure’s scholarship for four-year studies: 2016-2022 • Agrégation de Philosophie, top-ten 2020-2021 • High distinction (in Philosophy, Sorbonne University) 2016-2018 • Teaching Paris 1 Panthéon-Sorbonne 2022-20256 • Preparation course for the “agrégation de philosophie”(pre-doctoral level) • Undergraduate Course on Moral Philosophy, « Les émotions morales » • Undergraduate Course on Moral Philosophy, « Introduction à la philosophie morale : le sentimentalisme en question» • Undergraduate Course on General Philosophy, « Les émotions » • Undergraduate Course on on General Philosophy, « Les passions » • Undergraduate Course on Philosophy of Aesthetics, Undergraduate, « Le jugement esthétique » • Undergraduate Course on Philosophy of Aesthetics, Undergraduate « L’expérience esthétique » • Undergraduate Course on Methodology • Undergraduate Course on Methodology Teaching Assistant 2018-2022 • Khâgne (undergraduate) at Lycée Louis le Grand: Coursework on "Ethics and Literature" • Khâgne (undergraduate) at Lycée Franklin: Oral Examination, Proofreading • EnSATT (graduate), Scenography: Monitoring Thesis Private Tutor, Philosophy, Latin 2018-2022 ‘‘Outreach activities’’ Carrying out interviews 2023-2024 • Cinéma du Réel, 2023 & 2024 (publication on the Mediapart blog) • Interview with Emmanuelle Démoris, Ulises de la Orden, Clémentine Roy and Pablo Alvarez Mesa Making of a documentary 2020-2021 • Subject: Death in Mexican culture • Collaboration with the Center for Sociological Studies of Colegio de México Stage direction • Un jour nous serons humain, David Leon, Théâtre de l’ENS 2018-2019 • I am the wind, Jon Fosse, Théâtre de l’ENS 2017-2018 Dramaturgical Assistant • Suddenly last summer, Tennessee Williams 2017-2018 • Soudain l’été dernier, Tennessee Williams Linguistic Skills and Competence • French (fluent), English (fluent), Latin (advanced), German (conversational), Spanish (conversational), Italian (conversational) ``` ### 8. Feiya Zhang Abstract no. `29` | Proposal: Emptiness and Chinese Landscape Paintings Covering letter source: `Motivation Letter.pdf` Resume/CV source: `cv-Feiya Zhang_SIE.pdf` #### Covering Letter Verbatim ```text Motivation Letter Dear Members of the Selection Committee, My research lies at the intersection of aesthetics, ethics, and Asian philosophy. I am currently a third-year MA student in Philosophy at Simon Fraser University. Previously, I completed an MFA in Fine Art at Goldsmiths, University of London. Drawing on my background in both analytic philosophy and studio art, I aim to contribute a practicing artist’s perspective, grounded in non- Western aesthetic traditions, to the ongoing discourse on aesthetic and artistic experiences and properties. My current project investigates how liubai (留白, literally “leaving blank”—unpainted spaces) in Chinese landscape paintings generates a distinctive kind of experience that has been overlooked in mainstream analytic aesthetics. My working hypothesis is that liubai enacts the attainment of xu by cycling between two modes of attention—attending to the painted landscape, and clearing the mind in the unpainted space. This temporal experience constitutes the Daoist practice of attaining xu (虚, emptiness), a psychological state in which one is spontaneously responsive to objects and circumstances. Building on this hypothesis, I aim to explore two further questions: how does the experience of liubai bring us new insights into xu (emptiness) in the Daoist tradition? And how can the appreciation of Chinese paintings challenge and extend current debates on artworks as experiential artefacts—debates so far rooted in Western art? The Summer School’s interdisciplinary structure, bringing aesthetics into dialogue with the philosophy of technology and philosophy of mind, can well advance my project. I am particularly drawn to Professor Terrone’s work on artworks as experiential artefacts, which provides the methodological backbone of my investigation: the question of what kind of experience a work is designed to generate is precisely what I am asking about liubai. I also look forward to engaging with Professor Schellekens’s recent work on the noetic conception of aesthetic experience (Schellekens 2024), which resonates with my own attempt to articulate how aesthetic engagement can cultivate xu—sometimes expressed as an epistemic virtue in the Zhuangzi. The opportunity to develop these ideas in conversation with tutors, speakers, and fellow participants would be invaluable for the next stage of my work. Best regards, Feiya Zhang ``` #### Resume / CV Extracted Text ```text Feiya Zhang 1031 Ayshire Dr. +1 6723365323 Burnaby BC V5A 3Z8 [email protected] Canada [email protected] RESEARCH INTERESTS Philosophy of Art, Ethics, Asian Philosophy EDUCATION MA Philosophy Expected 2026 Simon Fraser University, Canada MFA Fine Art 2023 Goldsmiths, University of London, United Kingdom BA Design & Philosophy 2020 Renmin University of China, China PRESENTATIONS “Original, Yet Reproduced: Conferralism on Original Artworks” • Southwestern Graduate Aesthetics Conference U Arizona November 23rd, 2025 • American Society for Aesthetics, Pacific Division UC Berkeley March 7th, 2026 LANGUAGE PROFICIENCY Chinese (native; reading classical Chinese) English (advanced) TA EXPERIENCE Moral and Legal Instructor: Prof. Chelsea Rosenthal SFU Fall 2025 problems Spring/Summer 2026 Logic Instructor: Prof. Nic Fillion SFU Summer 2024 Critical Thinking Instructor: Lyle Crawford SFU Fall 2023/2024 SERVICE Co-organizer/designer The 1st and the 2nd Asian SFU 2024-2025 Poster and website design; on-site Philosophy Workshop coordination and attendee support; program planning and logistics. SCHOLARSHIPS & AWARDS SFU Summer Graduate Fellowship 2025 GPS (Graduate & Postdoctoral Studies) Graduate Fellowship 2025 Special Graduate Entrance Scholarship, SFU 2023 SELECTED EXHIBITIONS & ARTWORKS The Outsider Artistic book, Vancouver Art Book Fair, Vancouver, 2024 Have You Heard the Story of Rabbit? Installations, Goldsmiths MFA Degree Show, London, 2023 The Londoner Fictional newspaper, group exhibition 00:59:59, One Fen Court, London, 2022 I Forget to Remember Short story, group exhibition (...)Forgot to Remember to Forget (...), Gerald Moore Gallery, London, 2022 ``` ## ARANCIONI ### 9. Natxo Navarro Renalias Abstract no. `56` | Selection score: 78.5 | Proposal: What is Appreciated in Everyday Practices? Between Artifacts and Actions Covering letter source: `Motivation letter (Natxo Navarro Renalias).pdf` Resume/CV source: `CV (Natxo Navarro Renalias).pdf` #### Covering Letter Verbatim ```text Natxo Navarro Renalias University of Murcia (Spain) [email protected] Motivation letter Dear Members of the Selection Committee, I am writing to express my strong interest in participating in the SIE International Summer School 2026 at the University of Genoa. My proposal “What is Appreciated in Everyday Practices? Between Artifacts and Actions” engages with a central debate in contemporary analytic aesthetics concerning the nature of aesthetic appreciation in everyday practices. In particular, it critically examines the standard view—defended by philosophers such as Yuriko Saito, C. Thi Nguyen, and Matilde Carrasco-Barranco—that, when engaging in everyday practices involving artifacts, we appreciate our own actions. Against this view, I explore the alternative hypothesis that the proper object of aesthetic appreciation remains the artifact itself, even in contexts of practical engagement. The thematic focus of the Summer School, especially its emphasis on experiential artifacts and the intersection of art, technology, and experience, directly resonates with the core concerns of my project. Furthermore, the work of the coordinator group, belonging to project “The Philosophy of Experiential Artifacts”, is especially relevant to my research, particularly in its attention to the phenomenology of interaction, the aesthetics of design, and the role of artifacts in shaping experience. I am especially interested in how their approach may help me further articulate the distinction between the object of attention and the object of appreciation in cases of ‘beauty in use’, and thereby refine the central argumentative strategy of my proposal. In addition, the opportunity to engage with the keynote speakers would be invaluable for the development of my project. Their contributions to debates on aesthetic value, everyday aesthetics, and the philosophy of action have significantly shaped the theoretical background of my research. Discussing my work with them would not only allow me to test and improve my ideas, but also to situate my work more clearly within ongoing conversations in the field. Finally, I would like to emphasize the broader collaborative dimension of my participation. As a member of Aresmur, I see this Summer School as an excellent opportunity to further strengthen the already fruitful relationship between our research group and the coordinator group. I am confident that my participation would contribute to deepening this exchange, fostering future collaboration, and promoting shared lines of research in aesthetics. For all these reasons, I believe that attending the SIE International Summer School would be highly beneficial both for the advancement of my current project and for my broader academic development. I would be grateful for the opportunity to take part in this event. Thank you very much for your consideration. Yours sincerely, Natxo Navarro Renalias ``` #### Resume / CV Extracted Text ```text Natxo Navarro Renalias University of Murcia (Spain) [email protected] Positions held Jan. 2022 – Present Predoctoral researcher/PhD. Student Department of Philosophy, University of Murcia, Aresmur research group Funded by: Spanish Ministry of Universities (grant FPU 20/04026) Oct. 2020 – Mar. 2021 JAE Intro Programme Fellow Institute of Philosophy, Spanish National Research Council (CSIC) Funded by: CSIC (grant JAEINT20_EX_0795) Oct. 2019 – Jul. 2020 Undergraduate research fellow Department of Philosophy, University of Murcia Funded by: Spanish Ministry of Education (grant 19CO1/005049) Oct. 2019 – Jan. 2020 Assistant in cultural and editorial management Centre for Documentation and Advanced Studies in Contemporary Arts, Murcia Education 2022 – present PhD. in Philosophy University of Murcia Supervisor: María José Alcaraz León 2020 – 2021 M.A. in Epistemology Complutense University of Madrid 2015 – 2020 B.A. in Philosophy (valedictorian) University of Murcia and University of Hull (2018 – 2019) Publications Under review Article: ‘Everyday Aesthetics Under the Radar: Reflecting on Reflectiveness’ Submitted in: Estetika: The European Journal of Aesthetics In preparation Article: ‘Aesthetic Appreciation of Everyday Life: Revisiting Familiarity’ To be submitted in: Contemporary Aesthetics (contempaesthetics.org/) In preparation Encylopedia entry: ‘Estética de lo Cotidiano’ Invited in: Enciclopedia de Filosofía SEFA (sefaweb.es/enciclopedia/) 2025 Article: ‘¿Qué es la Estética Cotidiana?’ Published in: Anuario Filosófico (doi.org/10.15581/009.58.1.001) 2025 Book review: Sobre la estética de la improvisación (Bertinetto, A., 2022, Aesthetics of Improvisation). Published in: Laocoonte (https://doi.org/10.7203/laocoonte.i12.30465) 2023 Book review: Aproximaciones a la estética cotidiana (Giombini, L. & Kvokačka, A., 2021, Everydayness. Contemporary Aesthetic Approaches). Published in: Laocoonte (https://doi.org/10.7203/laocoonte.0.10.27684) 1 2021 Book review: Disputar el conocimiento (Broncano, F., 2020, Conocimiento expropiado: epistemología política en una democracia radical). Published in: Isegoría (isegoria.revistas.csic.es/index.php/isegoria/article/view/1152) Selected talks 24/10/2025 Privacidad y normatividad en la estética cotidiana Encuentro Ibérico de Estética XI (University of Salamanca) 17/06/2025 Appreciating Freely: Revisiting Everyday Aesthetics’ Framelessness European Society for Aesthetics Annual Conference (National and Kapodistrian University of Athens) 14/05/2025 Unaware Appreciation: “It’s Nice Here!” (But I Didn’t Notice) ART Philosophical Seminar (University of Turin) 29/04/2025 The Shaping of the Aesthetic Object in Everyday Life: A Look at the City RTL Workshop on Pratiche Estetiche e Forme di Vita Urbana (University of Turin) 13/01/2025 About the (Lack) of Frame of Aesthetic Appreciation in Everyday Life XVIII Workshop on Aesthetic Experience: Aesthetic Appreciation, Rationality, and Criticism (University of Murcia) 26/11/2024 What is Framed in Aesthetic Appreciation? The Case of Everyday Aesthetics Research Seminar in Aesthetics (University of Helsinki) 14/11/2024 Everyday Aesthetics and Aesthetic Normativity Department of Arts and Media (Aalto University) 05/07/2024 An Alternative Approach to Everyday Aesthetic Experience XXI Taller d’ Investigació en Filosofia (University of Valencia) 08/06/2024 Everyday Aesthetics Under the Radar: Reflecting on Reflectiveness European Society for Aesthetics Annual Conference (University of Naples Orientale) 18/01/2024 On the (Un)Reflective Character of Everyday Aesthetic Experience: Consciousness vs. Normativity XVII Workshop on Aesthetic Experience: Aesthetics and Criticism (University of Murcia) 14/11/2023 Attention and Reflectiveness in Everyday Aesthetic Experience Research Seminar in Aesthetics (University of Helsinki) 27/10/2023 Everyday Aesthetics Under the Radar Encuentro Ibérico de Estética IX (University of Pamplona) 29/06/2023 The Unreflective Everyday Aesthetic Experience European Society for Aesthetics Annual Conference (Estonian Academy of Arts) 05/05/2022 A Wittgensteinian Approach to Everyday Aesthetics’ Normativity Problem: Framelessness XIV Inter-university Workshop on Art, Mind, and Morality (University of Murcia) 12/11/2020 Towards an Aesthetics of the Unnoticed Coordinates of Aesthetics, Art and Culture VI (University of Prešov) Teaching Academic year Course: Cultural Landscapes (30 hours) 2024-25 B.A. in Arts, University of Murcia 2 Academic year Course: Cultural Landscapes (60 hours) 2023-24 B.A. in Arts, University of Murcia Academic year Course: Key Aesthetic Concepts (15 hours) 2022-23 B.A. in Philosophy, University of Murcia Course: Aesthetics II (15 hours) B.A. in Philosophy, University of Murcia Course: Cultural Landscapes (30 hours) B.A. in Arts, University of Murcia Academic year Course: Cultural Landscapes (30 hours) 2021-22 B.A. in Arts, University of Murcia Organization 27-28 Nov. 2025 SEFA Postgraduate Conference 2025 Online, Sociedad Española de Filosofía Analítica Jan. – Jun. Inter-University Workshop on Philosophy (2nd, 3rd, and 4th editions) 2024, 2025, 2026 Online, Inter-University Doctoral Programme in Philosophy (Universities of Murcia, Zaragoza, La Laguna, Alicante, Almería, Castilla La Mancha) Participation in research projects Sep. 2024 – Sep. 2028 Rationality of Taste: Aesthetic Appreciation and Deliberation PI: María José Alcaraz León & Francisca Pérez-Carreño Funded by: Spanish Ministry of Science and Innovation Jun. 2020 – Jun. 2024 Normative Aspects of Aesthetic Appreciation PI: Francisca Pérez-Carreño & María José Alcaraz León Funded by: Spanish Ministry of Science and Innovation Research stays May – Jul. 2026 University of Genoa Supervised by: Enrico Terrone Funded by: University of Murcia Apr. – Jun. 2025 University of Turin Supervised by: Alessandro Bertinetto Funded by: Ministry of Science, Innovation and Universities (grant EST25/00323) Sep. – Dec. 2024 Aalto University Supervised by: Sanna Lehtinen Funded by: Ministry of Science, Innovation and Universities (grant EST24/00628) Sep. – Dec. 2023 University of Helsinki Supervised by: Arto Haapala Funded by: Ministry of Science, Innovation and Universities (grant EST23/00399) 3 Referee Nov. 2025 Thémata: Revista de Filosofía (ISSN 0212-8365) Article blind peer-review Mar. 2024 AM Journal of Art and Media Studies (ISSN 2217-9666) Article blind peer-review Sep. 2022 – Jan. 2023 Agency for Quality Assurance in the Catalan University System External Evaluation Committee for the Accreditation of the B.A. in Philosophy of the University of Barcelona Memberships European Society for Aesthetics (ESA), Sociedad Española de Filosofía Analítica (SEFA), Sociedad Española de Estética y Teoría de las Artes (SEyTA), and Sociedad de Filosofía de la Región de Murcia (SFRM). 4 ``` ### 10. Logan Wigglesworth Abstract no. `5` | Selection score: 78.0 | Proposal: Credit for Insight Covering letter source: `SIE International Summer School 2026 Motivation Letter.pdf` Resume/CV source: `CV Logan Wigglesworth Apr 2026.pdf` #### Covering Letter Verbatim ```text SIE International Summer School 2026 Motivation Letter I am currently a first-year postdoctoral fellow at Auburn University. While much of my past research is in ethics and moral epistemology, I have become much more interested in aesthetics and creativity. My current research explores the relation between technology and the experience of art specifically in the creative process. People have utilized A.I. to produce some great artworks in recent decades with advancements in Large Language Models. But are these programs creative? Is an artist’s creativity diminished by using such tools? My methodology for answering these questions is to explore the role of phenomenal consciousness in creativity. Since A.I. lacks phenomenal consciousness, if consciousness is necessary for any aspects of creativity, this would demonstrate that A.I. lacks this aspect of creativity. If the use of A.I. fills the role phenomenal consciousness usually plays in human creativity, this would illuminate how users are diminishing their creativity by relying on A.I. I am applying to this summer school for two reasons. First is to workshop and develop one part of this broader project. I argue that one role of consciousness in creativity is in the phenomenology of agency. If this agential phenomenology is also going to partially undergird our practice of praising artists for their creativity (and why we do not praise A.I. programs), the connection between the phenomenology of agency in creativity and praiseworthiness must be explicitly laid out. This is what I hope to present and develop at the workshop—how agency in the form of effort can drive the insights involved in the artistic creative process, thereby making the creators praiseworthy. An abstract of the project in its current form is attached. Second, along with developing this project, I also hope that participating in the workshop would allow me to initiate new ideas on how other kinds of phenomenology play a role in the experience of the artwork (or proto-work) during the creative process. ``` #### Resume / CV Extracted Text ```text Logan Tyler Wigglesworth Auburn University Contact Department of Philosophy 6080 Haley Center Auburn, AL 36849 https://www.loganwigglesworth.com/ [email protected] Areas of Specialization Ethics, Aesthetics, Moral Psychology Areas of Competence Philosophy of Mind, Philosophy of Religion, Metaethics Employment 2024-2025 Visiting Assistant Professor of Philosophy, Hope College 2025-present Postdoctoral Teaching Fellow Education 2024 PhD in Philosophy Rice University (defended August 2023) Thesis: The Understanding of Value and the Value of Understanding Committee: Uriah Kriegel (co-chair), Vida Yao (co-chair), George Sher, Bryan Denny (Department of Psychology) 2017 M.A. Philosophy University of Houston 2012 B.B.A. Finance Texas A&M University Publications 2025 “The Role of Affect in Moral Grasp and Understanding” Ethical Theory and Moral Practice Papers Under Review “Mirrors of the Soul: Art, Tragedy, and Self-Understanding” “Consciousness, Grasp, and Creativity” Grants and Fellowships 2022 PLATO Educational Grant 2021 PLATO Educational Grant 2020 Rich Family Endowment Grant Presentations 2026 “AI, Consciousness, and Creativity” Baylor Symposium on Faith and Culture: Technology and the Human Person in the Age of AI 2025 “The Role of Consciousness in Creativity” American Society for Aesthetics Annual Meeting 2025 “God as the Ground of Aesthetic Value” Rutgers Analytic Theology Seminar 2024 “Mirrors of the Soul: Music, Tragedy, and Self-Understanding” Affective and Emotional Dimensions of Experience International Conference 2024 “The Aesthetics of Contemporary Worship Music: A Defense of Simplicity” Southeast Evangelical Philosophical Society regional meeting [cancelled due to illness] 2023 “The Aesthetics of Contemporary Worship Music: A Defense of Simplicity” American Society for Aesthetics Pacific Meeting 2023 “Fade to Grey: Sentimental Perceptualism and the Problem of Diminishing Emotions” American Philosophical Association Central Division 2022 “Fade to Grey: Sentimental Perceptualism and the Problem of Diminishing Emotions” Rocky Mountain Ethics Congress 2022 “Moral Understanding and Affective Grasp” Rice Workshop in Philosophy of Mind 2020 “Moral Deference, Ground Projects, and the Moral Web of Belief” American Philosophical Association Eastern Division Meeting 2019 “Moral Deference, Ground Projects, and the Moral Web of Belief” Australasian Association of Philosophy Annual Conference 2019 “Moral Deference, Ground Projects, and the Moral Web of Belief” Canadian Philosophical Association Congress 2019 “A New Argument from Our Experience of Beauty” Second Annual Philosophy of Religion Conference Weatherford College 2019 “Moral Deference, Ground Projects, and the Moral Web of Belief” 70th New Mexico Texas Philosophical Society Meeting 2018 “Loving Above and Beyond Duty” Rocky Mountain Ethics Congress 2018 “A Finer Measure for Higher Pleasure” Conference for the International Society for Utilitarian Studies Invited Comments 2025 “The Trouble with Tragedy: Difficult Theatre, Awe, and Knowledge” Southern Aesthetics Workshop 2021 “Fitting Emotion and the Limits of Attention” American Philosophical Association Central Division Meeting 2020 “Possessing Desires” Texas Ethics Workshop 2019 “The Fair Opportunity to Avoid Ignorance” Canadian Philosophical Association Congress 2018 “The Defeater Dilemma: A Defense of Virtuous Motivation” Southern Society for Philosophy and Psychology Teaching Experience As Instructor of Record 2026 Introduction to Philosophy of Religion 2026 Introduction to Ethics Auburn University 2025 Introduction to Ethics Auburn University 2025 Introduction to Ethics Hope College 2025 Philosophy of Art Hope College 2024 Introduction to Ethics Hope College 2024 Introduction to Philosophy Hope College 2024 Philosophy of Art Rice University 2023 Metaethics Rice University 2022 Philosophy of Art and Aesthetics University of Houston Clear Lake 2020 Philosophy of the Human Person Loyola University New Orleans 2018 Ethics and Society Summer Enrichment Program As TA 2020 Philosophy of Law Rice University 2019 Philosophy of Cognitive Science Rice University 2018 Intro to Ancient Philosophy Rice University 2017 Intro to Philosophy of Art University of Houston 2016 Intro to Philosophy of Art University of Houston 2016 Logic I University of Houston 2015 Intro to Aesthetics University of Houston Departmental Service and Community Outreach 2023 Rice/University of Houston Graduate Student Conference-Organizer 2022 Ethics and Society-Organizer 2021 Ethics and Society-Organizer 2021 Houston Ethics Bowl-Moderator 2020 Ethics and Society-Organizer 2019 Houston Ethics Bowl Moderator 2018 Houston Ethics Bowl-Moderator References Uriah Kriegel Professor of Philosophy Email: [email protected] Interfolio Reference Email: [email protected] Vida Yao Associate Professor of Philosophy Email: [email protected] Interfolio Reference Email: [email protected] Dominic McIver Lopes University Killam Professor of Philosophy Email: [email protected] Interfolio Reference Email: [email protected] George Sher Herbert S. Autrey Professor of Philosophy Email: [email protected] Interfolio Reference Email: [email protected] Charles Siewert (teaching) Professor of Philosophy Email: [email protected] Interfolio Reference Email: [email protected] ``` ### 11. Yishu Chen Abstract no. `63` | Selection score: 78.0 | Proposal: Empty Signifiers and Experiential Function: The Case of Fabricated Sakura Flavor Covering letter source: `Motivation letter_Yishu_Chen.pdf` Resume/CV source: `Yishu_Chen_CV.pdf` #### Covering Letter Verbatim ```text Motivation Letter SIE International Summer School 2026: Experiential Artifacts Dear Selection Committee, I am writing to apply for the SIE International Summer School 2026, “Experiential Artifacts: Art, Technology, and Experience.” I am a master’s student in Modern Sinology/East Asian Studies at the University of Göttingen, with a background in history. My current research increasingly brings me to questions that cannot be answered by historical methods alone: how sensory experiences are constructed, how cultural meanings become materially embodied, and how technologies make certain forms of experience repeatable and recognizable. My academic training has focused on global history, history of science, and material culture studies. My previous and ongoing projects have examined Qing palace clocks as Eurasian gift objects and temporal infrastructures, the circulation of astronomical knowledge between China and Germany, and the industrial politics of MSG in colonial Taiwan. These projects share a common concern: how objects, technologies, and knowledge circulate across cultures and become embedded in local practices. Yet they have also led me toward more conceptual questions about artifacts, experience, and perception. The research idea I propose for the summer school emerged from a moment of cultural displacement. Since moving to Germany, I have noticed the visibility of sakura-scented and sakura-flavored products in supermarkets, pharmacies, and cosmetic shops. This struck me as puzzling because the blossom itself has only a faint and unstable olfactory profile, while “sakura” circulates as a highly recognizable sensory category in global consumer culture. My initial instinct as a historian was to trace origins, diffusion, and commercialization. But the more fundamental question seems philosophical: how can a culturally coded sensory experience, one without a stable natural sensory model, become a manufactured and globally consumed experiential commodity? This is where I recognize the limits of my current training. I can describe how such commodities circulate historically, but I need stronger conceptual tools to understand how artifacts generate experiences, how expectations shape perception, and how aesthetic meanings are technically stabilized. The summer school’s integration of aesthetics, philosophy of technology, and philosophy of mind, therefore, speaks directly to the next stage of my research. I am especially interested in the programme’s proposal to reconceive works of art as artifacts whose function is to generate experiences. This framework offers a productive way to think about manufactured sensory commodities, such as sakura flavor, alongside more traditional art objects. I am particularly drawn to the invited speakers’ expertise in areas central to my project: Wybo Houkes on technical artifacts and functions, Simon Evnine on created entities, Elisabeth Schellekens on aesthetic experience, and Derek Matravers on how artworks engage audiences. The broader programme, including contributions from María José Alcaraz León, Elisa Caldarola, and Anna Giustina, as well as the workshop sessions led by Luca Marchetti and Nick Young, would offer an ideal setting in which to refine my research idea and learn how to formulate it in a more philosophically rigorous way. What I hope to gain from the summer school is not only familiarity with new theories, but also training in a different mode of questioning. I want to learn how to ask what makes an experiential artifact successful, how cultural meanings become sensorially instantiated, and how technical design interacts with imagination and perception. These questions are essential for the kind of research I now hope to pursue, situated between material culture studies, sensory history, and the philosophy of artifacts. I believe I can contribute to the summer school by bringing a historical and cross- cultural perspective. My work on Sino-European knowledge exchanges and East Asian material culture may offer useful comparative dimensions to discussions of how experiential artifacts function across cultural frameworks. At the same time, I hope to learn from philosophers, aestheticians, and other participants whose methods and assumptions differ from my own. Thank you very much for considering my application. Sincerely, Yishu Chen ``` #### Resume / CV Extracted Text ```text Yishu Chen MA student, Modern Sinology / East Asian Studies, University of Göttingen Email: [email protected] | Phone: +49 17641876388 Education Since 09/2024, University of Göttingen, MA student, Modern Sinology / East Asian Studies 2024, Jiangxi Normal University, BA in History Research Interests Global and transnational history of modern China; history of science and knowledge circulation; history of material culture; translation history Past and Ongoing Research 1. From Gift to Infrastructure: Palace Clocks, Temporal Translation, and Governing Daily Order in the Qing Forbidden City within Connected Eurasian Networks. Accepted for presentation at the Berlin Global History Student Conference 2026, Berlin, Germany, 12–14 June 2026. 2. Measuring the World for Empire: The Qingdao Royal Observatory, the “Beijing Sextant,” and Sino-German Visions of World Order (c. 1898–1930). Accepted for presentation at the ESHS/HSS Joint Meeting 2026, Edinburgh, United Kingdom, 12–16 July 2026. 3. From “Ci’ai” (compassionate love) to “Enci” (gracious kindness): Lexical Competition in Chinese Translations of 1 Corinthians 13:4 and the Translingual Formation of Modern Moral Concepts (1820s–1919) (ongoing) 4. Performing International Law at Paris 1919: Wellington Koo, Procedure, and the Public Making of Chinese Diplomatic Authority. Accepted for presentation at “Legal History in Asia and Beyond: Lessons from the Past for the Present,” Chinese University of Hong Kong (CUHK), Hong Kong, 17–18 March 2026. 5. Tasting Modernity in Taiwan: MSG’s Colonial Legacies, Industrial Pathways, and Taste Politics. Accepted for presentation at the 23rd Annual Conference of the European Association of Taiwan Studies (EATS), University of Portsmouth, Portsmouth, UK, 1–3 April 2026. 6. Technology and Faith: Multilayered Dimensions of the ‘Astrology at Sea’ Literature. Paper submitted to the Centre for Historical Geographical Studies, Fudan University (Summer School Assignment), October 2023. 7. The Eastward Spread of Western Learning: A Global Historical Examination of the Neptune Controversy. Presented at the Second Academic Forum for History Students in Jiangxi Province (conference paper), April 2023. First Prize. ``` ### 12. Ksenija Savčić Abstract no. `20` | Selection score: 77.5 | Proposal: Phenomenal Concepts in Aesthetics: A Naturalistic Account of Aesthetic Judgment Covering letter source: `Motivation letter.pdf` Resume/CV source: `Ksenija Savčić CV.pdf` #### Covering Letter Verbatim ```text Dear Organizers, I am writing to apply for the SIE International Summer School 2026: Experiential Artifacts – Art, Technology, and Experience. As a PhD student in the Department of Philosophy at the University of Rijeka, I specialize in analytic aesthetics, philosophy of art, and the philosophical implications of AI-generated creativity, with a particular focus on the experiential dimensions of aesthetic judgment and practice. My current doctoral research extends an ability-based account of phenomenal concepts, developed in response to the Knowledge Argument, to the domain of aesthetic properties, with particular focus on Francis Hutcheson’s theory of beauty. Independently of my thesis, my recent published work (Author 2025; 2026) examines the nature of aesthetic concepts and the limits of artificial systems in aesthetic practice. The focus of the summer school on the relationship between art, technology, and experience is therefore directly relevant to my research. In particular, the proposal to understand artworks as artefacts whose function is to generate experience raises important questions about normativity and standards of correctness within artistic practice. My work engages these questions by examining the role of perceptual and conceptual capacities in shaping aesthetic experience and judgment. I am especially interested in how an ability-based account of concept possession might complement or challenge functional accounts of art. I would particularly benefit from the interdisciplinary setting of the summer school, which brings together aesthetics, philosophy of technology, and philosophy of mind. I am keen to refine my account in dialogue with researchers working on artefacts and experiential functions, and to develop a more precise understanding of how artificial systems can participate in aesthetic practices. The opportunity to receive focused feedback on my project would be especially valuable at this stage of my doctoral research. In turn, I would bring to the programme a well-developed and clearly articulated research position, as well as experience engaging with contemporary debates in aesthetics and AI. My background in music also informs my philosophical work, particularly in relation to perceptual discrimination and aesthetic evaluation. I am highly motivated to contribute actively to the discussions and workshops, and I believe my perspective would be a valuable addition to the group. ``` #### Resume / CV Extracted Text ```text Ksenija Savčić Personal Information Born: 1985, Russia Current Position: PhD Candidate, Department of Philosophy, University of Rijeka, Croatia Education • PhD Candidate in Philosophy and Contemporaneity Faculty of Humanities and Social Sciences, University of Rijeka, Croatia (since 2023) • Master of Music (Mag. Mus.) in Violin Music Academy, University of Zagreb, Croatia (2007) Professional Experience • Violin Teacher Music School Ivan Matetić Ronjgov, Rijeka (since November 2023) • Music Therapy Substitute Center for Autism Rijeka (2021–2023) • Orchestral Musician (Violin) Croatian National Theatre “Ivan pl. Zajc”, Rijeka (2007–2020) Artistic Activity • Solo recitals and performances at international festivals, including Glazbena Tribina Pula (2007), Lubeničke Večeri (2014), International Music Festival Crikvenica (2014), and a recital at the Art Pavilion in Zagreb (1 January 2014, dedicated to Dora Pejačević). • Member of the flamenco-fusion band La Passion Escondida (2010–2017). Publications • Savčić, K. (2026). “Why AI Cannot Democratize Artistic Practice: A Philosophical Inquiry Into the Botto Project.” Art Style, Art & Culture International Magazine, 17(17), 49–73. • Savčić, K. (2025). “Artworks or Aesthetic Objects? Applying Kendall Walton’s Normative Thesis to AICAN-generated Digital Objects.” Prolegomena: Journal of Philosophy, 24(2), 315–341. • Savčić, K. (2024). Book Review: Amy Kind, Imagination and Creative Thinking. European Journal of Analytic Philosophy. Forthcoming • “Authorial Intention and the Standards of Art-Critical Judgment.” In BAF Proceedings (Belgrade Aesthetics Forum). Conference Presentations • “‘The Judgment of Beauty: Inferential, Conceptually Mediated, and Objective’” – Dubrovnik Philosophy of Art Conference, Dubrovnik, 13–17 April 2026. • “Art as a Measure of Machine Creativity” – UPF Conference, Zagreb, 14 November 2025. • “Authorial Intention and the Standards of Art-Critical Judgment” – BAF Conference, Belgrade, 2–5 October 2025. • “The Supervenience Thesis Applied: Indeterminacy of Aesthetic Properties in AI- Generated Music” – ENPM AI in Music Conference, Strasbourg, 25–27 September 2025. • “A Critical Analysis of Arriagada and Arriagada-Bruneau’s Functionalist Approach” – International Symposium Contemporary Philosophical Issues, Rijeka, 19 July 2024. • “Is Democratization of Art Possible?” – Workshop “Pernicious and Beneficial: (Meta)philosophical Exploration of Logic, Language, and Fiction”, Rijeka, 12 June 2024. Research Projects • Contributor to the UNIRI research project “Aesthetic, Ethical, and Ontological Challenges of Post-Digital Art” (paper: “Art without Author”). Other Publications • Author of two children’s picture books (with illustrator Sven Nemet): Pustolovine malog crva (2014) and Niko i vilenjak (2014), published by Profil Knjiga. ``` ### 13. Rebecca Zuccotti Abstract no. `53` | Selection score: 77.5 | Proposal: Aesthetic Experience and Aesthetic Understanding: Art as a Laboratory of Thought Covering letter source: `Motivation Letter.pdf` Resume/CV source: `CV.pdf` #### Covering Letter Verbatim ```text 30 April 2026 Experiential Artifacts: Art, Technology, and Experience SIE International Summer School 2026 University of Genova Motivation Letter Dear Members of the SIE International Summer School, I kindly ask you to accept my proposal for the “Experiential Artifacts: Art, Technology, and Experience” Summer School at the University of Genova. On the 16th of April I have completed my Master in Philosophy at the University of Torino with a dissertation titled Feeling and Understanding Moving Images: A Proposal, with the research supervision of Prof. Carola Barbero. My main interests are in Aesthetic Philosophy and, in particular, in philosophy of film and philosophy of photography. During my studies at the University of Torino, I discovered my enthusiasm for Aesthetic Cognitivism (i.e. the conception of art as a valuable source of knowledge that can deepen our understanding of the world). I have been working on this topic both in my Bachelor’s and Master’s Research Theses. In my Bachelor’s thesis (supervised by Professor Tiziana Andina) I worked on the possible philosophical relevance that films can yield, whereas in my Master’s thesis (supervised by Professor Carola Barbero and Professor Alessandro Giovanni Bertinetto, and in my Erasmus+ Project at the University of Murcia, by Professor María José Alcaraz León), I have been working on Emotions toward Art and Aesthetic Understanding. I have been very glad throughout my Master to have had the opportunity to study for 10 months at the University of Murcia and to actively participate in the Aresmur research project. This experience has given me many opportunities to build connections in Murcia aesthetics community and to expand my research. I would like to pursue my research on Aesthetic Understanding in a future PhD Program and I think that attending this Summer School will give me the opportunity to expand further my research. In summary, I believe I could actively cooperate during the summer school, and I find extremely interesting the prospect of working on these topics in your research aesthetic school. In conclusion, I earnestly hope for the opportunity to join the SIE International Summer School. Thank you in advance for your consideration. I look forward to hearing from you. Sincerely, Rebecca Zuccotti ``` #### Resume / CV Extracted Text ```text REBECCA ZUCCOTTI Contact Details E-mail: [email protected] Phone: +39 3387438857 EDUCATION AND TITLES October 2023 – April 2026 MA in Philosophy (Laurea Magistrale in Filosofia), Department of Philosophy and Educational Sciences, University of Turin (with integrated Erasmus+ Program Year at Universidad de Murcia). ▪ Graduation date: 16.04.2026 ▪ Title of dissertation: Feeling and Understanding Moving Images: A Proposal. ▪ Supervisors: Professor Carola Barbero, Professor María José Alcaraz León and Professor Alessandro Giovanni Bertinetto. ▪ Graduation mark: 110/110 Cum Laude with Academic Merit (“dignità di stampa”). September 2020 – October 2023 BA in Philosophy (Laurea Triennale in Filosofia), Department of Philosophy and Educational Sciences, University of Turin. ▪ Graduation date: 31.10.2023 ▪ Title of dissertation: Ciò che non si può dire… lo si può filmare? I film e la loro rilevanza filosofica (What Cannot Be Said… Can Be Filmed? The Philosophical Relevance of Films) ▪ Supervisor: Professor Tiziana Andina. ▪ Graduation mark: 110/110 Cum Laude. GRANTS AND AWARDS September 2024 – July 2025 (10 months - 1 Erasmus Studentship: full fees + Research Stay Abroad (2 full Academic Year) semesters at Universidad de Murcia). RESEARCH PRESENTATIONS 16 October 2025 Aesthetic Understanding: Art as a Laboratory of Essential Examples. Conference Talk (submitted abstract) – The 4th International Conference on Beauty and Change: Aesthetic Experience and the Drive for Knowledge (Giorgio Amendola Foundation, Torino). LANGUAGES Italian (mother tongue); English (C1); Spanish (B2) REFERENCES Professor Carola Barbero, University of Torino: [email protected] (Relationship: Supervisor Master Dissertation) Professor María Joséfa Alcaraz León, University of Murcia: [email protected] (Relationship: Supervisor during Erasmus Program) ``` ### 14. Alistair Bugg Abstract no. `50` | Selection score: 76.5 | Proposal: Preston Covering letter source: `Experiential Artefacts - Summer School 2026.pdf` Resume/CV source: `NOT BLIND Alistair Bugg.pdf` #### Covering Letter Verbatim ```text Dear PEA Team, I am writing to express my keen interest in your 2026 summer school! I am a current research masters student in history and philosophy of science, with a background in psychology and philosophy. My goal is into continue working in philosophy of science and technology as a PhD student come fall. My primary areas of research are philosophy of cognitive science and mind as well as philosophy of emerging technology. I occasionally do empirical human-computer interaction (HCI) work from a psychological perspective. I feel excited about your workshop because I haven’t engaged with topics in aesthetics in my masters, and my intuition is that there will be a lot of concepts in philosophy of mind and technology that can help us approach questions in aesthetics from an interesting angle. My hope is that perspectives from aesthetics can also provide new angles from which to approach the study of mind and technology. ``` #### Resume / CV Extracted Text ```text ALISTAIR BUGG Phone: +44 74380 63608 LinkedIn: www.linkedin.com/in/alistair- Email: [email protected] bugg EDUCATION [BA] Philosophy with Psychology (First Class) May 2025 Northeastern University London [MPhil] History & Philosophy of Science & Medicine Exp. June 2026 University of Cambridge SKILLS Statistical Package for the Social Sciences (SPSS). Familiarity with Google and Microsoft suites, Airtable, and Notion. EXPERIENCE Northeastern University London, London, UK 2025 to Current Research Assistant Working on the Psychology department's 'AI 4 Uni Diversity' project, researching ways AI can augment learning for neurodivergent and ESL (English as a Second Language) students. Impact Research Groups, London, UK 2024 to 2025 Program Organiser Developed a university-level research fellowship focused on high-impact solutions to global injustices. Conducted outreach to London university students and aided with graphic design for website and communications. Philosophers of London (POLIS), London, UK 2022 to 2025 Media Director (Prev. Secretariat Committee) Organising and executing public philosophy events aimed at London university students. EON Essay Competition, Remote 2023 to 2024 Essay Grader Graded 250+ essays (ea. over two summers) focused on issues presented in Toby Ord’s book, The Precipice. Northeastern University London Philosophy Society, London, UK 2022 to 2024 Treasurer Managed society budget and coordinated events with guest speakers such as Graham Priest and AC Grayling. Bugg - 1 AWARDS, FELLOWSHIPS, AND SHORT COURSES Digital Sentience Research Fellowship & Funding 2025 Longview Philanthropy - $60,000 USD award to complete an MPhil course at the University of Cambridge to research possibilities of artificial sentience. FutureKind AI Fellowship 2025 Electric Sheep CERI Existential Risk Introductory Course 2023 Cambridge Existential Risk Initiative PAPERS AND PRESENTATIONS ‘Risks from AI Use in Precision Livestock Farming’ 2025 [Forthcoming] A forthcoming paper I co-authored, written as part of my participation in the FutureKind AI Fellowship. Details multiple risks to animal welfare involved with AI use in factory farming. ‘Sending Moral Philosophers to Therapy’ 2024 Philosophy and the Other (PatO): Psychological Humanities Conference Conference paper on my arguments against unlimited time discounting in moral philosophy and proposed further research on psychological resilience. Bugg - 2 ``` ### 15. Sam Heffron Abstract no. `21` | Selection score: 75.5 | Proposal: Experiencing Realism in Film Covering letter source: `Motivation Letter.pdf` Resume/CV source: `CV (2026).pdf` #### Covering Letter Verbatim ```text To whom it may concern, I am writing to apply for the Experiential Artifacts Summer School 2026. I am a second- year PhD candidate in Philosophy at the University of St Andrews, supervised by Professor Murray Smith and Dr Nick Wiltsher, formerly by Professor Berys Gaut. My research lies at the intersection of aesthetics, philosophy of mind and philosophy of perception, with a particular focus on the philosophy of film. My current research project investigates the concept of realism in film. Specifically, how it has been theorised historically and why it has played such a central role in attempts to understand film as a representational medium. I examine both classical and contemporary accounts of realism, especially those that explain cinema’s distinctive sense of realism through its technological basis - most notably photography - and its representational capacities, including the depiction of spatial and temporal properties. I am currently writing a chapter on the experience of realism in film. In this chapter, I argue that realism should not be understood simply as a passive consequence of photographic recording, but as an experience that is actively generated by the cinematic medium. More broadly, my project develops the view that film is a representational artefact whose function is to produce certain types of experiences, most characteristically experiences of narrative content. In the case of cinema, realism has been the experience most frequently discussed, yet film’s broader capacity to shape and generate experience remains underexplored in philosophical work on film and depiction. This is why the theme of experiential artefacts strongly resonates with my research. What attracts me to the Summer School is its interdisciplinary focus on aesthetics, technology and experience. My project similarly combines questions about realism and representation, the nature of cinema as a complex technological artefact and how these relate to the experiences films prescribe. I am especially interested in the workshop’s proposal that artefacts may be understood in terms of the experiences they are designed to generate, which aligns with my thinking about cinema not merely as a recording device, but as an artefact structured to shape experience. I believe my particular approach to film and depiction will allow me to contribute to the multiple areas of the workshop. Film is an especially rich case study because it combines multiple representational resources - photography, sound, movement, space and time - within a narrative form. I believe that investigating how cinema generates experiences can therefore shed light on broader questions about how artefacts more generally guide perception and cognition. Attending the Summer School would be particularly valuable at this stage of my PhD, as the chapter I am currently writing forms a central part of my thesis and I hope to develop it for publication. The opportunity to receive feedback and connect with researchers working on related topics would be immensely valuable. Thank you for your consideration. ``` #### Resume / CV Extracted Text ```text Email: [email protected] RESEARCH INTERESTS Areas of Specialisation: Aesthetics, Philosophy of Mind, Philosophy of Perception Areas of Competence: Early Modern Philosophy, History of Analytic Philosophy, Philosophy of Language EDUCATION Sep 2022 – Present University of St Andrews Doctor of Philosophy (PhD), Philosophy Apr - May 2026 University of Genoa Visiting doctoral student in Philosophy Supervisor: Enrico Terrone Sep 2020 – Sep 2022 Birkbeck College, University of London Master of Research (MRes), Philosophy Distinction Oct 2016 – Sep 2017 King’s College London Master of Arts (M.A.), Philosophy Sep 2013 – Sep 2016 Edge Hill University Bachelor of Arts (B.A.), Film Studies First Class Honours – Graduated 1st in academic cohort PUBLICATIONS “Thinking with Images: An interview with Thomas E. Wartenberg”, Debates in Aesthetics (2024) 19, 1 TEACHING AND LECTURING Teaching Assistant: 2026 Aesthetics (UCL) Early Modern Philosophy (UCL) 2025 Philosophical Study Skills: Reading, Understanding and Essay Writing – Topics in Philosophy of Mind, Consciousness, Qualia: Classical and Contemporary Readings (UCL) Lecturing: July 2026 Summer Academic Experience Course (SAEC), University of St Andrews, 2025/26 Course co-leader responsible for the sole design and delivery of a 3-week lecture series (9-day full days of lectures and seminars on topics relating to Philosophy and Film) July 2025 Summer Academic Experience Course (SAEC), University of St Andrews, 2024/25 Responsible for the sole design and delivery of a 3-day lecture series (“Introduction to Philosophy and Film”) INVITED TALKS “Defining Realism Historically”, 9th Mediterranean Aesthetic Congress, Turkey, September 2025 “Experiencing Realism in Film”, Understanding Value XIII Conference, University of Sheffield, July 2025 “Experiencing Realism in Film”, Society for the Cognitive Study of the Moving Image Annual Conference, Canada, June 2025 “Experiencing Realism in Film”, The 6th Biennial Dorothy Edgington Lectures and Graduate Workshop, Birkbeck, University of London, May 2025 “Sense and Reference in Photographic and Cinematic Fiction”, with Orsola Stancampiano, FILARCH 2025, Portugal, May 2025 “The Concept of Realism in Film”, 82nd American Society of Aesthetics Annual Meeting, Chicago, October 2024 “The Concept of Realism in Film”, Society for the Philosophic Study of the Contemporary Visual Arts (SPSCVA) and the Journal of Film and Philosophy Workshop, Online, June 2024 “The Concept of Realism in Film”, Ways of Worldmaking: Nelson Goodman and the Languages of Technology and Art Workshop, TU Darmstadt, Germany, January 2024 “The Concept of Realism in Film”, The Annual International Graduate Philosophy Conference, University of Galway, December 2023 “The Concept of Realism in Film”, The 97th Joint Session of the Aristotelian Society and the Mind Association, Birkbeck, University of London and the Institute of Philosophy, July 2023 “The Concept of Realism in Film”, Aesthetic Education through Narrative Art Annual Conference, University of Rijeka and Croatian Society for Analytic Philosophy, September 2021 “The Concept of Realism in Film”, Society for the Cognitive Study of the Moving Image Annual Conference, June 2021 DEPARTMENTAL TALKS “Experiencing Realism in Film”, Graduate Research Seminar, University of St Andrews, September 2023 “The Concept of Realism in Film”, Graduate Research Seminar, University of St Andrews, October 2022 “Pictorial Realism and Cinematic Realism”, Graduate Research Seminar, Birkbeck College, May 2021 “Does Physicalism Have to Recognise Secondary Qualities?”, Graduate Research Seminar, Birkbeck College, February 2021 PROFESSIONAL SERVICE AND ACTIVITY Sep 2022 – Jan 2025 Co-organiser for the Scottish Aesthetics Forum Sep 2022 – Mar 2023 Student Mentor in the Minorities and Philosophy SASP Chapter PRIZES AND AWARDS 2025 Turing Scheme Bursary £800 awarded for maintenance 2025 Walker Trust Travel Bursary £500 awarded for travel 2024 ASA Travel Grant £1,500 awarded for travel 2022 - 2024 Handsel Tuition Fee Scholarship, University of St Andrews Full tuition fee scholarship 2020 – 2022 MRes Philosophy Bursary, Birkbeck College Partial fee waiver of £4,000 awarded for academic merit and research proposal 2013 High Achievers Scholarship, Edge Hill University £1,000 awarded for exceptional A-Level results on entry REFERENCES Professor Murray Smith Professor Berys Gaut Professor in Philosophy, Art and Film Emeritus Professor in Philosophy University of Kent University of St Andrews [email protected] [email protected] Dr Stacie Friend Professor Simon Prosser Reader in Philosophy Professor in Philosophy University of Edinburgh University of St Andrews [email protected] [email protected] Dr Nick Wiltsher Lecturer in Philosophy University of St Andrews [email protected] ``` ### 16. Angeliki Bara Abstract no. `18` | Selection score: 75.5 | Proposal: Gastronoptikum: Rethinking Artefacts through Molecular Gastronomy Covering letter source: `Bara, motivational letter.docx` Resume/CV source: `Bara_cv.pdf` #### Covering Letter Verbatim ```text Angeliki Bara, PhD Candidate of Athens School of Fine Arts, History and Theory of Fine Arts Address: Glysti 9, Neos Kosmos, Athens, Greece Email: [email protected] 27.4.2026 Dear Members of the Selection Committee of SIE International Summer School, My research activity focuses on the articulation of aesthetics, design and theories of space. In 2024, my research curiosity, but also my willingness to experiment led me to write my first aesthetic essay in the context of the first competition organized by the Hellenic Society of Aesthetics, where my text titled "The architectural shell as a subversive design factor of the contemporary city", received the second prize. I subsequently continued to develop my research on contemporary aesthetic issues giving emphasis on questions regarding design. My interest in the relationship between food and aesthetics began as early as my undergraduate studies, prompted by the question "Is Food Art?". This question evolved into a broader exploration of the morphological, spatial, and symbolic dimensions of food. In May 2026, I will present my paper titled "Food as Aesthetic Object: Modernist Interventions and Contemporary Challenges" at the annual conference of the Hellenic Aesthetics Society. My paper explores food as an aesthetic object through an interdisciplinary approach, posing the question of how food is aesthetically constituted and why gastronomy has remained, to a large extent, outside the central concern of Modernism. The research opposes one-dimensional considerations that limit food to the sphere of function or consumption and approaches food as a medium that articulates morphological, spatial and symbolic dimensions. This proposal is part of the wider reflection on contemporary cultural aesthetic expansions and is the first part of my research on the issue of considering food as an aesthetic object. The Summer School with The Philosophy of Experiential Artifacts is the ideal framework for the further development of my research. In particular, I am given the opportunity to approach food as an experiential artifact through the study of contemporary practices such as molecular gastronomy and edible design. Through this approach, I seek to examine the research question of how food can be understood not only as an aesthetic artifact but also as a conduit of multisensory experience through the contemporary practices of molecular cuisine. My proposal, "Gastronoptikum: Rethinking Artefacts through Molecular Gastronomy", reinterprets the concept of Daniel Spoerri's Gastronoptikum and maps the path of redefining food from consumption to aesthetic experience, connecting contemporary aesthetic approaches with artistic experimentation and the scientific technique of molecular gastronomy and edible design. My participation in SIE will contribute substantially to the development of my research regarding the current debates on aesthetics, philosophy of technology and philosophy of mind. At the same time, the possibility of interacting with researchers from different scientific fields and with different scientific interests in an international environment will be decisive for my research, contributing to the deepening of my methodological approach and the formulation of new concerns and research questions on contemporary forms of aesthetic experience. Sincerely, Angeliki Bara ``` #### Resume / CV Extracted Text ```text A n g e l i k i B a r a (s) PhD Candidate of Athens School of Fine Arts Personal Information: Address: Glysti 9, Neos Kosmos, Athens, GR Phone: +30 6987917788 Email: [email protected] Education 04.2022- : PhD Candidate, History and Theory of Fine Arts, Athens School of Fine Arts 10.2020 - 03.2022: M.A Research in Architecture – Design- Space – Culture, Department A: Gnoseology of Architecture, School of Architecture, National Technical University of Athens 10.2015 - 06.2019: BA History and Theory of Fine Arts, Athens School of Fine Arts Scholarships 2024-2026: H.F.R.I. (Hellenic Foundation for Research and Innovation) PhD Reaserch Scholarship Awards 2024: New Writers Award of the 1st Aesthetics Essay Competition on the subject of Current aesthetic challenges of theory-practice in the 21st century, by the Hellenic Society of Aesthetics. Research Publication Angeliki Bara, “Pietro Maria Bardi, Quadrante, and the Strategies Behind Le Corbusier’s Influence in Fascist Italy”, in The Making of Technocelebrity: Intermediaries of the Modern Movement, K.U. Leuven, forthcoming (Summer 2026) Angeliki Bara, “The Shell of Faith in the City: The Ecclesiastical Architecture of Gio Ponti,” Histories of Postwar Architecture, Vol. 14 (2024), Università di Bologna. Available at: https://hpa.unibo.it/article/view/19655 Angeliki Bara, “The Architectural Shell as a Subversive Design Factor of the Contemporary City” to be published by Hellenic Society of Aesthetics, 2024 Angeliki Bara, “The Term ‘Sachlichkeit’ Through Modern Movements,” 2022. Available at: https://dspace.lib.ntua.gr/xmlui/handle/123456789/54892?show=full Angeliki Bara, “Filopappou Hill as ‘Human-Nest’ of Art”, Sustainable Development, Culture, Traditions Journal, Vol. 1B, 2021, Harokopio University. Available at: http://sdct- journal.com/index.php/2015-10-18-22-23-19/2021-volume-1-a-b/479-filopappou-hill-as- human-nest-of-art Angeliki Bara, “The Historical Avant-Garde Movements, the Scenery and the Theater and Dance Costumes”,Archetype Architectural Magazine, February Issue, Vol. 2. Available at: https://www.archetype.gr/blog/arthro/i-istorikes-protopories-o-skinikos-choros-kai-ta- kostoumia-gia-to-theatro-kai-ton-choro Presentations and Conferences May 2026| “Food as Aesthetic Object: Modernist Interventions and Contemporary Challenges” in Ruptures and Trends in Contemporary Aesthetics: On the Legacy of P.A. Michelis’ Educational Vision, Hellenic Society of Aesthetics, National Technical University of Athens September 2025| “Pietro Maria Bardi, Quadrante, and the Strategies Behind Le Corbusier’s Influence in Fascist Italy” in The Making of Technocelebrity: Intermediaries of the Modern Movement, K.U. Leuven/ Irish College, Leuven March 2025| “The Film “Small Crime” as a Lens on Τhirassia’s Marginalized Communities and Environmental Justice”, Doc Talks March 2025| “Constructing the Bauhaus’s Mythos: Lucia Moholy’s Architectural Photography”, International Conference “Women of Photography: A 24-Hour Conference-a- thon”, University of Mississippi May 2024| “The interdisciplinary eclecticism of Vivienne Westwood: An ecofeminist narrative of history.”, International Symposium “Art, Érotisme, Écologie”, Paris 1 Panthéon-Sorbonne University and the Hellenic Society for Aesthetics January 2024| Presentation of the awarded essay “The architectural shell as a subversive design factor of the contemporary city”, Hellenic Society of Aesthetics, Michelis Foundation October 2023| “Architecture through Heptanise Painting School of the 19th century”, IB INTERNATIONAL PANIONIAN Conference June 2022| Energy Fountains and "Filopappou Hill as a Human-nest of art", Hackathon "HackS+T+ARTS” 2022: Circular Futures", Stegi, Onassis Foundation. February 2022| Presentation of the diploma thesis entitled “The term Sachlichkeit through modern movements”, School of Architecture, National Technical University of Athens June 2019| Presentation of the thesis entitled: “The historical avant-garde, the stage space and the costumes for theater and dance”, Athens School of Fine Arts March 2019| “SPACE THROUGH FASHION: The futurists' perspective”, European Center of Architecture and Design in the framework of the exhibition Energy Athens ``` ### 17. Clara Isabel Campuzano Gómez Abstract no. `58` | Selection score: 75.0 | Proposal: Back to the object: what’s the aim and what’s the consequence of aesthetic communication? Covering letter source: `Motivation letter.pdf` Resume/CV source: `CV 042026.pdf` #### Covering Letter Verbatim ```text Dear Selection Committee, I would like to apply for the SIE International Summer School. I am currently a PhD candidate in Philosophy at the University of Murcia, where, as part of the research group Aresmur-Aesthetics and Theory of Arts, my doctoral research examines aesthetic appreciation and the role that reasons play the justification of aesthetic judgement. The research idea I propose for this call addresses the much-debated question about what’s the point of arguing about taste and challenges the framework of the current discussion, according to which either we engage in aesthetic discourse because we aim to convergence, an idea that many trace back to Kant, or we do so because we aim for community. The attribution is uncertain, so bringing it to a specialized forum where its accuracy, meaning and relevance can be discussed is beyond exegetical interest. I argue that both convergence and community are by- products of engaging in taste disputes, rather than the goal of aesthetic appreciation, and that both appreciation and our arguing about taste are instead directed at grasping the object correctly. In this respect, the proposed idea speaks to the concerns of the PEA project: by focusing on the role of correctness in aesthetic appreciation and disagreement, this discussion can contribute to clarifying the normative scaMolding of the experience that artifacts are meant to elicit. Participating in the Summer School, where I could debate these ideas with researchers at diMerent career stages, would be especially valuable for the development of this project. I expect that critical discussion in this setting will be particularly helpful in clarifying some of the implications of my view and in confronting it with alternative approaches currently under discussion. This opportunity comes at an important moment in my academic trajectory. As I am approaching the final stage of my PhD, occasions for this kind of intensive academic training and interaction will become less frequent. For this reason, I see the Summer School as a key opportunity to consolidate my doctoral project and future research. In addition, I believe that my participation would contribute to reinforcing the already-established collaboration between Aresmur and PEA, as well as building a stronger connection between the University of Murcia and the University of Genoa. Thank you for considering my application. I would very much welcome the opportunity to contribute to and benefit from the discussions fostered by this event. Yours sincerely, Clara Campuzano Gómez ``` #### Resume / CV Extracted Text ```text Clara Campuzano Gómez PRE-DOCTORAL RESEARCHER Phone number Mail Location +34 625883650 [email protected] Murcia, Spain I’m currently a PhD candidate in Philosophy at the Univerisity of Murcia ABOUT ME as part of the research group Aresmur-Aesthetics and Theory of Arts. Funded by Seneca Foundation, my doctoral project is titled ‘Aesthetic appreciation and justification: the role of aesthetic reasons in judging’. My academic interests focus on aesthetic rationality, taste disagreements and normativity, the justification of aesthetic judgement, and aesthetic akrasia. PhD in Philosophy ACADEMIC University of Murcia | March 2023 - March 2027 BACKGROUND Specialty Program: Contemporary Philosophical Aesthetics Master’s Degree in Research in Philosophy University of Murcia | October 2021 - July 2022 Specialty Program: Contemporary Aesthetics Bachelor’s Degree in Philosophy University of Murcia | September 2017 - June 2021 CURRENT Pre-doctoral Researcher PROFESSIONAL Seneca Foundation - Agency of Science and Technology of the SITUATION Region of Murcia | March 2023 - March 2027 Pre-doctoral research contract attached to the Department of Philosophy of the University of Murcia. Research and teaching in pre-doctoral status with ARESMUR- Aesthetics and Theory of Arts group. PROFESSIONAL Pre-doctoral fellow BACKGROUND University of Murcia | October - December 2022 Supervised by Prof. Eileen John VISITING FELLOWSHIPS University of Warwick | September 1 2024 - December 15 2024 Supervised by Prof. Keren Gorodeisky Auburn University | September 12 2025 - December 24 2025 Supervised by Prof. Enrico Terrone Università di Genova | May 18 2026 - July 20 2026 CONFERENCE “Kant and Riggle on Aesthetic Community” (co-authored with Lukas PRESENTATIONS Myers) 1. ASA Workshop “On Seeking Communities of Taste” | April 17-18 2026 (Auburn University, AL, US) “Being affected by others: on the normative force of aesthetic reasons” 2. XIX Workshop on Aesthetic Experience, Aesthetic Appreciation & Rationality: Problems and Prospects | January 8-9 2026 (University of Murcia, Spain) 3. Auburn Aesthetics Forum | December 3 2025 (Auburn University, AL, US) “Why Choose One When You Can Have Both? On the Perceptual and Rational Dimensions of Aesthetic Judgement” 4. ASA Southern Aesthetics Workshop | September 19-20 2025 (University of Georgia, Athens, GA, US) 5. SEFA Postgraduate Conference | November 27-28 2025 (online) 6. European Society for Aesthetics Annual Conference | June 16-18 2025 (National and Kapodistrian University of Athens, Greece) 7. XVIII Workshop on Aesthetic Experience, Aesthetic Appreciation & Rationality: Problems and Prospects | January 13-14 2025 (Universitat Pompeu Fabra, Barcelona, Spain) 8. WiP University of Warwick | December 5 2024 (University of Warwick, Coventry, UK) “Entre percepción y racionalidad: una propuesta no-inferencialista del juicio estético” 9. X Jornadas Doctorales EIDUM-EINDOC-CMN 2025 | June 23-25 2025 (University of Murcia, Spain) “Do Reasons Matter? On Liking the Same Things for the Same Reasons” 10. BSA “On Seeking a Community of Taste” | June 6-7 2025 (University of Warwick, Coventry, UK) “Arguing About Taste and How We Do So” 11. IX Jornadas FiloDoc | November 11-14 2024 (University of Granada, Spain) 12. Open Minds XVII | September 19-20 2024 (University of Manchester, UK) “The Role of Aesthetic Reasons in Aesthetic Discussions” 13. XXI TIF (Taller d’Investigació en Filosofia) | July 4-5 2024 (University of Valencia, Spain) “Aesthetic Discussions and Normativity: The Role of Justification in Aesthetic Judgement” 14. European Society for Aesthetics Annual Conference | June 6-8 2024 (University of Naples “L’Orientale”, Italy) 15. XVII Workshop on Aesthetic Experience “AESTHETICS AND CRITICISM” | January 18-19 2024 (University of Murcia, Spain) As commentator 1. On Lola Martínez-Pons Ortuño’s “Why cannot literary interpretation do without taste?” | April 3-4 2025 (Universitat Pompeu Fabra, Barcelona, Spain) OUTREACH Round Table: “Research in philosophy today” ACTIVITIES XXI Philosophy Week of the Region of Murcia. Philosophy and literature | February 14 2024 In partnership with Lola Martínez-Pons Ortuño, Eduardo Cano Muñoz y Natxo Navarro Renalias Murcia (Spain) Organized by “Sociedad de Filosofía de la Región de Murcia” “¿Por qué algo es bello para mí y para ti no?” Philosophical Cafés - «Cartagena Piensa» Program | May 17 2023 In partnership with Lola Martínez-Pons Ortuño Organized by “Concejalía de Cultura del Ayuntamiento de Cartagena” ARESMUR Permanent Seminar RESEARCH 2021 - ACTIVITIES ARESMUR Reading Group 2021 - TEACHING 2025-2026 ACTIVITIES History of Aesthetic Ideas Bachelor’s Degree in Art History | January - June 2026 Course: Seminar Hours: 15 University of Murcia - Faculty of Humanities 2024-2025 Aesthetics II Bachelor’s Degree in Philosophy | January - June 2025 Course: Seminar Hours: 15 University of Murcia - Faculty of Philosophy History of Aesthetic Ideas Bachelor’s Degree in Art History | January - June 2025 Course: Seminar Hours: 15 University of Murcia - Faculty of Humanities 2023-2024 Aesthetics II Bachelor’s Degree in Philosophy | January - June 2024 Course: Seminar Hours: 15 University of Murcia - Faculty of Philosophy Theory of Art Bachelor’s Degree in Fine Arts | September - December 2023 Course: Seminar Hours: 30 University of Murcia - Faculty of Fine Arts Ayuda de Iniciación a la Investigación | Modalidad B FUNDING AND SCHOLARSHIPS Banco Santander, S.A. | October 2022 - December 2022 Pre-doctoral fellowship University of Murcia Departament of Philosophy Beca de Colaboración Ministerio de Educación y Formación Profesional | November 2021 - June 2022 Undergraduate research fellowship University of Murcia Departament of Philosophy The Rationality of Taste. Aesthetic appreciation and RESEARCH PROJECTS deliberation (PID2023-149237NB-I00) ARESMUR-Aesthetics and Theory of Arts | 2024- Normative Aspects of Aesthetic Appreciation (PID2019- 106351GB-100) ARESMUR-Aesthetics and Theory of Arts | 2021-2024 RESEARCH SOCIETIES’ European Society for Aesthetics MEMBERSHIP June 2024- Sociedad Española de Estética y Teoría de las Artes April 2024- ADDITIONAL MERITS MA Thesis: “A possible solution to aesthetic akrasia” Grade: 10 | July 2022 Bachelor’s Thesis: “A categorial challenge in music: understanding and appreciation” Grade: 10 | June 2021 ``` ### 18. Jingyi (Samantha) Du Abstract no. `32` | Selection score: 75.0 | Proposal: Experiential Artifacts, Proxy Sound, and the Phenomenology of Musical Absence Covering letter source: `Jingyi Du_SIE Motivation Letter.pdf` Resume/CV source: `Jingyi Du_Academic CV.pdf` #### Covering Letter Verbatim ```text Motivation Letter SIE International Summer School 2026, Experiential Artifacts: Art, Technology, and Experience Dear SIE Committee, I am writing to apply for the SIE International Summer School 2026, Experiential Artifacts: Art, Technology, and Experience. My research lies at the intersection of music philosophy, phenomenology, organology, and museum studies. I am especially interested in how musical artefacts organise possible experiences of sound, body, time, and attention, and in how their experiential function changes when it is mediated, displaced, or suspended. Phenomenology provides the methodological foundation for this enquiry. I approach musical instruments not simply as historical objects or organological specimens, but as structures of possible experience. This approach informs my MScR dissertation in Musicology at the University of Edinburgh, which examines silent musical instruments at St Cecilia’s Hall as objects whose sonic function is suspended and reconfigured through recordings, digital guides, labels, curatorial interpretation, and public listening practices. My proposed research idea, “The Givenness of Silent Instruments,” develops the philosophical extension of this dissertation. It asks whether a musical instrument can still function as an experiential artefact when it can no longer be played or heard directly. I use the concept of “proxy sound” to describe the mediated forms through which a silent instrument is made listenable: material display, curatorial language, recorded sound, app-based audio, historical narrative, and the visitor’s imaginative listening. These proxies do not merely compensate for an absent original sound; they transform the mode in which the artefact is given to experience. This project addresses a broader problem in the philosophy of experiential artefacts: whether an artefact’s experience-generating function must be exercised directly, or whether it may be displaced, transformed, or completed through technological and interpretive mediation. The Summer School’s interdisciplinary structure would help me refine this question across philosophy of technology, philosophy of mind, and aesthetics: as a question about mediating artefacts, auditory imagination, and the possibility that an instrument remains musical because it continues to organise a field of possible listening. I also see this research as addressing a relative absence within material philosophy and the philosophy of art. Musical instruments occupy a distinctive position between object and artwork, tool and medium, material artefact and condition of aesthetic experience. Precisely because they combine material construction, artistic function, bodily technique, technological mediation, and experiential generation, they offer a productive case for rethinking the relation between artefact, function, and experience. I hope to contribute to the programme by bringing a case from music, organology, and museum practice into the broader discussion of experiential artefacts, while developing a more precise philosophical account of how artefacts generate experience through absence, mediation, and imaginative completion. Yours sincerely, Jingyi Du MSc by Research in Musicology Reid School of Music, Edinburgh College of Art The University of Edinburgh Tel: 07350127834 | [email protected] ``` #### Resume / CV Extracted Text ```text Jingyi (Samantha) Du Tel: +86-13161084341|+44-07350127834 https://www.eca.ed.ac.uk/profile/samantha-jingyi-du E-mail: [email protected] | [email protected] RESEARCH INTERESTS Aesthetics, Musicology, Philosophy of Music, Curation Theory, Continental Philosophy, Phenomenology, Interdisciplinary Research, Game Study, Sinology of 19-20 century, Modernity EDUCATION The University of Edinburgh Edinburgh, Scotland, UK MSc Research in Musicology Sep. 2025- (Sep. 2026) Reid College of Music, Edinburgh College of Arts Pamela Jackson Memorial Scholarship Recipient: Full scholarship with living stipend Renmin University of China (RUC) Beijing, CN M.A. in Comparative &World Literature, GPA: 3.87/4.00 2022-2025 Dissertation: “China as a Stylization Principle’—Identity, Text and Musical Expression in Gustav Mahler’s Das Lied von der Erde” Supervisor: Professor Kejun Xia Renmin University of China (RUC) Beijing, CN B.A. in Chinese Literature & Linguistics 2018 – 2022 Thesis: “The Subversion of Sacred Origins: Organ Iconology and Sacred Femininity in the Renaissance” The University of Edinburgh Edinburgh, Scotland,UK Visiting Student Sep. 2023 — Dec. 2023 Sponsored by RUC Headmaster's Scholarship RESEARCH EXPERIENCE The Fifth Popular Music Theory and Analysis Summer School Liverpool, UK Participant July, 2026 The Institutes of Popular Music of both Rochester and Liverpool, the Society for Music Analysis, the university of Liverpool The University of Edinburgh Edinburgh Scotland, UK Researcher (MSc by Research in Musicology) Sep. 2025 – Reid School of Music, Edinburgh College of Art Pamela Jackson Memorial Scholarship Recipient: Full scholarship with living stipend; awarded biennially to a single recipient. From Sound to Silence: An Organological Inquiry into Memory, Display, and Cultural Translation — Research in collaboration with St Cecilia’s Hall Musical Instrument Museum. Investigates the ontology and cultural translation of “silent instruments,” focusing on Chinese plucked string instruments in museum contexts. Integrates Chinese philosophy (yú 余; dàyīn xīshēng 大音希声) with Western phenomenology of listening and Bernard Stiegler’s organology. Planned research outputs: public lectures at St Cecilia’s Hall, peer-reviewed article manuscripts, and a curatorial proposal linking Chinese and Scottish collections through comparative listening philosophies. University of Munich & ULP Online School Online / Germany Participant, March – May 2025 Winter Research School on Spiritual Ecology and Socio-Economic Justice Selected to participate in the interdisciplinary online winter school "Environmental Transformation and Socio-Economic Justice: Spiritual Resources for New Perception and Motivation," co-organised by LMU Munich, Catholic University of Linz, Yale University, ETH Zurich, and others. Engaged in intercultural lectures and collaborative discussions on permaculture, climate justice, Confucian and Buddhist ecological ethics, and the integration of spirituality into sustainable development. Collaborated with an international group of researchers to deliver a final presentation titled "Spiritual Ecology and Value Reprogramming in Digital Environments," exploring how value systems in AI and digital media can integrate non-Western ecological philosophies. Applied a "Basis–Method–Effect" and "Observation–Understanding–Action" framework to analyse alternative models of sustainable transformation in both local and global contexts. Renmin University of China (RUC) Beijing, CN Project Leader, University Student Innovation Program May 2020 – May 2021 Led a groundbreaking year-long research project titled "New Age Poetry Education for Left Behind Children (LBC)," combining creative pedagogy with social impact to address the educational needs of LBC in rural areas Designed and executed a comprehensive field study in Jiangxi Province, CN, employing qualitative research methods such as interviews and participatory observation to gather insights into the educational experiences of LBC. Collaborated with leading scholars in literature education and poetry studies to produce an innovative poetry education handbook Renmin University of China (RUC) Beijing, CN Graduate Assistant, “Qiu-Shi” University Student Innovation Program June 2024 Led the research project “Publicness of Public Art Spaces in Beijing,” (College of Philosophy)which was successfully recognized and approved as a municipal-level project, highlighting the social and cultural significance of public art through urban studies and community engagement Served as a Research Assistant in the "Qiushi Academic" project at Mingde College, guiding undergraduate students through key academic research processes, including formulating research questions, conducting literature reviews, and applying research methodologies Collaborated closely with faculty advisors to provide specialized project support, promoting a collaborative academic environment and facilitating peer-led research and knowledge sharing Played a critical role in interdisciplinary innovation projects, fostering the development of advanced research skills and contributing to the intellectual and academic growth of undergraduate students, preparing them for future scholarly work Renmin University of China (RUC) Beijing, CN Research Member, China-Greece Civilization Mutual Learning Program July 2023 Conducted independent research on the topic of Musical Iconography of Ancient Greece and China, exploring the intersection of music, art, and philosophy in both cultures under the mentorship of Professor Wei Liu Presented research findings at the international conference “Patterns of Evil in Greece and China,” held on July 8-9, 2023, at the University of Patras, contributing to cross-cultural academic dialogue Awarded the DAHUA International Scholarship, supporting in-depth research and fostering global academic exchange between China and Greece Renmin University of China (RUC) Beijing, CN Selected Participant, “Mingde Future Thinkers” Research Program Dec 2020 – May 2021 Selected through university-level nomination to join a prestigious interdisciplinary talent training program hosted by the School of Philosophy, RUC. Conducted field research in Zhengding County, Hebei Province, focusing on the interaction between Buddhist religious practices and local folk customs. Carried out structured interviews with temple monks and religious practitioners, collecting ethnographic data on contemporary religious life in rural China. Completed a written research report and delivered an oral presentation on the syncretic dynamics of formal Buddhism and vernacular belief systems. Oxford University Oxford, UK Research Member, Oxford Program for the Future of Cities: Cultural Leadership: Tradition and Innovation July 2020 Contributed to a group research project titled “An Analysis on Increasing Access and Inclusiveness of Beijing's Art and Heritage Sites for Visually Impaired Children,” utilizing cultural policy analysis and urban studies to propose inclusive solutions for heritage site accessibility Earned the Research Project Award for Academic Excellence in recognition of the innovative and impactful contributions made to the project Collaborated with an international team of scholars and practitioners to develop strategies that promote inclusivity and cultural engagement for visually impaired children, emphasizing the role of art in fostering social equity SEMINAR/CONFERENCE PRESENTATIONS Du, S. J. (2026, July). “Silence and After-Resonance: Musicking as Thought” Paper accepted for in- person presentation at MPSG 2026, Themed Session 3: “Liminal Musicking: Dreams, Imagination, Thought”, RMA Music and Philosophy Study Group Conference, Dublin, Ireland. Du, J. (2026, June–July). “Resonating Beyond Sound: The Temporality of Yú (余) in Chinese Instrumental Aesthetics.” Paper accepted for in-person presentation at the 19th Triennial Conference of the International Society for the Study of Time (ISST 2026): “Time and Entanglement”, University of Cagliari, Sardinia, Italy. Du, J. (2025, June). “The Five Tones Heal Diseases” and “Great Sound is Silent”: Musical Perception and Cosmic Order in Chinese Philosophy Paper presentation at 24th International Conference on Chinese Philosophy (ISCP), Faculty of Arts, University of Ljubljana, Slovenia. Du, J. (2025, June). Viral Narratives in Interactive Storytelling: Contagion, Subjectivity, and the Dissolution of Boundaries. Paper presentation at Ludonarratives: Stories, Art, and Play in Game Studies Young Scholars' Conference. University of Szczecin, Popular Culture Students' Association "Cultura Popularis", Poland. Du, J. (2024, November). Gender Ambiguity and Cultural Intersection in Mahler’s ‘Das Lied von der Erde’. Seminar presentation in the Academic Conference on Sounding China in Western Music. Shanghai Conservatory Music, Shanghai, CN. Du, J. (2024, August). The rA9 Phenomenon: Identity Reconstruction through Android Bodies and Virus Simulation in 'Detroit: Become Human.’ Paper presentation in the First National Graduate Game Forum and Academic Conference on The Reality and Potential of Video Games. East China Normal University, Shanghai, CN. Du, J. (2024, July). The Iconology of Organ and Sacred Femininity During the Renaissance. Seminar presentation in The Impact of Antiquity on European Art: Ways of Appropriation Renaissance Through Classicism. China Academic of Art, Hangzhou, Zhejiang, CN. PROFESSIONAL EXPERIENCE Wu Promotion Co., Ltd., Programming Intern 2024-2025 Philharmonic, Sanlian Publishing Press, Beijing, Intern Editor 2024 University of Edinburgh in EUCO & EUMS Symphony Orchestra, Section leader of double bass 2023 Beijing Symphony Orchestra (BSO), Associated Player 2023 – 2025 Journal of the Study of Christian Culture (JSCC), Intern Editor 2022 – 2025 China Guardian Art Center (Beijing), Marketing Intern 2022 CITICS Press Corporation, Beijing, Intern Editor 2021 Renmin University of China’s Symphony Orchestra, Student Leader & Producer 2020 – 2022 Renmin University of China’s Symphony Orchestra, Double Bass Player 2018 – 2025 SCHOLARSHIPS & AWARDS Postgraduate Research Expenses (PRE) Grant, University of Edinburgh (500 GBP) 2026 Pamela Jackson Memorial Scholarship,University of Edinburgh (50,000 GBP) 2025 Beijing Municipal Outstanding Graduate 2025 First-Class Scholarship in Academic, RUC 2024 Golden Award, Group Award of Symphony Orchestra Competition in Beijing University Students Art Festival 2024 Golden Award, Group Award of Traditional Chinese Orchestra Competition in Beijing University Students Art Festival 2024 Headmaster Scholarship, RUC 2023 DaHua Interational Communication Scholarship, RUC 2023 First-Class Scholarship in Arts and Sports, RUC 2022, 2021 The 15th Xie Wu-liang Literature Competition of RUC, Second Prize of Poetry Writing 2021 Scholarship for Excellence and Development, School of Liberal Arts, RUC 2021 National Student Innovation Program Grants (5000 CNY) 2020 Silver Award, Group Award of Chamber Music (Strings) Competition in Beijing University Students Art Festival 2020 Golden Award, Group Award of Chamber Music (Strings) Competition in Beijing University Students Art Festival 2018 Fundamental Disciplines Scholarship, RUC 2018 – 2021 ADDITIONAL SKILLS Languages: Masterly classical/modern Chinese; Fluent English; Basic classical Greek, Latin, Hebrew; Basic Modern French, German; Basic Modern Greek Technical Proficiency: Software composition (Musescore, Sibelius), AI Music (Suno), AI video(Pica/Runway), AI painting (Midjourney) Microsoft Word Music: Professional double bass performance Writing: Sci-fi novel/screenwriting, poem writing ``` ### 19. Julian Saccone Abstract no. `14` | Selection score: 75.0 | Proposal: Experience-Recipes and Experience-Machines Covering letter source: `Application_Merged_Genova.pdf` Resume/CV source: `Application_Merged_Genova.pdf` #### Covering Letter Verbatim ```text Letter of motivation To whom it may concern, I am strongly interested in the intersection between Aesthethics, Mind, Agency and Technology. Reflecting on electronic music, I have recently been developing a disjunctive view of music artworks (written vs. produced musical artworks). I am writing to express my interest in participating in Summer school, for I believe that I would greatly benefit from it. Generally, my main philosophical interests lie broadly in epistemology and the metaphysics of mind. Given my proficiency in the production of electronic music, I am also particularly interested in the nature of musical artworks and the role technology plays in musical creation and more generally in skilled action. In particular, I am interested in amending the virtually total absence of electronic music from contemporary discussions concerning the nature of musical artworks, which clearly display a bias toward classical music and more generally non-electronic music. I am currently working towards my PhD at the University of Miami (Florida), which will concern: (a) a reshapement of the explanatory gap by a partial psychological “deconstruction of it”; (b) a view of the role of consciousness in agency (including skilled agency; issues concerning blindsight type I and aphantasia); (c) some issues concerning the intersection between technology and consciousness (putative mind-extension cases, tool use, and the way on comes to reason and imagine within the limits of the tool one skillfully masters, like with musical instruments); (d) a defense and characterization of a novel version of what might be called a biological view of consciousness (mainly drawing on recent views by Godfrey-Smith, Ned Block, Rosa Cao and others), which yields heavy skepticism towards non-biological artificial intelligence and partially informed by an analysis of apparent limitations in neural prosthetics. Participating in this conference would be a great opportunity for me to make progress on some of the ideas I am working on concerning experience and Art, by engaging with scholars working on these topics and having the opportunity of being given feedback. Thank you in advance for your consideration. Yours sincerely ``` #### Resume / CV Extracted Text ```text Areas of specialization • Metaphysics of mind • Philosophy of cognitive science • Epistemology of consciousness • Consciousness and Action Areas of competence • Metaphysics • Philosophy of mind • Philosophical Psychology • Metaphysics of Musical Artworks Education • PhD (Philosophy), University of Miami (UM)—2024–present • M.A. (Philosophy), Universität Tübingen — 2017–2019. Final grade:1.0. Visiting student, UC Berkeley (Mar.–Jul. 2019). • B.A. (Philosophy & General Linguistics), Universität Tübingen — 2014–2017. Final grade: 1.2 Theses • Master thesis (Aug. 2019); Supervisors: Prof. Hong Yu Wong; Ass.Prof. Tobias Wilsh; Grade: 1,0. • Bachelor thesis (Oct. 2017) Supervisor: Prof. Thomas Sattig; Grade: 1,0. Academic appointments & teaching • Teaching, University of Miami, Philosophy Department — 2025–present • Teaching Assistant, Chair Philosophy and Cognitive Science, Universität Tübingen — 2019–2022 • Tutor, Introduction to Formal Logic, Universität Tübingen — 2015–2019 (multiple terms) • Tutor, Introduction to the Philosophy of Mind, Universität Tübingen — 2018 Selected courses taught • Philosophical Psychology, University of Miami — Spring 2026 (English) • Contemporary Moral Issues, University of Miami — Fall 2025 (English) • Consciousness, Proseminar, Universität Tübingen — 2020–2022 (English) • Questions in Free Will, Proseminar, Universität Tübingen — 2021 (English) • Free Will, Proseminar, Universität Tübingen — 2020 (English) • Research groups & membership • PONS (Philosophy of Neuroscience research group), Universität Tübingen — 2018–2024. Regular presenter and participant in biannual research meetings. Languages • Italian (native) • German (fluent) • English (fluent) • Spanish (basic) • Latin (basic) • Ancient Greek (basic) Side Notes: I worked as a shepherd for some years, have an extensive vintage records collection, and am literally addicted to late 80ies/early 90ies production devices, especially early samplers. I love sailing and decaying buildings. I despise hiding truths behind sophisticated jargon, hypocrisy and the way too heavy use of “plastic like” compression on drums nowadays. ``` ## Section 3 marked revision Bold = changes from the first version used as the base. # 3. LLMs as Persons Section 2 argued that design knowledge cannot, on its own, capture the aesthetics of LLMs. The system is engineered, and its engineered history matters; yet the thing the appreciator encounters is a generated continuation, produced by trained dispositions operating on a context. Post-training sharpens the difficulty. The continuation does not arrive as bare text, but as a reply: a turn shaped to acknowledge a prompt, maintain a register, answer in the manner of an assistant, and carry the exchange forward. That makes person-directed knowledge a natural candidate for what design knowledge leaves out. If the generated continuation comes to us as a conversational turn, perhaps the appropriate knowledge is the kind we bring to bear on speakers. The same technical story that gives person-directed knowledge its attraction also creates the problem for it. Section 2 described an LLM as a trained continuation system. Its replies are produced through local transitions from context to continuation, under regularities acquired in training and further shaped by post-training. **The text can therefore present as conversational without yet giving us a speaker whose words express beliefs, intentions, commitments, or character.** The question for person-based approaches is **not** whether LLMs sound like interlocutors. They often do. The question is whether the person-like surface gives us an object of person-directed appreciation, or whether it is itself something to be explained by the trained regularities of the system. Person-directed appreciation, as Section 1 introduced it, concerns more than linguistic fluency. To appreciate a person aesthetically is to take what they say and do as belonging to a subject whose responses hang together across time. **The words matter as expressions of someone: a subject whose traits and ways of responding are intelligible as parts of a life.** Their generated continuations can be fluent, **evasive, tactful, or funny**; they can also maintain a manner across an exchange. **Carlson’s recommendation requires us to ask** whether these features belong to the LLM as features of a person-like subject, or whether they belong to the generated order of a trained continuation system. One way of taking the person-like surface seriously is to treat it as fictional. Mallory (2023) develops this thought as chatbot fictionalism. His concern is metasemantic rather than aesthetic: he wants to explain how chatbot outputs can be useful in thought and inquiry even if, by standard metasemantic lights, they are not literally meaningful utterances. His proposal is that our engagement with chatbots is a form of prop-oriented make-believe. The outputs are “literally meaningless but fictionally meaningful” (Mallory 2023, p. 1082). Within the relevant game, the chatbot says things, answers questions, and appears as an interlocutor. The system’s text functions as a prop that prescribes imaginings of a speaker. **The fictionalist proposal can explain why an LLM exchange sustains person-like engagement.** A user can respond to an LLM as though a speaker were present without being confused about the machinery behind the exchange. **The conversational surface is preserved while the account in Section 2 remains in place:** the trained system generates text, and the user’s imaginative practice supplies an interlocutor within the fiction. This is especially attractive for aesthetic purposes, since **fictional persons can themselves be objects of aesthetic appreciation.** The beauty or ugliness of a fictional character does not require that the character exist outside the work. However, this does not amount to person-directed appreciation of the LLM. Mallory himself is clear that the fictional character is not to be identified with the system that supports it: “The character is not this technological infrastructure” (Mallory 2023, p. 1091). The distinction matters for Carlson’s recommendation. If the object to be appreciated is the fictional interlocutor, then person-directed knowledge may be appropriate; we can attend to the persona made available in the game of make-believe. If the object is the LLM, the fictionalist account leaves us with the prop and the generative system that produces it. **Mallory’s account explains** why person-like engagement with an LLM is intelligible at the level of use without delivering person-directed knowledge of the LLM. The trained continuation system described in Section 2 remains to be appreciated in its own terms. **Frankish’s proposal keeps the intentional description attached to the system.** Drawing on Dennett’s intentional stance, he argues that LLMs can be treated as genuine, if unusual, intentional systems. On the shallow view he adopts, beliefs and desires need not be inner episodes or conscious states. They can be dispositional patterns in a system’s responses. **If treating a system as having beliefs and desires lets us predict its textual behaviour, then, at that level of description, the intentional ascriptions may be warranted.** **The intentional system Frankish describes is too thin for person-directed appreciation.** LLMs do not have the range of desires that human speakers have. He describes them as “static systems with no needs” (Frankish 2024, p. 66). Since they have no communicative needs, Frankish does not ascribe to them desires to inform, comfort, warn, persuade, or advise. His proposal is that they have one thin goal: to play what he calls the chat game. The chat game is “a one-player game” in which the player receives textual inputs and produces responses cooperative by human conversational standards, given the context (Frankish 2024, p. 68). The chat-game account explains why the conversational surface has the stability it does. **A person’s speech, however, is intelligible against a wider pattern of action, concern, vulnerability, and practical life.** Frankish states the relevant contrast himself: human speech belongs within a “vast web of non-linguistic behaviour” (Frankish 2024, p. 69). The chat-game agent has no corresponding wider web. Its apparent tact, warmth, evasiveness, or firmness belongs to the way it continues text under conversational norms. There is no life across which those features are tested or transformed. **Post-training gives this problem its remaining force.** If users say that one model feels friendlier than another, they are picking up on a stable pattern in how chat-optimised systems tend to respond across many prompts and episodes. Those patterns are real, and they can be aesthetically salient. Post-training helps to produce them, and repeated use can make them familiar. Yet familiarity with a response profile is not familiarity with a person. The stability belongs to a trained way of producing continuations across contexts, rather than to a subject whose responses answer to needs, commitments, or a history of action. Person-directed knowledge therefore explains part of our experience of LLMs without settling the question Carlson requires us to ask. Mallory shows how the generated text can support an imagined interlocutor; Frankish shows how intentional description can pick out real patterns in the system’s conversational behaviour. Neither account makes the LLM itself available as a person-like object of aesthetic appreciation. What remains is the order Section 2 isolated: generated text developing through learned regularities under the pressure of context. The next question is what kind of knowledge makes that order appreciable as the order of a trained continuation system.