I'm a Research Assistant at the Department of Philosophy, Universität Konstanz.
My current research focuses on creativity in artificial intelligence and on the societal and cultural impact of generative AI systems.
Dr. Caterina Moruzzi
Research Assistant at the Department of Philosophy, University of Konstanz
Honorary Research Fellow, University of Nottingham
Moruzzi, Caterina. ‘Improvisation as Creative Performance’, in Bertinetto, A. and Ruta, M. (eds.) Handbook of Philosophy and Improvisation in the Arts, London: Routledge.
Moruzzi, Caterina. 2021. 'On the Relevance of Understanding for Creativity’, Proceedings of AISB2021.
Moruzzi, Caterina. 2021. ‘Everyone Can Change a Musical Work’, British Journal of Aesthetics. DOI: 10.1093/aesthj/ayab003.
Moruzzi, Caterina. 2020. ‘Artificial Creativity and General Intelligence’, Journal of Science and Technology in the Arts 12(3): 84-99.
Moruzzi, Caterina. 2020. ‘Learning Through Creativity: How Creativity Can Help Machine Learning Achieving Deeper Understanding’, Rivista Italiana di Filosofia del Linguaggio 14(2), doi: 10.4396/AISB201904.
Moruzzi, Caterina. 2020. ‘Looking for Creativity: GANs as a Paradigm of Autonomy in Software for Music Composition’, in Be My GAN: Arte e Intelligenza Artificiale, ed. by Alice Barale (Milano: Jaca Book).
Moruzzi, Caterina. 2020. ‘Measuring Creativity: An Account of Natural and Artificial Creativity’, European Journal for Philosophy of Science 11 (1).
Moruzzi, Caterina. 2020. ‘The Assumptions Behind Musical Stage Theory: A Reply to Letts’, Journal of Aesthetics and Art Criticism 78 (3): 362-366.
Moruzzi, Caterina. 2020. ‘Should Human Artists Fear AI? A Report on the Perception of Creative AI’, Proceedings of xCoAx2020, pp. 170-185.
Moruzzi, Caterina. 2020. ‘Can a Computer Create a Musical Work? Creativity and Autonomy of AI Software for Music Composition’, in Gouveia, Steven S. (ed.), The Age of Artificial Intelligence: An Exploration, Vernon Press.
Moruzzi, Caterina. 2019. ‘An Ontological Justification for Contextual Authenticity’, British Journal of Aesthetics.
Moruzzi, Caterina. 2018. ‘Every Performance is a Stage: Musical Stage Theory as a Novel Account for the Ontology of Musical Works’, Journal of Aesthetics and Art Criticism 76 (3): 341-351.
Moruzzi, Caterina. 2018. ‘Creative AI: Music Composition Programs as an Extension of the Composer’s Mind’, in Müller, Vincent C. (ed.), Philosophy and Theory of Artificial Intelligence 2017, Berlin: Springer.
Moruzzi, Caterina. 2016. ‘An Alternative Account of the Ontology of Musical Works: Defending Musical Stage Theory’, Proceedings of the European Society for Aesthetics, vol. 8.
Moruzzi, Caterina. 2016. Review of Musical Concerns: Essays in Philosophy of Music by Jerrold Levinson, ASAGE, vol. 8, n. 1.
Moruzzi, Caterina. 2015. Review of Disunified Aesthetics: Situated Textuality, Performativity, Collaboration, by Lynette Hunter, Liminalities, vol. 11, n. 2.
Work in Progress
Project ”Agency and Scientific Creativity“: survey and workshop on mutual influences between agency, creativity, understanding, and trust (supported by the Dr. August und Annelies Karst Stiftung, Universität Konstanz).
Research on robustness in decision-making processes, with the aim of understanding how humans can reason counterfactually and how can we teach machines to do the same.
Co-Lead organiser of TEDx Konstanz 2022: Infinitely Close-Infinitely Far
My research interests focus on the analysis of the concepts of agency and creativity in living beings and artificial systems. I integrate methods used in experimental philosophy in order to inform my research on the implications of state-of-the-art developments in AI on the attitudes of reception of creative processes. I have a background as philosopher of art and musician and my interdisciplinary approach aims to build a bridge between the study of paradigmatic features of the human brain and behaviour and the research on the development of human-level automated systems. This will be decisive to shed light on the controversial issue of creativity and, consequently, on pressing questions over matters of intellectual property and AI. It will also contribute to explain the role that intuitions play in our relation with artefacts produced by AI systems.
In my PhD project I defended and developed a new account for the ontology of musical works: Musical Stage Theory, the view that a musical work is a performance. I proposed this account as an alternative to mainstream and well accepted views on the nature of musical works with a specific intent, that of suggesting a way to analyse the identity of musical works which gives due relevance to musical practices and, at the same time, is grounded on a solid ontological basis. As a corollary to the main ontological thesis, Musical Stage Theory also allows for contextually dependent senses of authenticity of musical performances.
2021-2022 - University of Konstanz
What You See is (Not Always) What You Get: Nature and Knowledge of the Inside and the Outside World, Department of Philosophy
Cutting-Edge Debates on Artificial Intelligence, Departments of Philosophy and Linguistics
2020-2021 - University of Konstanz
Introduction to the Philosophy of Art, Department of Philosophy
Cutting-Edge Debates on Artificial Intelligence, Departments of Philosophy and Linguistics
Being True to Music: When Is A Musical Work Authentic?, Department of Philosophy
Thinking Fast and Slow: What Can Computers Learn From the Human Mind?, Department of Philosophy
Appearance & Reality
Mind and Consciousness
Self, Mind, and Body
Introduction to the Philosophy and Aesthetics of Music
History of Western Philosophy
Introduction to Ethics
17-19 June 2021. ‘Is Artistic Creativity Necessarily Human?’, XPhiEU2021 (virtual meeting)
8 April 2021. ‘On the Relevance of Understanding for Creativity’, AISB2021 (virtual meeting)
20 March 2021. ‘Everyone Can Change a Musical Work’, American Society for Aesthetics Pacific Meeting (virtual meeting)
18 February 2021. 'What’s the Point of Machine Art? Reflecting on AI Art and its Discontents’, Scottish Aesthetics Forum Talk, University of Edinburgh
8 January 2021. 'Disclosing Musical Works’ Meaning: A Comment on Dodd’s “Being True to Works of Music”’, American Philosophical Association Eastern Meeting 2021 (virtual meeting)
10 December 2020. ‘Creativity, Anthropomorphization, and Uncanny Valley’, Department of Philosophy, University of Konstanz, Fachbereich Kolloquium (virtual meeting)
8 July 2020. ‘Humans Don’t Like AI Art’, xCoAx Conference: 8th Conference on Computation, Communication, Aesthetics & X (virtual meeting)
12-13 June 2019. ‘Intentionality and Creativity in AI-generated Music’, Ernst Mach Workshop: Posthumanism, Czech Academy of Sciences, Prague
16 April 2019. ‘AI-Generated Music: Creativity and Autonomy’, Philosophy After AI: Language, Imagination, and Creativity Symposium, AISB Convention 2019, Falmouth University
15 April 2019. ‘Generative Adversarial Networks as a Creative Model of Music Composition’, British Society of Aesthetics Connections conference 2019: Creativity Across the Arts and Sciences, Bristol
11 April 2019. ‘Generative Adversarial Networks as an Autonomous Model of Music Composition’, Algorithmic Music: Value, Creativity and Artificial Intelligence, King's College London
26-27 July 2018, 'Robo-Bach: Can Artificial Intelligence Be Musically Creative?', Creativity in the Arts, Science, and Mind conference, Leverhulme Centre for the Future of Intelligence, University of Cambridge
4-6 April 2018, 'Authenticity in Practice: An Ontological Justification for Contextual Authenticity', ASA Pacific Meeting, Asilomar, California
5-7 December 2017, ‘Creative AI: Music Composition Programs as an Extension of the Composer's Mind’, International Conference on Artificial Intelligence and Information, Faculty of Arts, University of Porto, Porto, Portuga
20 May 2017, ‘A Revisionary Account of Musical Improvisation and Authenticity within Musical Stage Theory’, Conference on Authenticity versus Improvisation in the Philosophy of Music, University of Bern, Switzerland
27 January 2017, 'Art, Intentionality, and AI', Art, Aesthetics, and Beyond, British Society of Aesthetics Postgraduate conference, University of Kent, Canterbury, UK
3 December 2016, 'Musical Works as Stages: A Novel Account for the Ontology of Musical Works', Open Minds XII conference, University of Manchester, Manchester
15 October 2016, ‘A Defence of Musical Stage Theory’, Arché 9th Graduate Conference, University of St Andrews, Scotland
10 June 2016, ‘Every Performance is a Stage: Defending Musical Stage Theory’, European Society for Aesthetics Annual Conference, University of Barcelona
24 May 2016, ‘An Alternative Account for the Ontology of Musical Works: Musical Stage Theory’, McGill Philosophy Workshop, McGill University, Montréal, Canada
8 January 2016, ‘Every Performance is a Stage: Defending Musical Stage Theory’, BFE/RMA Research Students' Conference 2016, Bangor University, 6-8 January 2016
9 September 2015, ‘Does an Arranger Deserve Royalties? Luigi Dallapiccola’s Sonatina Canonica on Trial’, Ninth Biennial International Conference on Music Since 1900, University of Glasgow
Co-organiser of TEDx Konstanz 2022
Co-organiser of the Early Lunch Philosophy seminar at the University of Konstanz, Department of Philosophy
Lead organiser of the conference ‘Philosophy in Progress: Postgraduate Conference of Philosophy’, University of Nottingham, 10th-11th January 2018 (https://philosophyinprogressnottingham2018.weebly.com/)
Lead organiser of the workshop ‘Aesthetics of Computer Music: Changes in the Nature and Reception of Music’, University of Leeds, 7th November 2017 (https://www.leeds.ac.uk/arts/events/event/4042/aesthetics_of_computer_music_changes_in_the_nature_and_reception_of_music)
Co-organiser of the joint Philosophy Postgraduate Conference Birmingham-Warwick-Nottingham, 15th June 2017
Co-organiser of the workshop ‘BOOOM! Making Research Memorable’, 4th July 2015, Birmingham City University (http://pgr-studio.co.uk/booom-making-research-memorable-by-ed-mckeon/)
Honorary Research Associate, Department of Music, University of Nottingham (2018-2021)
Co-editor of the volume on Machine Creativity and Digital Art of the journal 'Odradek - Studies in Philosophy of Literature, Aesthetics and New Media Theories', 2021.