Caterina Moruzzi

Biographic Data

ID1097373
NAMECaterina Moruzzi
GIVEN NAMESCaterina
FAMILY NAMEMoruzzi
SIGNATUREMORUZZI C
AFFILIATIONSUniversity of Edinburgh
ORCID0000-0002-9728-3873
VERIFIEDYes
TOTAL WORKS6
TOTAL CITATIONS4
AUTHOR COUNT6
EDITOR COUNT0
FIRST PUBLICATION YEAR2019
LATEST PUBLICATION YEAR2026
H-INDEX1

  • Interrogating the ORA framework

    Open AccessFrances Liddell, Chris Elsden et al.ARTICLEJournal of Cultural Economy2026References: 56

    Platformization and the development of generative AI (genAI) present profound challenges for professionals across the cultural and creative industries. Through the development of a technical prototype and an exploratory study of a licensing framework known as ORA (Ownership, Rights, and Attribution) this paper critically explores tokenized licensing as a socio-technical approach to empower cultural and creative professionals as they navigate thes…

  • Artificial Intelligence and Creativity

    Open AccessCaterina MoruzziARTICLEPhilosophy Compass2025References: 52

    The question of whether machines can be creative has been at the centre of debates among scholars and practitioners well before the inception of artificial intelligence (AI) as a recognised field of research. This paper reviews how some of the key thinkers in the fields of creativity and AI have approached this question, contextualising their views within the ebbs and flows of AI technological developments, from the 1950s until now. The thread of…

  • A Machine Walks into an Exhibit

    Open AccessThomas Şerban von Davier, Leon M Herman et al.ARTICLEArts2024

    Contemporary art consumption is predominantly online, driven by algorithmic recommendation systems that dictate artwork visibility. Despite not being designed for curation, these algorithms’ machinic ways of seeing play a pivotal role in shaping visual culture, influencing artistic creation, visibility, and associated social and financial benefits. The Algorithmic Pedestal was a gallery, practice-based research project that reported gallerygoers’…

  • The Algorithmic Pedestal

    Leon M Herman, Caterina MoruzziARTICLELeonardo2024References: 2

    This paper delineates the authors’ practice-based findings from The Algorithmic Pedestal exhibit, a practice-based research project examining the impact of algorithmic curation on visual ecology. Instagram, a platform that deploys algorithmic recommendations to select and display artworks, was instructed to choose a set of images from the Metropolitan Museum of Art’s collection to display. Fabienne Hess, a London-based artist, also chose images t…

  • Everyone Can Change a Musical Work

    Open AccessCaterina MoruzziARTICLEThe British Journal of Aesthetics2022Cited by: 1References: 22

    This paper explores how a new theory on the ontology of musical works, Musical Stage Theory, can address the problem of change in musical works. A natural consequence of the ontological framework of this theory is that musical works change intrinsically through a change in the sonic-structural properties of performances. From this a surprising consequence follows: everyone can change a musical work. Still, it seems that some changes matter more t…

  • An Ontological Justification for Contextual Authenticity

    Open AccessCaterina MoruzziARTICLEThe British Journal of Aesthetics2019Cited by: 3

    In this paper I defend a contextualist interpretation of authenticity in musical performance: we judge a performance as authentic not in respect of a stable set of requirements but according to contextually determined factors. This solution is the natural outcome of an independently supported ontological account of musical works: Musical Stage Theory. The aim of the paper is to give new momentum to the debate concerning the notion of authenticity…