In this paper I examine the notion of ‘artifact’ and related notions in the dominant version of extended cognition theory grounded on extended functionalism. Although the term is ubiquitous in the literature, it is far from clear what ECT means by it. How are artifacts conceptualized in ECT? Is ‘artifact’ a meaningful and useful category for ECT? If the answer to the previous question is negative, should we worry? Is it important for ECT to have a coherent theory of artifacts? (...) And what are the demands and constraints that ECT imposes on this theory? I distinguish between two aspects of ECT, one narrow, aligned with extended functionalism ; and one broad or pluralistic, in which EF is combined with other theoretical resources in the context of diverse research programs. I begin by determining the problems in conceptualizing artifacts from EF. Then I address the question of why a concept of artifact may be relevant to ECT. Next, I examine the efforts of Richard Heersmink to combine ECT with dominant theories of artifacts in the philosophy of technology. I argue that both approaches fail to yield a meaningful notion of artifact, let alone one of ‘cognitive’ artifact. Finally, I argue that narrow ECT places rather strong constraints on a theory of artifacts, since it locates the specificity of ‘artifact’ in material aspects of realization that are, by definition, outside its theoretical purview. I examine, then discard, the possibility that a materialist and objectivist theory of artifacts may be of help. And finally I briefly explore some ways in which a broad, pluralistic ECT may address some of these shortcomings. (shrink)

This article examines the Dobsonian Telescope as an object of material culture, showing how starting with the materiality of a scientific instrument opens up new perspectives that are lost by focusing purely on its instrumentality. It argues that the simple design and homely materials of the Dobsonian telescope, as well as the gestures that it requires from its users, are at the core of its significance to the popularization of amateur astronomy and amateur telescope making.

This text is a commentary on the nature of my principle artistic preoccupations over a period of research-creation spanning 2011 and 2013. The works discussed cover, each in their own way, various approaches to sound composition linked to physical objects. In effect, the object proves to be a fundamental element at the heart of discourse, which, though anchored in sound, is often multi-disciplinary. The object here is thus taken apart in its affective, conceptual, performative, visual, as well as sonic properties. (...) The first part of this text illustrates the nature of the relationship between the physical object and the works submitted for this doctoral thesis. It focuses on the journey of the works: from their genesis in the artist’s collections of objects to their life on stage where the objects are used as visual elements in a performative context. The second part is dedicated to the conceptual and aesthetic content of the works, from which flow the principal elements of their discourse. Here, the relationships between the work, the concept and the sonic material are established, which together make up their aesthetic. (shrink)

This article examines the impact of trace items through their evocation and elevation to the status of the sublime object. The authors focus on the impact that things left behind by the dead or missing have on those whose loved them, arguing that such traces provide a glimmer of materiality that those left behind can desperately crave.

Material culture, strictly speaking, is substance culture. Nevertheless, studies on material culture are almost exclusively concerned with things. The specificities in the perception of substances and the related everyday practices are rarely taken into consideration. Although this can be explained by the history of anthropology, the bias towards associating material culture with “formed matter” is a foundational shortcoming. In consequence, particular perspectives on the material remain understudied, and the cultural relevance of substances as such is rarely taken into consideration. Taking (...) a perspective grounded in anthropology and phenomenology, this article intends to provide new approaches to substances that elucidate the particular modes of their perception, reveal their characteristics and reflect on particular notions implicit to substances. The final section of this contribution discusses two exemplary studies on substances and proposes transformation and incorporation as new fields of research that would contribute to a more explicit engagement with substances in material culture studies. (shrink)