This paper examines the idea that there might be natural kinds of causal processes, with characteristic diachronic structure, in much the same way that various chemical elements form natural kinds, with characteristic synchronic structure. This claim -- if compatible with empirical science -- has the potential to shed light on a metaphysics of essentially dispositional properties, championed by writers such as Bird and Ellis.

Regarding the identity of artifacts in time, four positions may be discerned: first, the view reducing the continuing identity of an object to the continuing identity of its parts; second, the more generally accepted position that spatiotemporal continuity under a kind is necessary; third, the claim that while continuity is not a necessary condition, the sameness of parts and the sameness of form are sufficient together; and fourth, the suggestion that continuity of form is a sufficient and non-defeasible condition for (...) reidentifying artifacts. Others such as Scaltsas believe that the different conditions claimed to be sufficient by the views mentioned are, in fact, only criteria of identity applicable in different circumstances, and that no sharply defined hierarchy can be said to hold between them. (shrink)

My dissertation explores the nature of artifacts – things like chairs, tables, and pinball machines – and addresses the question of whether there is anything essential to being an artifact and a member of a particular artifact kind. My dissertation offers new arguments against both the anti-essentialist and current essentialist proposals. Roughly put, the view is that artifacts are successful products of an intention to make something with certain features constitutive of an artifact kind. The constitutive features are often functional (...) features, but may include structural, material, aesthetic, and other features. I further explore the ways in which artifacts are mind-dependent and I argue that this dependence is disjunctive. Not only do they depend on the intentions of their makers, but they also can depend on social groups or public norms and thus artifacts have an importantly social dimension and I argue that this disjunctive account applies not to artifact kinds but to individual artifacts depending on their context of creation. (shrink)

The celebrity effect is the well-documented phenomenon in which people ascribe an enhanced worth to artefacts owned by famous individuals. This effect has been attributed to a belief in psychological contagion, the transmission of a person’s essence to an object via contact. We examined people’s judgments of the persisting worth of celebrity-owned artefacts following transformations of their parts/material and found that the celebrity effect was evident only for post-transformation artefacts that were composed of parts/material that had direct physical contact with (...) the celebrity. Insofar as the celebrity effect arises from psychological contagion, the findings suggest that the essence imparted to a celebrity-owned artefact is conceived as akin to a residue deposited in/on the object rather than a germ capable of spreading in an indirect manner to new parts/material added to the object. The results illuminate the nature of psychological contagion and offer insight into how best to preserve the value of historically important artefacts. (shrink)