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  1. Social Ontology.Brian Epstein - 2018 - Stanford Encyclopedia of Philosophy.
    Social ontology is the study of the nature and properties of the social world. It is concerned with analyzing the various entities in the world that arise from social interaction. -/- A prominent topic in social ontology is the analysis of social groups. Do social groups exist at all? If so, what sorts of entities are they, and how are they created? Is a social group distinct from the collection of people who are its members, and if so, how is (...)
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  • Artifacts and mind-dependence.Tim Juvshik - 2021 - Synthese 199 (3-4):9313-9336.
    I defend the intention-dependence of artifacts, which says that something is an artifact of kind K only if it is the successful product of an intention to make an artifact of kind K. I consider objections from two directions. First, that artifacts are often mind- and intention-dependent, but that this isn’t necessary, as shown by swamp cases. I offer various error theories for why someone would have artifact intuitions in such cases. Second, that while artifacts are necessarily mind-dependent, they aren’t (...)
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  • Artifactualization without Physical Modification.Tim Juvshik - 2021 - Res Philosophica 98 (4):545-572.
    Much recent discussion has focused on the nature of artifacts, particularly on whether they have essences. While it is often held that artifacts are intention-dependent and necessarily have functions, it is equally commonly held, though far less discussed, that artifacts are the result of physical modification of some material objects. This paper argues that the physical modification condition on artifacts is false. First, it formulates the physical modification condition perspicuously for the first time. Second, it offers counterexamples to this condition, (...)
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  • On the social nature of artefacts.Tim Juvshik - 2024 - Theoria 89 (6):910-932.
    Recent work in metaphysics has focused on the nature of artefacts, most accounts of which assume that artefacts depend on the intentions of their individual makers. Artefacts are thus importantly different from institutional kinds, which involve collective intentions. However, recent work in social ontology has yielded renewed focus on the social dimensions of various kinds, including artefacts. As a result, some philosophers have suggested that artefacts have a distinctly social dimension that goes beyond their makers' individual intentions but which stops (...)
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  • What Makes a Kind an Artifact Kind?Tim Juvshik - 2025 - Synthese 205 (66):1-28.
    The past several decades have seen a frenzy of philosophical focus on artifacts, spawning numerous theories of artifacts. Most proposals understand being an artefact as being a member of a particular artifact kind; to be an artifact is to be a chair or a pencil or a crank shaft or flatbed truck or whatever. Despite the many theories of artifacts, no one has asked what makes a kind an artifact kind, specifically. While the artifact literature has yet to address this (...)
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  • Good ‘Cat’, Bad ‘Act’.Tim Juvshik - 2020 - Philosophia 49 (3):1007-1019.
    A widespread intuition is that words, musical works, and flags are intentionally produced and that they’re abstract types that can have incorrect tokens. But some philosophers, notably Julian Dodd and Nicholas Wolterstorff, think intention-dependence isn’t necessary; tokens just need to have certain relevant intrinsic features to be tokens of a given type. I show how there’s an unappreciated puzzle that arises from these two views: if tokens aren’t intention-dependent and types can admit of correct and incorrect tokens, then some driftwood (...)
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  • History of the Ontology of Art.Paisley Nathan Livingston - 2011 - Stanford Encyclopedia of Philosophy.
    First critical survey devoted to the history of philosophical contributions to this topic. Brings to light neglected contributions prior to the second half of the 20th century including works in Danish, German, and French. Provides a division of issues and clarifies key ambiguities related to modality.
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  • (2 other versions)Der 'intentionale fehlschluß' — ein dogma?Lutz Danneberg & Hans-Harald Müller - 1983 - Journal for General Philosophy of Science / Zeitschrift für Allgemeine Wissenschaftstheorie 14 (1):103-137.
    Our examination of the controversy surrounding the intentionalist conception of textual interpretation shows that the critics of this approach to questions of meaning and interpretation have so far failed to prove their case. The standard objections to intentionalism, on grounds of logical or empirical fallacy, cannot be maintained. We reconstruct the objections which have been raised in the literature against the intentional conception and discuss them as criticism of a conception hold to be inadequate with respect to the problem of (...)
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  • A Metaphysics of Artifacts: Essence and Mind-Dependence.Tim Juvshik - 2022 - Dissertation, University of Massachusetts, Amherst
    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 (...)
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  • (2 other versions)Der ‚intentionale Fehlschluß‘ — ein Dogma?Lutz Danneberg & Hans-Harald Müller - 1983 - Zeitschrift Für Allgemeine Wissenschaftstheorie 14 (2):376-411.
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  • Reflexive conditions on artistic intentions.Christopher Domhnall Mag Uidhir - unknown
    Few dispute the descriptive necessity of intentions in art, little ground has been gained in virtue of such consensus. Intentions matter, but we must know not only which ones matter and why they matter but also the implications of their mattering for art theory writ large. I show that intentionality cannot be exhausted by mere appeals to deliberateness or bare artifactuality. I then argue that only reflexively governed intentions are necessary for art - artistic intentions are communicative intentions. Finally I (...)
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