Much recent discussion has focused on the nature of artifacts, particularly on whether artifacts have essences. While the general consensus is that artifacts are at least intention-dependent, an equally common view is function essentialism about artifacts, the view that artifacts are essentially functional objects and that membership in an artifact kind is determined by a particular, shared function. This paper argues that function essentialism about artifacts is false. First, the two component conditions of function essentialism are given a clear and (...) precise formulation, after which counterexamples are offered to each. Second, ways to handle the counterexamples suggested by Randall Dipert and Simon Evnine are considered and rejected. Third, I then consider the prospects for restricting function essentialism to so-called technical artifacts, as Lynne Baker does, and argue that this, too, fails. This paper thereby consolidates the scattered literature on function essentialism and shows that, despite the seeming plausibility of the thesis, it should be rejected as an account of artifact essences. (shrink)

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 (...) necessarily intention-dependent. I consider and reject three kinds of cases which purport to show this: accidental creation, automated production, and mass production. I argue that intentions are present in all of these cases, but not where we would normally expect. (shrink)

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 (...) it different? What sorts of properties do social groups have? Can they have beliefs or intentions? Can they perform actions? And if so, what does it take for a group to believe, intend, or act? -/- Other entities investigated in social ontology include money, corporations, institutions, property, social classes, races, genders, artifacts, artworks, language, and law. It is difficult to delineate a precise scope for the field (see section 2.1). In general, though, the entities explored in social ontology largely overlap with those that social scientists work on. A good deal of the work in social ontology takes place within the social sciences (see sections 5.1–5.8). -/- Social ontology also addresses more basic questions about the nature of the social world. One set of questions pertains to the constituents, or building blocks, of social things in general. For instance, some theories argue that social entities are built out of the psychological states of individual people, while others argue that they are built out of actions, and yet others that they are built out of practices. Still other theories deny that a distinction can even be made between the social and the non-social. -/- A different set of questions pertains to how social categories are constructed or set up. Are social categories and kinds produced by our attitudes? By our language? Are they produced by causal patterns? And is there just one way social categories are set up, or are there many varieties of social construction? -/- The term ‘social ontology’ has only come into wide currency in recent years, but the nature of the social has been a topic of inquiry since ancient Greece. As a whole, the field can be understood as a branch of metaphysics, the general inquiry into the nature of entities. (shrink)

A central tension shaping metaethical inquiry is that normativity appears to be subjective yet real, where it’s difficult to reconcile these aspects. On the one hand, normativity pertains to our actions and attitudes. On the other, normativity appears to be real in a way that precludes it from being a mere figment of those actions and attitudes. In this paper, I argue that normativity is indeed both subjective and real. I do so by way of treating it as a special (...) sort of artifact, where artifacts are mind-dependent yet nevertheless can carve at the joints of reality. In particular, I argue that the properties of being a reason and being valuable for are grounded in attitudes yet are still absolutely structural. (shrink)

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, (...) both concrete and abstract. Third, it considers, and rejects, two responses to these counterexamples, one which appeals to the distinction between being a K and being used as a K and another which argues that the counterexamples are merely of functional, not artifactual, kinds. Finally, it considers, and rejects, a more general objection that appropriation makes artifact creation too easy. As a consequence, artifacts can be created by appropriating pre-existing objects and it sketches some success conditions for such appropriation. (shrink)

This paper presents a way of classifying different forms of naturalness and unnaturalness. Three main forms of (un)naturalness are found as the following: history- based (un)naturalness, property-based (un)naturalness and relation-based (un)naturalness. Numerous subforms (and some subforms of the subforms) of each are presented. The subforms differ with respect to the entities that are found (un)natural, with respect to their all-inclusiveness, and whether (un)naturalness is seen as all-or-nothing affair, or a continuous gradient. This kind of conceptual analysis is needed, first, because (...) discussion concerning (un)naturalness is common in current bioethics and environmental ethics, and second, because the terms natural and unnatural are highly ambiguous. Thus, the lack of an exact definition of the type of (un)naturalness may lead into equivocation, other forms of bad argumentation, or at least vagueness. (shrink)

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 (...) short of the collective intentionality of institutional kinds. I aim to combine these insights into an account of artefacts that involves disjunctive conditions of mind-dependence: Artefacts can either depend on the singular intentions of their makers or they can depend on the collective acceptance of particular social groups. Whether the first or second disjunct is satisfied depends on the artefact's context of creation. I'll argue that this applies not to artefact kinds but to individual artefacts. I then consider two objections to my view based on Robinson Crusoe cases and show how my account allows us to fit artefacts into a taxonomy of social kinds. (shrink)

Amie L. Thomasson; The Ontology of Art and Knowledge in Aesthetics: Thomasson The Ontology of Art and Knowledge in Aesthetics, The Journal of Aesthetics and Art.

Artifacts remain nebulous entities, notwithstanding their relevance to various domains such as engineering, art and archeology. In this paper we investigate the interconnection between artifacts and realizable entities, as illustrated by dispositions, functions, and roles within the framework of the upper ontology Basic Formal Ontology (BFO). More concretely, we propose the notions of canonical artifact (something that is intentionally produced for some purpose) and usefact (something that is intended to be used for some non-original purpose) which can correspond to various (...) usages of the term “artifact”. We also characterize them in terms of intentional realizable entities and novel realizable entities: material canonical artifacts and material usefacts can be analyzed in terms of novel intentional realizable entities and a special kind of non-novel intentional realizable entities, respectively. (shrink)

In this paper, I examine two different kinds of production processes, mass production and collaborative production. While both production processes intuitively seem like collective actions, the established views about collective action fail to treat them as collective action due to the common issue: the lack of shared intention. As an alternative, I propose the artifactual view of action, according to which collective action is possible even when there is no shared intention among agents. Motivated by Evnine’s (2016) view about action, (...) the artifactual view of action claims that we can have other people’s actions as matter out of which we create our own action. I argue that the artifactual account of action can successfully explain mass production as collective action. Furthermore, it provides a way for the intention-dependent views about artifacts to better understand how mass-produced artifacts come into existence. (shrink)

Inspired by Sara Ahmed’s notion of ‘queer use,’ I present and extend a neo-Aristotelian theory of artifacts to capture what I call ‘counter-use.’ The theory of artifacts is based on the idea that what they are, how they come to be, and what their functions are cannot be understood independently from each other. They come to exist when a maker imposes the concept of their substantial kind onto some matter by working on the matter to make an artifact of that (...) kind out of it. The extensions to this core theory that I describe are two. First, I show how using can be a kind of making and how disparate users may form what Benedict Anderson calls an imagined community. Second, I describe what I call an artifact’s historicity and suggest that, like its substantial kind, an artifact’s historicity is essential to it. On this basis, I characterize counter-use as use of an artifact by an imagined community that re-arranges an object’s historicity and hence brings into existence a numerically distinct object. Thus, politically motivated counter-use has genuine ontological implications. (shrink)

There has been a lot of discussion recently regarding abstract artifacts and how such entities (e.g., fictional characters like Sherlock Holmes, and mythological planets like Vulcan), if they indeed exist, could possibly be our creations. One interesting aspect of some of these debates concerns the extent to which creative intentions play a role in the creation of artifacts generally, both abstract and concrete. I here address the creation of concrete artifacts in particular. I ultimately defend a Brock-inspired, heterodox view on (...) which creative intentions are not at all necessary for the creation of concrete artifacts. A concrete artifact is just a hunk of matter having a certain configuration owing to human activity and, given that configuration, is disposed to participate in other human activities. (shrink)

There is increasing interest in artifacts among philosophers. The leading edge is the metaphysics of artifacts and artifact kinds. However, an important question has been neglected. What is the ontological status of the category ‘artifact’ itself? Dan Sperber (2007) argues against its theoretical integrity for the purposes of naturalistic social sciences. In Section 2, I lay out Sperber’s argument, which is based on the observed continuum between natural objects and artifacts. I also review the implicit support for this continuum argument (...) in the philosophical literature on artifacts. In Section 3, I diagnose the fatal weakness affecting continuum-based arguments about categories. They fail to take into account recent thinking about classification in philosophy of science, which has been forced to accommodate continua in biology. In Section 4, I focus specifically on the species problem in philosophy of biology, and on pluralism about species concepts as a response to it. I then identify an analogous artifact problem, and argue that pluralism about artifact concepts is an appropriate and defensible response here as well. Finally, in Section 5, I show that just as species pluralism leads to skepticism about the species category, so artifact pluralism leads to skepticism about the artifact category. I thus arrive at Sperber’s conclusion by an alternate route that does not run afoul of the weakness affecting continuum-based arguments about categories. (shrink)

According to natural kind essentialism, there are certain properties essential to natural kinds. A similar view, artifact kind essentialism, is commonly held for artifactual kinds. According to artifact kind essentialism, artifactual kinds have essential properties that determine their conditions of membership. In this paper, I explore and defend the possibility of a nonessentialist alternative for artifactual kind membership.

We have a rough idea of what artifacts are: artifacts are objects made to serve a certain purpose. However, there is no consensus on how to specify this definition. Essentialists argue that objects are grouped into artifact kinds by sharing non-trivial artifact essences, while anti-essentialists argue that there is no such essence to be found. However, the prominent essentialist and anti-essentialist accounts suffer from extensional and definitional problems. I argue that the problems current essentialist and anti-essentialist accounts face mainly stem (...) from the assumption of artifact concept monism. According to artifact concept monism, there is only a single way to group objects into artifact kinds. To remedy the problems that stem from artifact concept monism, this paper offers an alternative framework by drawing parallels from the debates on species concept pluralism and art concept pluralism. (shrink)

Creators offload the construction of their artifact in that the world helps to determine the nature of their imposition in ways that can go beyond the content of their imposing activities. Extant theories of imposition fail to account for offloading by requiring match between content and product. Therefore, I develop an externalist theory that accommodates offloading by taking the imposition of mind onto world to be objectively constrained. An important kind of imposition is normativity. Focusing on personal value, what’s valuable (...) for someone is determined by what they value as good or bad for themselves. Such a subjectivist view faces the same problem as extant theories of imposition in seeming to preclude the possibility of making mistakes about value. Applying imposition externalism, I defend an artifactual approach to subjectivism such that mistakes are captured in terms of offloading. A subject’s valuing can fail to match the very value it creates. (shrink)

Realism about musical works is often tied to some type of Platonism. Nominalism, which posits that musical works exist and that they are concrete objects, goes with ontological realism much less often than Platonism: there is a long tradition which holds human-created objects (artifacts) to be mind-dependent. Musical Platonism leads to the well-known paradox of the impossibility of creating abstract objects, and so it has been suggested that only some form of nominalism becoming dominant in the ontology of art could (...) cause a great change in the field and open up new possibilities. This paper aims to develop a new metaontological view starting from the widely accepted claim that musical works are created. It contends that musical works must be concrete and created objects of some sort, but, nevertheless, they are mind-independent, and we should take the revisionary methodological stance. Although musical works are artifacts, what people think about them does not determine what musical works are. Musical works are similar to natural objects in the following sense: semantic externalism applies to the term ‘musical work’ because, firstly, they possess a shared nature, and, secondly, we can be mistaken about what they are. (shrink)

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 (...) issue, the philosophy of art has already been addressing a parallel question about art by asking what kinds are the art kinds, if being an artwork requires belonging to an artkind. Michel Xhignesse has proposed that the artkinds are those kinds governed by the social norms of the art world which constitute an artistic practice. In this paper, I argue that Xhignesse’s answer can be extended to artifacts generally. I argue that artifact kinds like cabinet, cellphone or sedan chair are constituted by the social norms which govern the associated artifact practice. These social norms determine what features are constitutive of the kind, how the kind should be used, treated, and regarded and by whom and in what context. Crucially, these social norms are often arbitrary and always contingent—there’s nothing necessary about the artifact kinds that happen to be at the center of our current artifact practices. I call this the social practice view of artifact kinds. To illustrate the social practice view, I consider two cases. First, the historical case of chopines—elevated shoes associated with Venetian prostitutes during the Renaissance—illustrates how a distinct social practice arose in a particular historical context, simultaneously giving rise to a new kind of shoe constituted by its attendant norms which differentiated the chopine from the similar clog and high heel, and which eventually fell out of fashion. There was nothing necessary about the chopine being a distinct kind of footwear from clogs or high heels. Rather, the kind arose and developed as a result of distinct social practices and in response to various competing social values. Similar considerations hold for all other artifact kinds—e.g. chairs and stools, pens and pencils, laptops and tablets. Second, is the case of Jaffa cakes, a British confection where there’s debate about whether they’re cakes or biscuits because if they’re the latter they will be subject to an additional tax. Here there’s disagreement about the artifact kind a given artifact belongs to because there is heavy overlap between the social norms and concomitant social practices. Where our practices are indeterminate, we are deciding that Jaffa cakes are or are not biscuits, that is, we are stipulating what social practice Jaffa cakes should be subject to. In many cases, an informal answer is sufficient since people will treat them however they want, but sometimes what kind an artifact belongs to requires more formal. (shrink)

Since the middle of the last century, normative language has been much studied. In particular, the normative function performed by certain sentences and by certain speech acts has been investigated in depth. Still, the normative function performed by certain physical artifacts designed and built to regulate human behaviors has not yet been thoroughly investigated. We propose to call this specific type of artifacts with normative intent ‘deontic artifacts’. This article aims to investigate this normative phenomenon that is so widespread in (...) our daily reality, but so often forgotten by scholars of norms and normativity. (shrink)

In this paper we disambiguate the design stance as proposed by Daniel C. Dennett, focusing on its application to technical artefacts. Analysing Dennett’s work and developing his approach towards interpreting entities, we show that there are two ways of spelling out the design stance, one that presuppose also adopting Dennett’s intentional stance for describing a designing agent, and a second that does not. We argue against taking one of these ways as giving the correct formulation of the design stance in (...) Dennett’s approach, but propose to replace Dennett’s original design stance by two design stances: an intentional designer stance that incorporates the intentional stance, and a teleological design stance that does not. Our arguments focus on descriptions of technical artefacts: drawing on research in engineering, cognitive psychology and archaeology we show that both design stances are used for describing technical artefacts. A first consequence of this disambiguation is that a design stance, in terms of interpretative assumptions and in terms of the pragmatic considerations for adopting it, stops to be a stance that comes hierarchically between the physical stance and the intentional stance. A second consequence is that a new distinction can be made between types of entities in Dennett’s approach. We call entities to which the intentional designer stance is applied tools and entities to which the teleological design stance is applied instruments, leading to a differentiated understanding of, in particular, technical artefacts. (shrink)

This paper clarifies and answers the following question: is technology morally neutral? It is argued that the debate between proponents and opponents of the Neutrality Thesis depends on different underlying assumptions about the nature of technological artifacts. My central argument centres around the claim that a mere physicalistic vocabulary does not suffice in characterizing technological artifacts as artifacts, and that the concepts of function and intention are necessary to describe technological artifacts at the right level of description. Once this has (...) been established, I demystify talk about the possible value-ladenness of technological artifacts by showing how these values can be empirically identified. I draw from examples in biology and the social sciences to show that there is a non-mysterious sense in which functions and values can be empirically identified. I conclude from this that technology can be value-laden and that its value-ladenness can both derive from the intended functions as well as the harmful non-intended functions of technological artifacts. (shrink)

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 (...) that washes up and forms what seems like the word ‘cat’ may simultaneously be a misspelling of ‘act’ and innumerable other misspelt words. I consider various ways Dodd and Wolterstorff can respond to this counterintuitive result and argue that biting the bullet, as well as nearby views, are implausible. Thus, they need to give up one of the two commitments, and I argue that requiring the intention-dependence of tokens, rather than the mere possession of certain intrinsic properties, is the best option. (shrink)

This article presents a formal ontology which accounts for the general nature of artefacts. The objective is to help structure application ontologies in areas where specific artefacts are present - in other words, virtually any area of activity. The conceptualization relies on recent philosophical and psychological research on artefacts, having resulted in a largely consensual theoretical basis. Furthermore, this ontology of artefacts extends the foundational DOLCE ontology and supplements its axiomatization. The conceptual primitives are as follows: artificial entity, intentional production (...) of entities, (state of) capacity, capacity to play a role in actions of a given type, function and functional object. These primitives enable artefacts in general to be characterized as intentionally and successfully produced entities, and isolate an important subclass of “technical” artefacts to which a function is ascribed. Lastly, we emphasize the novelty of this ontology by comparing it with other works with similar objectives. (shrink)

The idea that particular legal institutions are artifacts is not new. However, the idea that the “law” or “legal system” is itself an artifact has seldom been directly put forward, due perhaps to the ambiguities surrounding philosophical inquiries into law. Nevertheless, such an idea has recently been invoked more often, though not always developed in detail in terms of what the characterization of the “law” or “legal system” as an artifact entails ontologically, and what consequences, if any, this has for (...) philosophical accounts of law. As a result, the primary aim of this paper is to attempt an inquiry into what the claim that “law” by its nature or character is an artifact entails, and what an artifact theory of law might look like. (shrink)

This paper offers a paleobiological perspective on the debate concerning the possible use of biotechnology to bring back extinct species. One lesson from paleobiology is that extinction selectivity matters in addition to extinction rates and extinction magnitude. Combining some of Darwin’s insights about artificial selection with the theory of species selection that paleobiologists developed in the 1970s and 1980s provides a useful context for thinking about de-extinction. Using recent work on the prioritization of candidate species for de-extinction as a test (...) case, the paper argues that de-extinction would be a form of artificial species selection in which humans influence which species persist vs. go extinct. This points to a serious gap in our ethical theory: Much work has been done to clarify the value of biological diversity, but we also need theoretical guidance for decisions that amount to species sorting, and that will shape the macroevolutionary future. (shrink)

The general question (G) How do we categorize artifacts? can be subject to three different readings: an ontological, an epistemic and a semantic one. According to the ontological reading, asking (G) is equivalent to asking in virtue of what properties, if any, a certain artifact is an instance of some artifact kind: (O) What is it for an artifact a to belong to kind K? According to the epistemic reading, when we ask (G) we are investigating what properties of the (...) object we exploit in order to decide whether a certain artifact belongs to a certain kind. (G) thus becomes: (E) How can we know that artifact a belongs to kind K? Finally, (G) can also be read as a question concerning the semantics of artifact kind terms. The semantic reading of (G) is: (S) What kind of reference do artifact kind terms have, if any? In this editorial we expand on the different answers to (O), (E) and (S) that are given in the selected literature on the topic. The result should give us an overall picture of the possible answers to (G). (shrink)

Putnam’s suggestion of extending the scope of his semantic theory has opened an ongoing debate. The majority seem to agree with Putnam as long as he restricts his analysis to natural kind terms, whereas many doubts have arisen about whether or not it can be applied to artifactual kind terms as well. Specifically, this disagreement originated with the thought experiment that Putnam laid out in order to prove his controversial thesis. Here I analyze it in detail in order to evaluate (...) whether it proves what it has been alleged to prove. Unlike the other authors engaged in the debate, I point out that this particular argument cannot demonstrate that artifactual words refer externalistically. I claim that, on closer inspection, Putnam’s thought experiment only shows that an artifactual term like ‘pencil’ can turn out to be a natural kind word, but, in the end, it tells us little about how our “actual” artifactual kind terms work. In order to make my point, I also bring out the two fundamental requirements that a genuine externalist argument about artifactual words ought to meet. Finally, I report, albeit briefly, the main externalist accounts in this respect, illustrating how none of them actually meet the challenge. (shrink)

Many ecological economists have argued that some natural capital should be preserved for posterity. Yet, among environmental philosophers, the preservation paradox entails that preserving parts of nature, including those denoted by natural capital, is impossible. The paradox claims that nature is a realm of phenomena independent of intentional human agency, that preserving and restoring nature require intentional human agency, and, therefore, no one can preserve or restore nature (without making it artificial). While this article argues that the preservation paradox is (...) more difficult to resolve than ordinarily recognized, it also concludes by sketching a positive way to understand what it means to preserve natural capital during the Anthropocene. (shrink)

This paper sheds light on the shift that is taking place from the practice of ‘coding’, namely developing programs as conventional in the software community, to the practice of ‘curing’, an activity that has emerged in the last few years in Deep Learning (DL) and that amounts to curing the data regime to which a DL model is exposed during training. Initially, the curing paradigm is illustrated by means of a study-case on autonomous vehicles. Subsequently, the shift from coding to (...) curing is analysed taking into consideration the epistemological notions, central in the philosophy of computer science, of function, implementation, and correctness. First, it is illustrated how, in the curing paradigm, the functions performed by the trained model depend much more on dataset curation rather than on the model algorithms which, in contrast with the coding paradigm, do not comply with requested specifications. Second, it is highlighted how DL models cannot be considered implementations according to any of the available definitions of implementation that follow an intentional theory of functions. Finally, it is argued that DL models cannot be evaluated in terms of their correctness but rather in their experimental computational validity. (shrink)

We live in a world of technologies. Classical Philosophy of Science, Philosophy of Technology, Episte- mology, etc. philosophical disciplines appear insufficient for valid reflections on today's world. The Philo- sophy of Engineering and Design (Technological) Actions is seen promising to become a fruitful field of philosophical reflections and is offered from the perspective of the Philosophy of Action and Agency (Practical Philosophy). The foundations of the latter are presented in Part II. In the Part I, the Phi- losophy of Engineering (...) and Design (Technological) Actions is outlined in a comparative with Philo- sophy of Technology, Humanities Philosophy of Technology, Philosophy of Engineering, Philosophy of Science, Epistemology, etc. plane. The paradoxes of E. Feenberg's technique, the interpretation of which is proposed in the part III, are involved for the illustrating of the maintained understanding. In the conclusive part (IV) the general danger of distortive philosophical understandings about the tech- nological common world of today are mentioned. (shrink)

In this paper, I argue that machines can create works of art. My argument is based on an analysis of the so-called creative machines and focuses on technical functions and intentions. If my proposal is correct, then creative machines are technical artifacts with the proper function to bring about works of art. My account is based on sensible conceptual connections between makers, technical artifacts, intentions, and the creation of art. One upshot of the account presented here is that we do (...) not need a new conceptual framework or dubious assumptions about artistic agency on part of machines in order to arrive at the conclusion that creative machines make art. I will conclude the paper with some remarks regarding the artistic value of items produced by creative machines. (shrink)

Ethics, Policy & Environment, Volume 14, Issue 3, Page 329-344, October 2011.

It is uncontroversial that artifacts like statues and tables are mind-dependent. What is controversial is whether and how this mind-dependence has implications for the ontology of artifacts. I argue the mind-dependence of artifacts entails that there are no artifacts or artifact joints in the extra-mental world. In support of this claim, I argue that artifacts and artifact joints lack any extra-mental grounding, and so ought not to have a spot in a realist ontology. I conclude that the most plausible story (...) about artifacts is that they are in minds of suitably intelligent creatures, and not the extra-mental world. Artifacts and their joints are merely mental projections onto a world of ‘indifferent materials’. With this established, I show how many cases of object coincidence, the view that more than one material object can be located in the same exact region of space-time, cannot occur. (shrink)

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.

The aim of this paper is an ontological clarification of the concept of artefact. The following questions are addressed: 1. Do artefacts constitute an ontological category of objects in its own right, and if so, how could this category be characterized? 2. How do artefacts come into existence? 3. What kind of artefacts are there, and in which relations do they stand to each other? It is argued that artefacts are characterized essentially through their genesis and that they owe their (...) existence to mental acts of a particular kind, which I call “acts of creation”. It is maintained that there are not only concrete, material artefacts, but also abstract artefacts, that is, artefacts that cannot be perceived through the senses and are not located in space. Furthermore, it shall be claimed that in a sense those abstract artefacts are even primary to the concrete, material artefacts. (shrink)

Este artículo trata el problema de los objetos creados que pueden ser repetidos, como las obras musicales y las literarias. En la sección 2 presentamos una serie de desiderata intuitivos que toda teoría debe satisfacer. En las secciones 3 y 4 presentamos un silogismo disyuntivo extendido. Los objetos en cuestión pueden ser o bien universales concretos, particulares concretos, universales abstractos o particulares abstractos. Mostramos cómo es que las teorías que consideran que son cualquiera de las tres últimas opciones fracasan. Por (...) lo tanto, debemos entender a dichos objetos como universales concretos. En la sección 5 ofrecemos una teoría breve pero detallada de la naturaleza metafísica de los universales concretos para después mostrar cómo esta propuesta permite dar cuenta de los desiderata intuitivos a la vez que se evitan las objeciones presentadas en contra de teorías alternativas. (shrink)

Emoticons and facial emojis are ubiquitous in contemporary digital communication, where it has been proposed that they make up for the lack of social information from real faces. In this paper, I construe them as cultural artifacts that exploit the neurocognitive mechanisms for face perception. Building on a step-by-step comparison of psychological evidence on the perception of faces vis-à-vis the perception of emoticons/emojis, I assess to what extent they do effectively vicariate real faces with respect to the following four domains: (...) (1) the expression of emotions, (2) the cultural norms for expressing emotions, (3) conveying non-affective social information, and (4) attention prioritization. (shrink)

The Linda paradox is a key topic in current debates on the rationality of human reasoning and its limitations. We present a novel analysis of this paradox, based on the notion of verisimilitude as studied in the philosophy of science. The comparison with an alternative analysis based on probabilistic confirmation suggests how to overcome some problems of our account by introducing an adequately defined notion of verisimilitudinarian confirmation.

The debate on the nature of the artefacts is very important for contemporary metaphysicians. In this paper we will discuss the standard position in the debate, what we will call it Artifacts’ Intention-Essentialism – such as Baker, Evnine or Thomasson –, that considers the essence of artifacts in terms of intentions of the makers. The aim will be to introduce a new criticism to this proposal based on the undesirable metaphysical and moral consequences that this proposal involve. To do this, (...) in the first section an important notion into the feminist metaphysics, and we will be inspired into this in order to introduce a new important notion for our debate: the artifactification. Nextly, we will explain the debate on the nature of artifacts and the Artifacts’ Intention-Essentialism. Consequently, we will introduce two different scenarios based on the artifactification’s notion that it will show problems for Artifacts’ Intention-Essentialism because they show how easily would be produce artifacts using persons as their matter, that involve undesirable consequences. (shrink)

By introducing the possibility of producing meat either from plants or from animal stem cells, technological innovations have opened the door to considering meat as an artefactual object, defined by the functions it is designed to perform. Under this interpretation, plant-based and cultivated meat would be regarded as full-fledged meat. By analysing the notion of artefactuality, this paper reviews the main definitions of “artefact” and evaluates whether meat meets these criteria. It then examines whether a functional account of meat aligns (...) with the development of functions in the philosophy of artefacts. Ultimately, the paper concludes that, like certain other food categories, “meat” is well suited to be interpreted as a functional concept apt to incorporate novel instances. (shrink)

Fictional realism is the view that creatures of fiction exist. Mythical realism is the view that creatures of myth and mistaken theories exist. Call the combined view “Ecumenical Realism.” We critically evaluate three arguments for Ecumenical Realism and argue they are unsound because fictional storytelling differs from mistaken theorizing in important ways. We think these considerations support a more conservative view, “Sectarian Realism,” which results from subtracting “creatures of mistaken theorizing” from Ecumenical Realism. We close by considering an important challenge (...) to Sectarian Realism involving immigrants in fiction. (shrink)

In non-philosophical discourse, “identity” is often used when the specific character of artefacts is described or evaluated. We argue that this usage of “identity” can be explicated as referring to the symbol properties of artefacts as they are conceptualized in the symbol theory of Goodman and Elgin. This explication is backed by an analysis of various uses of “identity”. The explicandum clearly differs from the concepts of numerical identity, qualitative identity and essence, but it has a range of similarities with (...) the notion of self-concept used in psychology and practical philosophy. The proposed explication is used to analyse claims about identity-pluralism and identity-conflicts. Firstly, the explication allows us to distinguish various ways how the same artefact can have a plurality of identities. Secondly, more or less sharp conflicts within an identity or between identities of an artefact are distinguished. Thirdly, many phenomena called “identity-conflicts” are only apparently identity-conflicts and can be analysed as involving some other form of tension. (shrink)

This article studies natural food packaging as enabling artifacts of the traditional material culture of Antioquia in Colombia. For this purpose, we consider artifacts as objective nodes that combine design and use intentions, functions, materials, histories, artifactual lineages, and cooperative relationships that stabilize ritualized practices of a human group. We take the example of natural packaging as artifacts that enablers and stabilizers of traditional cooking and food preparation practices. Natural packaging materials are here assumed to be leaves having some favorable (...) property to contain a food product. After providing a theoretical reflection, we analyze the data collected from fieldwork we conducted in two towns in Antioquia, Colombia (Santa Fe de Antioquia and Amagá), as well as from an interview with an expert in the field. Finally, we show that it is possible to postulate an analysis under a relational ontological description of a traditional practice with conceptual categories of the philosophy of technology. (shrink)

The concept of an artefact is central to several bioethical arguments. In this paper, I analyse this concept with respect to living and also non- living entities. It is shown that a close relationship between bringing an entity into existence and its intentional modification is necessary for its artefactuality. The criterion is further improved by analyses of the nature of intentionality in artefact production and the differences between artefacts and their side-effects. Further, in order to clarify the meaning of the (...) term 'bring into existence', issues related to sortal terms and functions of artefacts are considered. As the result of these analyses, the criterion for being an artefact is founded on the following double condition: An entity x is an artefact only if x has been intentionally brought into existence by intentionally causing the coming artefact x to have certain properties. An entity x is an artefact only if causing x to have certain properties has led x to have some new functions – that is, functions that are not present in the raw materials of x. The double condition is used for clarifying the status of several biotic entities such as gardens, commercial fields, polluted natural areas, ecosystems including alien species, restored ecosystems and transgenic organisms. (shrink)

Ce texte vise à montrer les ressources variées de la thèse des trois mondes de Karl Popper dans l’analyse des questions liées au statut ontologique des artefacts matériels. Bien qu’elle ait été discutée depuis des années, et qu’elle ait fait l’objet de nombreuses critiques, on n’a presque pas remarqué que la thèse de Popper fournit d’excellentes idées pour la description philosophique des artefacts. Ce texte comprend deux sections. Dans la première, on donne un exposé critique des thèses de Popper quant (...) à la réalité et à l’autonomie (partielle) des artefacts. La seconde section présente deux arguments. Le premier se concentre sur la composition et les caractéristiques des artefacts matériels, et le second souligne leurs aspects créatifs et épistémiques. (shrink)

I propose that artworks represent a specific and homogeneous ontological kind, grounded in a common ontological core. I call this common core ‘non-universalizable embodied meaning’, and I argue that this common core explains how artworks unfold their ontological identity at the physical, intentional, and social levels on the basis of an original and irreducible mode of material embodiment and cultural emergence; this common core functions as the constitutive rule of art and institutes an axiological normativity, that is, normativity based on (...) aesthetic value; it has a central role both in the theoretical definition of art and in the identification, recognition, and fruition of the individual artworks; it enables artistic creativity, historical transformations of art, and the current, multifaceted state of art. (shrink)