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 paper critically examines the forays into metaphysics of The Dual Nature of Technical Artifacts Program (henceforth, DNP). I argue that the work of DNP is a valuable contribution to the epistemology of certain aspects of artifact design and use, but that it fails to advance a persuasive metaphysic. A central problem is that DNP approaches ontology from within a functionalist framework that is mainly concerned with ascriptions and justified beliefs. Thus, the materiality of artifacts emerges only as the external (...) conditions of realizability of function ascription. The work of DNP has a strong programmatic aspect and much of its foray into metaphysics is tentative, so the intent of my argument is partly synthetic: to sum up these issues as they are presented in the literature and highlight some recognized problems. But I also go beyond that, suggesting that these problems are foundational, arising from the very way in which DNP poses the question of artifact metaphysics. Although it sets out to incorporate objective aspects of technology, DNP places a strong focus on the intentional side of the purported matter-mind duality, bracketing off materiality in an irretrievable manner. Thus, some of the advantages of dualism are lost. I claim that DNP is dualistic, not merely based on “duality”, but that its version of dualism does not appropriately account for the material “nature” of artifacts. The paper ends by suggesting some correctives and alternatives to Dual Nature theory. (shrink)

Taking a psychological and philosophical outlook, we approach making as an embodied and embedded skill via the skilled artisan’s experience of having a corporeal, nonlinguistic dialogue with the material while working with it. We investigate the dynamic relation between maker and material through the lens of pottery as illustrated by wheel throwing, claiming that the experience of dialogue signals an emotional involvement with clay. The examination of Merleau-Ponty’s phenomenology of habit, the skilled intentionality framework, and material engagement theory shows that (...) while these theories explain complementary aspects of skillful engagement with the material world, they do not consider the dialogic dimension. By way of explanation, we submit that the artisan’s emotional engagement with the material world is based in openness and recognition and involves dialogue with the material. Drawing on the intimate relationship between movement and emotion, it promotes an open-ended manner of working and permits experiencing with the material, acting into its inherent possibilities. In conclusion, we suggest that dialogue, whether verbal or nonverbal, constitutes a primary means for making sense of the world at large, animate and inanimate. (shrink)

After several technological revolutions in which technologies became ever more present in our daily lives, the digital technologies that are currently being developed are actually fading away from sight. Information and Communication Technologies are not only embedded in devices that we explicitly “use” but increasingly become an intrinsic part of the material environment in which we live. How to conceptualize the role of these new technological environments in human existence? And how to anticipate the ways in which these technologies will (...) mediate our everyday lives? In order to answer these questions, we draw on two approaches that each offers a framework to conceptualize these new technological environments: Postphenomenology and Material Engagement Theory. As we will show, each on their own, these approaches fail to do justice to the new environmental role of technology and its implications for human existence. But by bringing together Postphenomenology’s account of technological mediation and Material Engagement Theory’s account of engaging with environments, it becomes possible to sufficiently account for the new environmental workings of technology. To do justice to these new workings of environmental technologies, we introduce and develop the concept of “Technological Environmentality.”. (shrink)

The notion that human activity can be characterised in terms of dynamic systems is a well-established alternative to motor schema approaches. Key to a dynamic systems approach is the idea that a system seeks to achieve stable states in the face of perturbation. While such an approach can apply to physical activity, it can be challenging to accept that dynamic systems also describe cognitive activity. In this paper, we argue that creativity, which could be construed as a ‘cognitive’ activity par (...) excellence, arises from the dynamic systems involved in jewellery making. Knowing whether an action has been completed to a ‘good’ standard is a significant issue in considering acts in creative disciplines. When making a piece of jewellery, there a several criteria which can define ‘good’. These are not only the aesthetics of the finished piece but also the impact of earlier actions on subsequent ones. This suggests that the manner in which an action is coordinated is influenced by the criteria by which the product is judged. We see these criteria as indicating states for the system, e.g. in terms of a space of ‘good’ outcomes and a complementary space of ‘bad’ outcomes. The skill of the craftworker is to navigate this space of available states in such a way as to minimise risk, effort and other costs and maximise benefit and quality of the outcome. In terms of postphenomonology, this paper explores Ihde’s human-technology relations and relates these to the concepts developed here. (shrink)