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)

The paper comments and elaborates upon five pages of P. F. Strawson’s Individuals , together with his ‘Entity and Identity’ and ‘Universals’. The focus is on Strawson’s understanding of individual non-particulars as types or universals, and on his contention that the most obvious non-particular entities are the broadly conceived artefacts including the works of art. The narrow focus is on the implications of Strawson’s suggestion that ‘an appropriate model for non-particulars of these kinds is that of a model particular - (...) a kind of prototype, or ideal example, itself particular, which serves as a rule or standard for the production of others’ . The paper analyzes the relation between Strawson’s position and the issue of artefacts and their ontology. It also asks about some less obvious affinities between the problem of the non-particulars and Strawson’s concept of a person. (shrink)

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)

Theories of writing and mind have proposed that the uses of literacy give rise to a distinct repertoire of cognitive skills, attitudes, and concepts. This paper reconsiders the earliest lexical lists of the Ancient Near East as one type of evidence on writing and mind. Past and present conceptions of the lists are briefly reviewed. Early views cast the lists as reflecting a Sumerian mentality or a uniquely literate mode of thought, while recent accounts suggest they may simply be routine (...) scribal exercises. A view from the philosophy of science, on which lists are considered a sub-type of ordering system, suggests a way of aligning a scribal practice account with aspects of earlier views by articulating the nature of list entries and the intentions of the list makers. On this account, the Ancient Near Eastern lists can be seen both as uniquely literate and as uniquely informative on the role of writing in mind. (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)

My starting point is that discussions in philosophy about the ontology of technical artifacts ought to be informed by classificatory practices in engineering. Hence, the heuristic value of the natural-artificial distinction in engineering counts against arguments which favour abandoning the distinction in metaphysics. In this chapter, I present the philosophical equipment needed to analyse classificatory practices and then present a case study of engineering practice using these theoretical tools. More in particular, I make use of the Collectivist Account of Technical (...) Artifacts (CAT) according to which there are different classificatory practices for natural, artificial, and social objects. I demonstrate that in the community studied, artificial kinds are marked by distinctive classificatory practices. The presence of these distinctive classificatory practices in engineering with regard to artificial kinds should inform discussions about the ontology of technical artifacts just as the distinctive classificatory practices in natural science inform discussions about natural kinds. (shrink)

Las profundas raíces intencionales de los artefactos y sus tipos parecen apoyar intuitiva y filosóficamente una forma de privilegio epistémico de los hacedores con respecto a los objetos que crean. En este artículo examino críticamente la tesis del privilegio epistémico para los creadores de artefactos y presento un contraejemplo basado en el antiindividualismo. Se consideran diversas objeciones a las que se da respuesta. Concluyo que si el antiindividualismo es verdadero, entonces el supuesto privilegio epistémico de los creadores de artefactos o (...) bien es falso, o bien, una etiqueta explicativamente vacía. Defiendo, por último, que incluso si el antiindividualismo nos fuerza a rechazar el privilegio epistémico para tipos artefactuales, estos tipos aún pueden exhibir dependencia mental, tanto semántica como metafísica, algo que los continuaría distinguiendo de los tipos naturales y dejaría intacta su esencial naturaleza intencional. (shrink)

We aim to show that far-related primates like humans and the capuchin monkeys show interesting correspondences in terms of artifact characterization and categorization. We investigate this issue by using a philosophically-inspired definition of physical artifact which, developed for human artifacts, turns out to be applicable for cross-species comparison. In this approach an artifact is created when an entity is intentionally selected and some capacities attributed to it (often characterizing a purpose). Behavioral studies suggest that this notion of artifact is not (...) specific to the human kind. On the basis of the results of a series of field observations and experiments on wild capuchin monkeys that routinely use stone hammers and anvils, we show that the notions of intentional selection and attributed capacity appear to be at play in capuchins as well. The study also suggests that functional criteria and contextualization play a fundamental role in terms of artifact recognition and categorization in nonhuman primates. (shrink)

Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...) psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework. (shrink)

This paper discusses a recent solution to the problem of artifact phantom functions by Beth Preston. A phantom function is a function associated with a kind of artifact that it is structurally incapable of performing. Preston proposes a criterion of artifact proper function according to which phantom functions can be proper functions. This paper argues that Preston’s criterion cannot ground the teleological and normative aspects definitive of proper functions and that the proposed criterion is not consistent with Preston’s account of (...) how copies of novel prototypes acquire proper functions. The paper defends an understanding of phantom functions suggested in earlier work by Preston. (shrink)

Euclidean diagrammatic reasoning refers to the diagrammatic inferential practice that originated in the geometrical proofs of Euclid’s Elements. A seminal philosophical analysis of this practice by Manders (‘The Euclidean diagram’, 2008) has revealed that a systematic method of reasoning underlies the use of diagrams in Euclid’s proofs, leading in turn to a logical analysis aiming to capture this method formally via proof systems. The central premise of this paper is that our understanding of Euclidean diagrammatic reasoning can be fruitfully advanced (...) by confronting these logical and philosophical analyses with the field of cognitive science. Surprisingly, central aspects of the philosophical and logical analyses resonate in very natural ways with research topics in mathematical cognition, spatial cognition and the psychology of reasoning. The paper develops these connections, concentrating on four issues: (1) the cognitive origins of Euclidean diagrammatic reasoning, (2) the cognitive representations of spatial relations in Euclidean diagrams, (3) the nature of the cognitive processes and cognitive representations involved in Euclidean diagrammatic reasoning seen as a form of visuospatial relational reasoning and (4) the complexity of Euclidean diagrammatic reasoning for the human cognitive system. For each of these issues, our analysis generates concrete experiment proposals, opening thereby the way for further empirical investigations. The paper is thus a prolegomenon to a research program on Euclidean diagrammatic reasoning at the crossroads of logic, philosophy and cognitive science. (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)

Bullot & Reber (B&R) provide compelling evidence that sensitivity to context, history, and design stance are crucial to theories of art appreciation. We ask how these ideas relate to broader aspects of human cognition. Further open questions concern how psychological essentialism contributes to art appreciation and how essentialism regarding created artifacts (such as art) differs from essentialism in other domains.