John Searle began to discuss his recently published book `The Construction of Social Reality' with Anthony Freeman, and they ended up talking about God. The book itself and part of their conversation are introduced and briefly reflected upon by Anthony Freeman. Many familiar social facts -- like money and marriage and monarchy -- are only facts by human agreement. They exist only because we believe them to exist. That is the thesis, at once startling yet obvious, that philosopher John Searle (...) explores in The Construction of Social Reality. (shrink)

I defend the historical definition of "function" originally given in my Language, Thought and Other Biological Categories (1984a). The definition was not offered in the spirit of conceptual analysis but is more akin to a theoretical definition of "function". A major theme is that nonhistorical analyses of "function" fail to deal adequately with items that are not capable of performing their functions.

Simon J. Evnine explores the view that some objects have matter from which they are distinct but that this distinctness is not due to the existence of anything like a form. He draws on Aristotle's insight that such objects must be understood in terms of an account that links what they are essentially with how they come to exist and what their functions are. Artifacts are the most prominent kind of objects where these three features coincide, and Evnine develops a (...) detailed account of the existence and identity conditions of artifacts, and the origins of their functions, in terms of how they come into existence. He then extends this account to organisms, where evolution accomplishes what is effected by intentional making in the case of artifacts, and to actions, which are seen as artifactual events. (shrink)

In _Form, Matter, Substance_, Kathrin Koslicki defends a hylomorphic analysis of concrete particular objects (e.g., living organisms). The Aristotelian doctrine of hylomorphism holds that those entities that fall under it are compounds of matter (hulē) and form (morphē or eidos). Koslicki argues that a hylomorphic analysis of concrete particular objects is well-equipped to compete with alternative approaches when measured against a wide range of criteria of success. A successful application of the doctrine of hylomorphism to the special case of concrete (...) particular objects, however, hinges on how hylomorphists conceive of the matter composing a concrete particular object, its form, and the hylomorphic relations which hold between a matter-form compound, its matter and its form. Through the detailed answers to these questions Koslicki develops in this book, matter-form compounds, despite their metaphysical complexity, emerge as occupying the privileged ontological status traditionally associated with substances, due in particular to their high degree of unity. (shrink)

This inaugural lecture, delivered on 17 November 2021 at the University of Neuchâtel, addresses the question: Are material objects analyzable into more basic constituents and, if so, what are they? It might appear that this question is more appropriately settled by empirical means as utilized in the natural sciences. For example, we learn from physics and chemistry that water is composed of H2O-molecules and that hydrogen and oxygen atoms themselves are composed of smaller parts, such as protons, which are in (...) turn composed of yet smaller parts, such as quarks, and so on. While the question at the center of this lecture might thus appear to fall more appropriately into the empirical domain of natural science, I argue that metaphysics in fact has an important role to play in determining how best to answer the question before us. More concretely, I propose that the Aristotelian doctrine of hylomorphism, when appropriately interpreted, provides the best metaphysical answer to the question of whether and how material objects are analyzable into more basic constituents. Hylomorphism holds that those entities to which this doctrine applies are, in some sense, compounds of matter (“hylē”) and form (“morphē” or “eidos”). Thus, the title of this lecture, “Form, Matter, Substance”, refers to the claim that lies at the center of the doctrine of hylomorphism, as applied to the domain of material objects, namely that sensible substances are the result of combining matter and form in the right sort of way; or, for short, “form + matter = substance”. I begin in Section II by providing some historical background which brings out Aristotle’s motivations for proposing the doctrine of hylomorphism in the context of his analysis of change. Section III turns to some of the main features of the contemporary hylomorphic theory I have defended especially in Koslicki (2008) and Koslicki (2018). Section IV discusses some challenging questions concerning artifacts which arise for both hylomorphic and other approaches to the metaphysics of concrete particular objects. Section V concludes by summarizing why, as contemporary metaphysicians, we should prefer a hylomorphic theory over its competitors as an analysis of concrete particular objects that is compatible with our current scientific understanding of the world. (shrink)

Lynne Rudder Baker presents and defends a unique account of the material world: the Constitution View. In contrast to leading metaphysical views that take everyday things to be either non-existent or reducible to micro-objects, the Constitution View construes familiar things as irreducible parts of reality. Although they are ultimately constituted by microphysical particles, everyday objects are neither identical to, nor reducible to, the aggregates of microphysical particles that constitute them. The result is genuine ontological diversity: people, bacteria, donkeys, mountains and (...) microscopes are fundamentally different kinds of things - all constituted by, but not identical to, aggregates of particles. Baker supports her account with discussions of non-reductive causation, vagueness, mereology, artefacts, three-dimensionalism, ontological novelty, ontological levels and emergence. The upshot is a unified ontological theory of the entire material world that irreducibly contains people, as well as non-human living things and inanimate objects. (shrink)

This 2001 book offers an examination of functional explanation as it is used in biology and the social sciences, and focuses on the kinds of philosophical presuppositions that such explanations carry with them. It tackles such questions as: why are some things explained functionally while others are not? What do the functional explanations tell us about how these objects are conceptualized? What do we commit ourselves to when we give and take functional explanations in the life sciences and the social (...) sciences? McLaughlin gives a critical review of the debate on functional explanation in the philosophy of science. He discusses the history of the philosophical question of teleology, and provides a comprehensive review of the post-war literature on functional explanation. What Functions Explain provides a sophisticated and detailed Aristotelian analysis of our concept of natural functions, and offers a positive contribution to the ongoing debate on the topic. (shrink)

It is often noted that institutional objects and artifacts depend on human beliefs and intentions and so fail to meet the realist paradigm of mind-independent objects. In this paper I draw out exactly in what ways the thesis of mind-independence fails, and show that it has some surprising consequences. For the specific forms of mind-dependence involved entail that we have certain forms of epistemic privilege with regard to our own institutional and artifactual kinds, protecting us from certain possibilities of ignorance (...) and error; they also demonstrate that not all cases of reference to these kinds can proceed along a causal model. As a result, realist views in ontology, epistemology, and semantics that were developed with natural scientific kinds in mind cannot fully apply to the everyday world. In closing I consider some wider consequences of these results for social science and philosophy. (shrink)

Rose and Schaffer (forthcoming) argue that teleological thinking has a substantial influence on folk intuitions about composition. They take this to show (i) that we should not rely on folk intuitions about composition and (ii) that we therefore should not reject theories of composition on the basis of intuitions about composition. We cast doubt on the teleological interpretation of folk judgments about composition; we show how their debunking argument can be resisted, even on the assumption that folk intuitions have a (...) teleological source; and we argue that, even if folk intuitions about composition carry no weight, theories of composition can still be rejected on the basis of the intuitions of metaphysicians. (shrink)

This book focuses on material culture as a subject of philosophical inquiry and promotes the philosophical study of material culture by articulating some of the central and difficult issues raised by this topic and providing innovative solutions to them, most notably an account of improvised action and a non-intentionalist account of function in material culture. Preston argues that material culture essentially involves activities of production and use; she therefore adopts an action-theoretic foundation for a philosophy of material culture. Part 1 (...) illustrates this foundation through a critique, revision, and extension of existing philosophical theories of action. Part 2 investigates a salient feature of material culture itself—its functionality. A basic account of function in material culture is constructed by revising and extending existing theories of biological function to fit the cultural case. Here the adjustments are for the most part necessitated by special features of function in material culture. These two parts of the project are held together by a trio of overarching themes: the relationship between individual and society, the problem of centralized control, and creativity. (shrink)

Function theorists routinely speculate that a viable function theory will be equally applicable to biological traits and artifacts. However, artifact function has received only the most cursory scrutiny in its own right. Closer scrutiny reveals that only a pluralist theory comprising two distinct notions of function--proper function and system function--will serve as an adequate general theory. The first section describes these two notions of function. The second section shows why both notions are necessary, by showing that attempts to do away (...) with one of them fail. This demonstration draws on examples from the artifactual realm to motivate major points of the argument. The third section is an outline of artifact function. It confirms the conclusions of the second section, and also begins the task of describing some of the special features of artifact function needing accommodation within the general theory. (shrink)

This is the first philosophical study of artifacts that is book length. In it Randall Dipert develops a theory of what artifacts are and applies it extensively to one of the most complex and intriguing kind of artifacts, art works. He presents his own account of what agents, intentions, and actions are, then uses these notions to clarify what it is for an agent to "make" something. From this starting point, he develops a full theory of artifacts and other artificial (...) things - and, especially, a theory of art works and performances of art works as artifacts. He proposes a theory of nature and of the value of nature as what is essentially nonartificial. Two chapters are devoted to value considerations: merit in artifacts generally, and the evaluation of art works and performance art as artifacts or intentional gestures. Believing that a developed theory of action and philosophy of mind is necessary for a developed aesthetics and philosophy of art, Dipert relies on classical and contemporary research on agency, actions, and intentions, and on the intentionalist theory of mental objects of Brentano and Meinong. Dipert considers artifacts to be physical entities, but he also includes in the definition thoughts, utterances, and performances. This vast category encompasses everyday household objects and tools, streets and edifices, as well as communicative and artistic artifacts. Especially with regard to artistic artifacts, Dipert proposes a theory of expression and communication as actions and extensively discusses the problems of interpreting and recognizing actions, artifacts, and art works. (shrink)

In the last thirty years, work in analytic philosophy of art has flourished, and it has given rise to considerably controversy. Stephen Davies describes and analyzes the definition of art as it has been discussed in Anglo-American philosophy during this period and, in the process, introduces his own perspective on ways in which we should reorient our thinking. Davies conceives of the debate as revealing two basic, conflicting approaches--the functional and the procedural--to the questions of whether art can be defined, (...) and if so, how. As the author sees it, the functionalist believes that an object is a work of art only if it performs a particular function (usually, that of providing a rewarding aesthetic experience). By contrast the proceduralist believes that something is an artwork only if it has been created according to certain rules and procedures. Davies attempts to demonstrate the fruitfulness of viewing the debate in terms of this framework, and he develops new arguments against both points of view--although he is more critical of functional than of procedural definitions. Because it has generated so much of the recent literature, Davies starts his analysis with a discussion of Morris Weitz's germinal paper, "The Role of Theory in Aesthetics." He goes on to examine other important works by Arthur Danto, George Dickie, and Ben Tilghman and develops in his critiques original arguments on such matters of the artificiality of artworks and the relevance of artists' intentions. (shrink)

How do artifacts get their functions? It is typically thought that an artifact’s function depends on its maker’s intentions. This chapter argues that this common understanding is fatally flawed. Nor can artifact function be understood in terms of current uses or capacities. Instead, it proposes that we understand artifact function on the etiological model that Ruth Millikan and others have proposed for the biological realm. This model offers a robustly normative conception of function, but it does so naturalistically by employing (...) our best scientific theories, in particular natural selection. To help make this case, it proposes “living artifacts” (organisms designed for human purposes through artificial selection) as a bridge between the artifactual and the biological realms. (shrink)

Creations of the Mind: Essays on Artifacts and their Representation, ed. Stephen Laurence and Eric Margolis, Oxford: Oxford University Press, 2007.

I explore the interrelations between the ontological and aesthetic issues raised by ready-mades such as Duchamp’s Fountain. I outline a hylomorphic metaphysics which has two central features. First, hylomorphically complex objects have matter to which they are not identical. Secondly, when such objects are artefacts (including artworks), it is essential to them that they are the products of creative work on their matter. Against this background, I suggest that ready-mades are of aesthetic interest because they pose a dilemma. Is there (...) really an object, a sculpture, that is distinct from its matter, a urinal, which object is created merely by the artist’s choice of the urinal? Or are we dealing with a case in which an artist passes off something, a urinal, as if it were a sculpture, even though it is not one? (shrink)

Art and the aesthetic -- Traditional aestheticism -- A new aestheticism -- Aesthetic communication -- The artworld and the practice of art -- The artifactual concept of function -- Art as an aesthetic practice -- Artistic value as aesthetic.

The philosophy of artifacts is as marginal as it is one-sided. The majority of contributions to it are asides in works devoted to other subjects and focus on one characteristic feature: that artifacts are objects with functions. Indeed many artifacts, such as screwdrivers and toasters, come in functional kinds. Perhaps for this reason, philosophers elevated functions to the essences of artifacts or have developed general theories of function to describe artifacts along with their main subject: biological items. Most such theories (...) present one monolithic notion of function that applies to both. Dissident voices claim autonomy for artifact functions, or at least a small measure of conceptual independence, but it is seldom questioned that a theory of artifacts consists merely of a theory of artifact functions. (shrink)

This volume takes on both issues and examines the relationship between organisms and artifacts from the perspective of functionality.

The aim of this paper is to evaluate etiological accounts of functions for the domain of technical artefacts. Etiological theories ascribe functions to items on the basis of the causal histories of those items; they apply relatively straightforwardly to the biological domain, in which neo-Darwinian evolutionary theory provides a well-developed and generally accepted background for describing the causal histories of biological items. Yet there is no well-developed and generally accepted theory for describing the causal history of artefacts, so the application (...) of etiological theories to the technical domain is hardly straightforward. In this paper we consider the transposition of etiological theories in general from the biological to the technical domain. We argue that a number of etiological theories that appear defensible for biology become untenable for technology. We illustrate our argument by showing that the standard etiological accounts of Neander and Millikan, and some recent attempts to improve on them, provide examples of such untenable theories. 1 Introduction 2 Desiderata for theories of functions 3 Etiological theories in general 3.1 Common core and divergent aims 3.2 Reproduction versus non-reproduction etiological theories 3.3 Intentionalist versus non-intentionalist etiological theories 4 Problems for etiological theories in the technical domain 5 The failure of existing reproduction theories 6 The failure of existing non-reproduction theories 7 Improving reproduction by hybridisation 8 Conclusions. (shrink)

What is computer art? Do the concepts we usually employ to talk about art, such as ‘meaning’, ‘form’ or ‘expression’ apply to computer art? _A Philosophy of Computer Art_ is the first book to explore these questions. Dominic Lopes argues that computer art challenges some of the basic tenets of traditional ways of thinking about and making art and that to understand computer art we need to place particular emphasis on terms such as ‘interactivity’ and ‘user’. Drawing on a wealth (...) of examples he also explains how the roles of the computer artist and computer art user distinguishes them from makers and spectators of traditional art forms and argues that computer art allows us to understand better the role of technology as an art medium. (shrink)

Part of the distinction between artefacts, objects made by humans for particular purposes, and natural objects is that artefacts are subject to normative judgements. A drill, say, can be a good drill or a poor drill, it can function well or correctly or it can malfunction. In this paper I investigate how such judgements fit into the domain of the normative in general and what the grounds for their normativity are. Taking as a starting point a general characterization of normativity (...) proposed by Dancy, I argue how statements such as ‘this is a good drill’ or ‘this drill is malfunctioning’ can be seen to express normative facts, or the content of normative statements. What they say is that a user who has a desire to achieve a particular relevant outcome has a reason to use, or not to use, the artefact in question. Next this analysis is extended to show that not just statements that say that an artefact performs its function well or poorly, but all statements that ascribe a function to an artefact can be seen as expressing a normative fact. On this approach the normativity of artefacts is analyzed in terms of reasons on grounds of practical, and to a lesser extent theoretical, rationality. I close by investigating briefly to what extent reasons on moral grounds are, in the analysis adopted here, involved in the normativity of artefacts.Keywords: Artefact; Normativity; Instrumental reason; Practical rationality; Function; Use. (shrink)

In this paper we present an action-theoretic account of artefact using and designing and describe our ICE-theory of function ascriptions to technical artefacts. By means of this account and theory we analyse the thesis of the dual nature of technical artefacts according to which descriptions of technical artefacts draw on structural and intentional conceptualisations. We show that the ascription of technical functions to technical artefacts can connect the intentional and structural parts of descriptions of artefacts, but also separate these parts. (...) Our conclusion is that the concept of technical functions forms a ‘conceptual drawbridge’ between the intentional and structural natures of technical artefacts.Keywords: Intentional and structural descriptions; Technical artefacts; Function theory; Action theory; Use; Design. (shrink)

ABSTRACTWhat is John Cage's 4′33″? This paper disambiguates this question into three sub-questions concerning, respectively, the work's ontological nature, the art form to which it belongs, and the genre it is in. We shall see that the work's performances consist of silence, that it is a work of performance art, and that it belongs to the genre of conceptual art. Seeing the work in these ways helps us to understand it better, and promises to assuage somewhat the puzzlement and irritation (...) of those who are at first resistant to its charms. (shrink)

Psychological essentialism is an intuitive folk belief positing that certain categories have a non-obvious inner “essence” that gives rise to observable features. Although this belief most commonly characterizes natural kind categories, I argue that psychological essentialism can also be extended in important ways to artifact concepts. Specifically, concepts of individual artifacts include the non-obvious feature of object history, which is evident when making judgments regarding authenticity and ownership. Classic examples include famous works of art (e.g., the Mona Lisa is authentic (...) because of its provenance), but ordinary artifacts likewise receive value from their history (e.g., a worn and tattered blanket may have special value if it was one’s childhood possession). Moreover, in some cases, object history may be thought to have causal effects on individual artifacts, much as an animal essence has causal effects. I review empirical support for these claims and consider the implications for both artifact concepts and essentialism. This perspective suggests that artifact concepts cannot be contained in a theoretical framework that focuses exclusively on similarity or even function. Furthermore, although there are significant differences between essentialism of natural kinds and essentialism of artifact individuals, the commonalities suggest that psychological essentialism may not derive from folk biology but instead may reflect more domain-general perspectives on the world. (shrink)

The “nature” of an artifact is often equated with its function. Clearly, an artifactual function must be an extrinsic property. This feature of functions has important implications on the semantics of artifactual kind terms: it enables us to vindicate that artifactual kind terms have an externalist semantics. Any alleged externalist theory, indeed, must show that the referents of the considered terms share a common nature (i.e., an extrinsic property), whether we know or could possibly ever know what that nature is. (...) However, the state of the art shows that function is not enough to represent such “nature”: function does not exhaustively account for important phenomena that characterize artifacts and artifactual kinds, nor does it thoroughly define what they are. Thus, extending the scope of externalism to artifactual kind terms seems doomed to fail. Pace opposite views, it could even be argued that artifacts are a sub-class of social kinds. If so, not only social but also artifactual kind terms cannot refer externalistically, since their referents constitutively depend on human intentions and norms. Either way, externalism fails to apply to those kinds of terms. (shrink)

Like most aestheticians today I begin by firmly separating the concept of art from the concept of the aesthetic; unlike them, I conclude by reuniting these concepts in the thesis that the function of art is to promote the aesthetic. I understand the existence of artworks and of artists to be “institutional facts” (though the institution of art is an informal one, not to be confused with formal institutions to which it has given rise, such as museums, academies, etc.), while (...) I take “aesthetic situations,” involving appreciators and objects made, at least in part, to be appreciated, to constitute something approaching a natural kind. Rather than dealing directly with the concept of a function I argue for three theses closely related to the idea that the function of art is aesthetic: that art is better than any other institution at promoting the aesthetic; that art is better at promoting the aesthetic than it is at doing anything else; and that art was intended by its instituters to promote the aesthetic. (shrink)

I introduce and explicate a new functionalist account of art, namely that something is an artwork iff the fulfillment of its function by a subject requires that the subject aesthetically engage it. This is the Aesthetic Engagement Theory of art. I show how the Aesthetic Engagement Theory outperforms salient rival theories in terms of extensional adequacy, non-arbitrariness, and ability to account for the distinctive value of art. I also give an account of what it is to aesthetically engage a work (...) that relies on our agential capacity to treat an object as having non-instrumental value, even while the ultimate purpose for our engaging the object is to get something from it. (shrink)

Artefacts are usually understood in contrast with natural kinds and conceived as a unitary kind. Here we propose that there is in fact a variety of artefacts: from the more concrete to the more abstract ones. Moreover, not every artefact is able to fulfil its function thanks to its physical properties: Some artefacts, particularly what we call “institutional” artefacts, are symbolic in nature and require a system of rules to exist and to fulfil their function. Adopting a standard method to (...) measure conceptual representation (the property generation task), we have experimentally explored how humans conceptualise these different kinds of artefacts. Results indicate that institutional artefacts are typically opposed to social objects, while being more similar to standard artefacts, be they abstract or concrete. (shrink)

In this paper we examine the possibilities of combining two central intuitions about artefacts: that they are functional objects, and that they are non-natural objects. We do so in four steps. First we argue that, contrary to common opinion, functions cannot be the cornerstone of a characterisation of artefacts. Our argument suggests an alternative view, which characterises artefacts as objects embedded in what we call use plans. Second, we show that this plan-centred successor of the function-focused view is at odds (...) with the non-naturalness intuition. Third, we show that this intuition can be developed by defining artefacts as produced or human-made objects, but that the resulting definition might collapse into the plan-centred view, and has trouble distinguishing artefact types or kinds. Finally, we propose a division of labour between production and use plans: among objects in general, artefacts are distinguished as human-made objects; within the domain of artefacts, types or kinds are characterised by the use plans in which artefacts are embedded. (shrink)