Software is a ubiquitous artifact, yet not much has been done to understand its ontological nature. There are a few accounts offered so far about the nature of software. I argue that none of those accounts give a plausible picture of the nature of software. I draw attention to the striking similarities between software and musical works. These similarities motivate to look more closely on the discussions regarding the nature of the musical works. With the lessons drawn from the ontology (...) of musical works I offer a novel account of the nature of software. In this account, software is an abstract artifact. I elaborate the conditions under which software comes into existence; how it persists; how and on which entities its existence depends. (shrink)

Scientific reasoning is—and ought to be—conducted in accordance with the axioms of probability. This Bayesian view—so called because of the central role it accords to a theorem first proved by Thomas Bayes in the late eighteenth ...

This text provides a critique of the subjective Bayesian view of statistical inference, and proposes the author's own error-statistical approach as an alternative framework for the epistemology of experiment. It seeks to address the needs of researchers who work with statistical analysis.

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)

This paper considers a key point of contention between classical and Bayesian statistics that is brought to the fore when examining so-called ‘persistent experimenters’—the issue of stopping rules, or more accurately, outcome spaces, and their influence on statistical analysis. First, a working definition of classical and Bayesian statistical tests is given, which makes clear that (1) once an experimental outcome is recorded, other possible outcomes matter only for classical inference, and (2) full outcome spaces are nevertheless relevant to both the (...) classical and Bayesian approaches, when it comes to planning/choosing a test. The latter point is shown to have important repercussions. Here we argue that it undermines what Bayesians may admit to be a compelling argument against their approach—the Bayesian indifference to persistent experimenters and their optional stopping rules. We acknowledge the prima facie appeal of the pro-classical ‘optional stopping intuition’, even for those who ordinarily have Bayesian sympathies. The final section of the paper, however, provides three error theories that may assist a Bayesian in explaining away the apparent anomaly in their reasoning. (shrink)

To what extent does the design of statistical experiments, in particular sequential trials, affect their interpretation? Should postexperimental decisions depend on the observed data alone, or should they account for the used stopping rule? Bayesians and frequentists are apparently deadlocked in their controversy over these questions. To resolve the deadlock, I suggest a three‐part strategy that combines conceptual, methodological, and decision‐theoretic arguments. This approach maintains the pre‐experimental relevance of experimental design and stopping rules but vindicates their evidential, postexperimental irrelevance. †To (...) contact the author, please write to: Tilburg Center for Logic and Philosophy of Science, Tilburg University, P.O. Box 90153, 5000 LE Tilburg, The Netherlands; e‐mail: [email protected]. (shrink)

In this fascinating work, Scott Soames offers a new conception of the relationship between linguistic meaning and assertions made by utterances. He gives meanings of proper names and natural kind predicates and explains their use in attitude ascriptions. He also demonstrates the irrelevance of rigid designation in understanding why theoretical identities containing such predicates are necessary, if true.

The statue and the lump of clay that constitutes it fail to share all of their kind and modal properties. Therefore, by Leibniz’s Law, the statue is not the lump. Question: What grounds the kind and modal differences between the statue and the lump? In virtue of what is it that the lump of clay, but not the statue, can survive being smashed? This is the grounding problem. Now a number of solutions to the grounding problem require that we substantially (...) revise our view of reality. In this paper, I provide a solution to this problem that does not require such a revision. I then show how my solution to the grounding problem can solve a related problem and answer a related question. The upshot is that the solution I offer is not only non-revisionary, but also fruitful. (shrink)

When do the folk think that mereological composition occurs? Many metaphysicians have wanted a view of composition that fits with folk intuitions, and yet there has been little agreement about what the folk intuit. We aim to put the tools of experimental philosophy to constructive use. Our studies suggest that folk mereology is teleological: people tend to intuit that composition occurs when the result serves a purpose. We thus conclude that metaphysicians should dismiss folk intuitions, as tied into a benighted (...) teleological view of nature. (shrink)

Competent speakers of natural languages can borrow reference from one another. You can arrange for your utterances of ‘Kirksville’ to refer to the same thing as my utterances of ‘Kirksville’. We can then talk about the same thing when we discuss Kirksville. In cases like this, you borrow “ aboutness ” from me by borrowing reference. Now suppose I wish to initiate a line of reasoning applicable to any prime number. I might signal my intention by saying, “Let p be (...) any prime.” In this context, I will be using the term ‘p’ to reason about the primes. Although ‘p’ helps me secure the aboutness of my discourse, it may seem wrong to say that ‘p’ refers to anything. Be that as it may, this paper explores what mathematical discourse would be like if mathematicians were able to borrow freely from one another not just the reference of terms that clearly refer, but, more generally, the sort of aboutness present in a line of reasoning leading up to a universal generalization. The paper also gives reasons for believing that aboutness of this sort really is freely transferable. A key implication will be that the concept “set of natural numbers” suffers from no mathematically significant indeterminacy that can be coherently discussed. (shrink)

Words, languages, symphonies, fictional characters, games, and recipes are plausibly abstract artifacts— entities that have no spatial location and that are deliberately brought into existence as a result of creative acts. Many accept that composition is unrestricted: for every plurality of material objects, there is a material object that is the sum of those objects. These two views may seem entirely unrelated. I will argue that the most influential argument against restricted composition—the vagueness argument—doubles as an argument that there can (...) be no abstract artifacts. There is no way to resist the vagueness argument against abstract artifacts that does not also undermine the vagueness argument against restricted composition. (shrink)

Risto Hilpinen; X*—Authors and Artifacts, Proceedings of the Aristotelian Society, Volume 93, Issue 1, 1 June 1993, Pages 155–178, https://doi.org/10.1093/arist.

I present a new proof of the likelihood principle that avoids two responses to a well-known proof due to Birnbaum ([1962]). I also respond to arguments that Birnbaum’s proof is fallacious, which if correct could be adapted to this new proof. On the other hand, I urge caution in interpreting proofs of the likelihood principle as arguments against the use of frequentist statistical methods. 1 Introduction2 The New Proof3 How the New Proof Addresses Proposals to Restrict Birnbaum’s Premises4 A Response (...) to Arguments that the Proofs Are Fallacious5 Conclusion. (shrink)

Abstract creationism about fictional characters is the view that fictional characters are abstract objects that authors create. I defend this view against criticisms from Stuart Brock that hitherto have not been adequately countered. The discussion sheds light on how the number of fictional characters depends on authorial intention. I conclude also that we should change how we think intentions are connected to artifacts more generally, both abstract and concrete.

Are works of music types of performance or are they continuants? Types are unchanging entities that could not have been otherwise; continuants can undergo change through time and could have been different. Picking up on this distinction, Guy Rohrbaugh has recently argued that musical works are continuants rather than performance-types. This paper replies to his arguments and, in the course of so doing, elaborates and defends the conception of musical works as types of performance. I end the article by arguing (...) that the conception of musical works as continuants is under-motivated and, ultimately, obscure. (shrink)

This paper sees me clarify, elaborate, and defend the conclusions reached in my ‘Musical Works as Eternal Types’ in the wake of objections raised by Robert Howell, R. A. Sharpe, and Saam Trivedi. In particular, I claim that the thesis that musical works are discovered rather than created by their composers is obligatory once we commit ourselves to thinking of works of music as types, and once we properly understand the ontological nature of types and properties. The central argument of (...) the paper is ‘the argument from the eternal existence of properties’, its moral being that types are eternal entities because they inherit their existence conditions from their eternally existent property-associates. The two key premises in this argument—that properties exist eternally, and that a type exists just in case its property-associate exists—are motivated and then defended at length. (shrink)

Can a musical work be created? Some say ‘no’. But, we argue, there is no handbook of universally accepted metaphysical truths that they can use to justify their answer. Others say ‘yes’. They have to find abstract objects that can plausibly be identified with musical works, show that abstract objects of this sort can be created, and show that such abstract objects can persist. But, we argue, none of the standard views about what a musical work is allows musical works (...) both to be created and to persist. (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 essay explains why creationism about fictional characters is an abject failure. Creationism about fictional characters is the view that fictional objects are created by the authors of the novels in which they first appear. This essay shows that, when the details of creationism are filled in, the hypothesis becomes far more puzzling than the linguistic data it is used to explain. No matter how the creationist identifies where, when and how fictional objects are created, the proposal conflicts with other (...) strong intuitions we have about fictional characters. (shrink)

How do people decide what category an artifact belongs to? Previous studies have suggested that adults and, to some degree, children, categorize artifacts in accordance with the design stance, a categorization system which privileges the designer’s original intent in making categorization judgments. However, these studies have all been conducted in Western, technologically advanced societies, where artifacts are mass produced. In this study, we examined intuitions about artifact categorization among the Shuar, a hunter-horticulturalist society in the Amazon region of Ecuador. We (...) used a forced-choice method similar to previous studies, but unlike these studies, our scenarios involved artifacts that would be familiar to the Shuar. We also incorporated a community condition to examine the possible effect of community consensus on how artifacts are categorized. The same scenarios were presented to university student participants in the UK. Across populations and conditions, participants tended to categorize artifacts in terms of a creator’s intent as opposed to a differing current use. This lends support to the view that the design stance may be a universal feature of human cognition. However, we conclude with some thoughts on the limitations of the present method for studying artifact concepts. (shrink)

Many materialist ontologies characterize the existence of everyday, middle-sized objects as reducible to collections or mereological sums of smaller, more fundamental particle constituents. Baker would have it otherwise and has set out a defence of her Constitution View of ontology that takes everyday objects to be irreducibly real and of a vast array of kinds.Motivating an interest in the metaphysics of everyday objects is not obviously straightforward when contemporary metaphysics is filled with attempts to answer seemingly more challenging questions about (...) the existence of disputed classes of objects, such as abstracta, or very specific, unusual phenomena such as holes, rather than the mundane case of these middle-sized concreta. Yet this is Baker's point: that many kinds of ordinary objects have been overlooked by philosophers to the point where we lack an adequate account of their significance in our practices and attitudes. Moreover, in a climate of metaphysics often governed by those of a strong eliminitivist inclination with a preference for Quinean desert landscapes, the advocating of an almost indulgent ontological pluralism is enough to make this book worth reading.Those familiar with Baker's work will not be surprised that this approach to ontology is grounded from her perspective of ‘Practical Realism’. This view – partly a legacy of Aristotle, partly of G. E. …. (shrink)

One of the central questions of material-object metaphysics is which highly visible objects there are right before our eyes. Daniel Z. Korman defends a conservative view, according to which our ordinary, natural judgments about which objects there are are more or less correct. He begins with an overview of the arguments that have led people away from the conservative view, into revisionary views according to which there are far more objects than we ordinarily take there to be or far fewer. (...) Korman criticizes a variety of compatibilist strategies, according to which these revisionary views are actually compatible with our ordinary beliefs. He goes on to respond to debunking arguments; objections that the conservative's verdicts about which objects that are and aren't are objectionably arbitrary; the argument from vagueness; the overdetermination argument; the argument from material constitution; and the problem of the many. (shrink)

Introduction -- The type/token theory introduced -- Motivating the type/token theory : repeatability -- Nominalist approaches to the ontology of music -- Musical anti-realism -- The type/token theory elaborated -- Types I : abstract, unstructured, unchanging -- Types introduced and nominalism repelled -- Types as abstracta -- Types as unstructured entities -- Types as fixed and unchanging -- Types II : platonism -- Introduction : eternal existence and timelessness -- Types and properties -- The eternal existence of properties reconsidered -- (...) Types and patterns -- Defending the type/token theory I -- Unstructuredness and analogical predication -- Musical works as fixed and unchanging -- Abstractness and audibility (again) -- Works and interpretations -- Conclusion and resumé -- Defending the type/token theory II : musical platonism -- Platonism it is : replies to Anderson and Levinson -- The existence conditions of works of music -- Composition as creative discovery -- The nature of the compositional process : replies to objections -- Composition and aesthetic appraisal : a reply to Levinson -- Composition and aesthetic appraisal : understanding, interpretation, and correctness -- Musical works as continuants : a theory rejected -- A theory introduced -- Explicating and motivating the continuant view -- The continuant view and repeatability -- Further objections to the continuant view -- Musical works as compositional actions : a critique -- Currie's action-type hypothesis -- Davies's performance theory -- Sonicism I : against instrumentalism -- Sonicism introduced -- Sonicism motivated : moderate empiricism -- Instrumentation : timbral sonicism introduced -- Scores -- Instrumentation, artistic properties, and aesthetic content -- Levinson's rejoinder -- Sonicism II : against contextualism -- Introduction : formulating contextualism -- Contextualist ontological proposals -- Levinson's doppelgänger thought-experiments -- Artistic, representational, and object-directed expressive properties -- Aesthetic and non-object-directed expressive properties -- Conclusion : the place of context. (shrink)

Pamela: “… but, I hope I shall copy your Example, and that of Joseph, my Name’s-sake; and maintain my Virtue against all Temptations.” Joseph, these are such kind words. I hope you were not being sarcastic.

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)