John Searle's Speech Acts (1969) and Expression and Meaning (1979) developed a highly original and influential approach to the study of language. But behind both works lay the assumption that the philosophy of language is in the end a branch of the philosophy of the mind: speech acts are forms of human action and represent just one example of the mind's capacity to relate the human organism to the world. The present book is concerned with these biologically fundamental capacities, and, (...) though third in the sequence, in effect it provides the philosophical foundations for the other two. Intentionality is taken to be the crucial mental phenomenon, and its analysis involves wide-ranging discussions of perception, action, causation, meaning, and reference. In all these areas John Searle has original and stimulating views. He ends with a resolution of the 'mind-body' problem. (shrink)

Beginning with Aristotle, philosophers have taken artifacts to be ontologically deficient. This paper proposes a theory of artifacts, according to which artifacts are ontologically on a par with other material objects. I formulate a nonreductive theory that regards artifacts as constituted by - but not identical to - aggregates of particles. After setting out the theory, I rebut a number of arguments that disparage the ontological status of artifacts.

Focusing on the technoculture of everyday life, this book attempts to zero in on the simplicity and the habitual character of the interaction between humans and material objects, which is often assumed or taken for granted. Because objects are always meaningful in the pragmatic use to which they are directed, the material world of everyday life can be seen as a technoculture of its own - one made of behaviors as simple, and yet as significant, as using a lawnmower, or (...) decorating one's body. In discussing the unique methodological components of the ethnography of the technoculture of everyday life, this book begins a dialogue on how we can examine - from the participants' perspective - the interconnections between social agents, their technological/material practices, their material objects or technics, and their social and material environment. (shrink)

I start with a brief assessment of the implications of Sterelny’s anti-individualist, anti-internalist apprentice learning model for a more historical and interdisciplinary cognitive science. In a selective response I then focus on two core features of his constructive account: collaboration and skill. While affirming the centrality of joint action and decision making, I raise some concerns about the fragility of the conditions under which collaborative cognition brings benefits. I then assess Sterelny’s view of skill acquisition and performance, which runs counter (...) to dominant theories that stress the automaticity of skill. I suggest that it may still overestimate the need for and ability of experts to decompose and represent the elements of their own practical knowledge. (shrink)

The concept of action is playing an increasingly prominent role in attempts to explain how subjects can represent the world. The idea is that at least some of the role traditionally assigned to internal representations can, in fact, be played by the ability of subjects to act on the world, and the exercise of that ability on appropriate occasions. This paper argues that the appeal to action faces a serious dilemma. If the concept of action employed is a representational one, (...) then the appeal to action is circular: representation has been presupposed rather than explained. However, if the concept of action employed is a non-representational one, then the appeal to action will be inadequate: in particular, the appeal will fail to account for the normativity of representation. The way out of this dilemma is to develop a conception of action that is normative, but where this normativity is not inherited from the action's connection to distinct representational states. The normative status of such actions would be sui generis. This paper argues that such a conception of action is available. (shrink)

This chapter contains sections titled: Artifacts and the Four Causes Goals vs. Functions The Argument from Non‐Coincidence Craft, Form, and Spontaneity Non‐bodily Causes Global Teleology Note Bibliography.

The existence of dysfunctions precludes the possibility of identifying the function to do F with the capacity to do F. Nevertheless, we continuously infer capacities from functions. For this and other reasons stated in the first part of this article, I propose a new theory of functions (of the etiological sort), applying to organisms as well as to artefacts, in which to have some determinate probability P to do F (i.e. a probabilistic capacity to do F) is a necessary condition (...) for having the function to do F. The main objective of this paper is to justify the legitimacy of this condition when considering artefacts. I begin by distinguishing “perspectival probabilities”, which reflect a pragmatic interest or an arbitrary state of knowledge, from “objective probabilities”, which depend on some objective feature of the envisageditems. I show that objective probabilities are not necessarily based on physical constitution. I then explain why we should distinguish between considering an object as a physical body and considering it as an artefact, and why the probability of dysfunction to be taken into account is one relative to the object as member of an artefact category. After clarifying how an artefact category can be defined if it is not defined in physical terms, I establish the objectivity of the probability of dysfunction under consideration by showing how it is causally determined by objective factors regulating the production of items of a definite artefact type. Ifocus on the case of industrially produced artefacts where the objective factors determining the probability of dysfunction can be best seen. (shrink)

In Art and intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the multiple functions of intentions have important implications for our understanding of artistic creation and authorship, the ontology (...) of art, conceptions of texts, works, and versions, basic issues pertaining to the nature of fiction and fictional truth, and the theory of art interpretation and appreciation. Livingston argues that neither the inspirationist nor rationalistic conceptions can capture the blending of deliberate and intentional, spontaneous and unintentional processes in the creation of art. Texts, works, and artistic structures and performances cannot be adequately individuated in the absence of a recognition of the relevant makers4intentions. The distinction between complete and incomplete works receives an action-theoretic analysis that makes possible an elucidation of several different senses of "fragment" in critical discourse. Livingston develops an account of authorship, contending that the recognition of intentions is in fact crucial to our understanding of diverse forms of collective art-making. An artist's short-term intentions and long-term plans and policies interact in complex ways in the emergence of an artistic oeuvre, and our uptake of such attitudes makes an important difference to our appreciation of the relations between items belonging to a single life-work. The intentionalism Livingston advocates is, however, a partial one, and accommodates a number of important anti-intentionalist contentions. Intentions are fallible, and works of art, like other artefacts, can be put to a bewildering diversity of uses. Yet some important aspects of art's meaning and value are linked to the artist's aims and activities. (shrink)

In aesthetics, the topic of intentions comes up most often in the perennial debate between intentionalists and anti-intentionalists over standards of interpretation. The underlying assumptions about the nature and functions of intentions are, however, rarely explicitly developed, even though divergent and at times tendentious premises are often relied upon in this controversy. Livingston provides a survey of contentions about the nature and status of intentions and intentionalist psychology more generally, arguing for an account that recognizes the multiple functions fulfilled by (...) intentions in the lives of temporally situated agents who deliberate over what to do, settle on ends and means, and try to realize some of their plans. Artists’ intentions are the same sorts of attitudes that we attribute to ourselves and to others as we attempt to describe, explain, and predict our actions. As such, intentions are relevant not only to debates over the interpretation of works of art but also to a range of other basic topics in the philosophy of art, including artistic creation and authorship, the ontology of art, the nature of texts, works, versions, and life-works, and the status and nature of fiction and fictional truth. With regard to the controversy over the interpretation of art, Livingston advocates a ‘partial’ intentionalism. Intentions are never infallible, so there is a conceptual gap between the completed work and the intentions that initiated and guided its making. Yet in spite of the fallibility of intentions and of our beliefs and claims about them, intentions regularly contribute to the determination of a work’s features, including implicit meanings, the recognition of which requires the uptake of the artist’s intentional design. Partial intentionalism also finds support in the idea that at least one sort of artistic value depends on the artist’s skilful accomplishment of intentions. (shrink)

In aesthetics, the topic of intentions comes up most often in the perennial debate between intentionalists and anti-intentionalists over standards of interpretation. The underlying assumptions about the nature and functions of intentions are, however, rarely explicitly developed, even though divergent and at times tendentious premises are often relied upon in this controversy. Livingston provides a survey of contentions about the nature and status of intentions and intentionalist psychology more generally, arguing for an account that recognizes the multiple functions fulfilled by (...) intentions in the lives of temporally situated agents who deliberate over what to do, settle on ends and means, and try to realize some of their plans. Artists’ intentions are the same sorts of attitudes that we attribute to ourselves and to others as we attempt to describe, explain, and predict our actions. As such, intentions are relevant not only to debates over the interpretation of works of art but also to a range of other basic topics in the philosophy of art, including artistic creation and authorship, the ontology of art, the nature of texts, works, versions, and life-works, and the status and nature of fiction and fictional truth. With regard to the controversy over the interpretation of art, Livingston advocates a ‘partial’ intentionalism. Intentions are never infallible, so there is a conceptual gap between the completed work and the intentions that initiated and guided its making. Yet in spite of the fallibility of intentions and of our beliefs and claims about them, intentions regularly contribute to the determination of a work’s features, including implicit meanings, the recognition of which requires the uptake of the artist’s intentional design. Partial intentionalism also finds support in the idea that at least one sort of artistic value depends on the artist’s skilful accomplishment of intentions. (shrink)

This article attempts to articulate a theoretical framework, the target of which is to systematically unearth the conditions validating the ascription of agency to material culture. A wide range of studies, located within the interdisciplinary field known as material culture studies, testify to and aim at (re)uniting the materials of material culture with the notion of agency. In this article the argument is advanced that material entities have agency only if two necessary conditions are met: an ontological condition (agency is (...) an asymmetrical and relational category) and an epistemological condition (material entities mediate and transform human understanding). Hopefully, this way of approaching matters will help to establish a constructive framework for future debates. (shrink)

We examine to what extent an adequate ontology of technical artefacts can be based on existing general accounts of the relation between higher-order objects and their material basis. We consider two of these accounts: supervenience and constitution. We take as our starting point the thesis that artefacts have a ‘dual nature’, that is, that they are both material bodies and functional objects. We present two criteria for an adequate ontology of artefacts, ‘Underdetermination’ and ‘Realizability Constraints’ , which address aspects of (...) the dual nature thesis. Assessing supervenience accounts, we find them either wanting with respect to these criteria or insufficiently informative. Next, we argue that a recent application of Lynne Rudder Baker’s constitution view to artefacts cannot meet our criteria, although the broader view leaves room for improvement. Based on our evaluation of the most promising candidates, we conclude that so far general metaphysical views fail to address the most salient features of artefacts. Although they can account for the fact that artefacts have a ‘dual nature’, they do not offer the conceptual resources needed to describe the relation between these natures; this relation raises a hard problem in metaphysics.Keywords: Metaphysics; Artefact; Supervenience; Constitution; Underdetermination. (shrink)

McDowell's claim that "in mature human beings, embodied coping is permeated with mindedness",1 suggests a new version of the mentalist myth which, like the others, is untrue to the phenomenon. The phenomena show that embodied skills, when we are fully absorbed in enacting them, have a kind of non-mental content that is non-conceptual, non-propositional, non-rational and non-linguistic. This is not to deny that we can monitor our activity while performing it. For solving problems, learning a new skill, receiving coaching, and (...) so forth, such monitoring is invaluable. But monitoring what we are doing as we are doing it degrades performance to at best competence. On McDowell's view, there is no way to account for such a degradation in performance since the same sort of content would be involved whether we were fully absorbed in or paying attention to what we were doing. McDowell claims that it is an advantage of his conceptualism that it avoids any foundationalist attempt to build up the objective world on the basis of an indubitable Given or any other ground-floor experience. And, indeed, if the world is all that is the case and our minds are unproblematically open to it, all experience is on the same footing. But one must distinguish motor intentionality, and the interrelated solicitations our coping body is intertwined with, from conceptual intentionality and the world of propositional structures it opens onto. The existential phenomenologist can then agree with McDowell in rejecting traditional foundationalisms, while yet affirming and describing the ground-floor role of motor intentionality in providing the support on which all forms of conceptual intentionality are based. (shrink)

I do not think that previous writing on artifacts has been satisfactory, for reasons that will become clear. This situation has only been slightly remedied, I believe, by works such as my Artifacts, Agency, and Art Works, Dipert, sometimes referred to here as “AAA.” At the same time, I believe that a general notion of artifact is crucial for philosophy: the concept of an artifact is a central piece of our conception of the world. One of the important projects in (...) the theory of artifacts that is incomplete, or perhaps has not yet even been seriously undertaken, is a definition of artifacts. To give a definition of artifact, and to explore its difficulties and entanglements, is the central organizing goal of this essay. (shrink)

This ambitious book by one of the most original and provocative thinkers in science studies offers a sophisticated new understanding of the nature of scientific, mathematical, and engineering practice and the production of scientific knowledge. Andrew Pickering offers a new approach to the unpredictable nature of change in science, taking into account the extraordinary number of factors—social, technological, conceptual, and natural—that interact to affect the creation of scientific knowledge. In his view, machines, instruments, facts, theories, conceptual and mathematical structures, disciplined (...) practices, and human beings are in constantly shifting relationships with one another—"mangled" together in unforeseeable ways that are shaped by the contingencies of culture, time, and place. Situating material as well as human agency in their larger cultural context, Pickering uses case studies to show how this picture of the open, changeable nature of science advances a richer understanding of scientific work both past and present. Pickering examines in detail the building of the bubble chamber in particle physics, the search for the quark, the construction of the quarternion system in mathematics, and the introduction of computer-controlled machine tools in industry. He uses these examples to address the most basic elements of scientific practice—the development of experimental apparatus, the production of facts, the development of theory, and the interrelation of machines and social organization. (shrink)

Bruno Latour was once asked : "Do you believe in reality?" This text is an attempt to answer this question.

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)

In this work Tim Ingold provides a persuasive new approach to the theory behind our perception of the world around us. The core of the argument is that where we refer to cultural variation we should be instead be talking about variation in skill. Neither genetically innate or culturally acquired, skills are incorporated into the human organism through practice and training in an environment.They are as much biological as cultural.

A common picture of evolution by natural selection sees it as a process through which organisms change so that they become better adapted to their environment. However, agents do not merely respond to the challenges their environments pose. They modify their environments, filtering and transforming the action of the environment on their bodies A beaver, in making a dam, engineers a stream, increasing both the size of its safe refuge and reducing its seasonal variability. Beavers, like many other animals, are (...) ecological engineers. They act to modify the physical challenges posed by their environment. Nests, burrows and other shelters reduce the impacts of adverse weather and of other agents. Animal also modify their exposure to biological risks. Hygienic behaviour reduces the impact of disease. Intensive grooming; moving to new roosts; using a. (shrink)

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