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  1. The problem of creation and abstract artifacts.Nurbay Irmak - 2020 - Synthese 198 (10):9695-9708.
    Abstract artifacts such as musical works and fictional entities are human creations; they are intentional products of our actions and activities. One line of argument against abstract artifacts is that abstract objects are not the kind of objects that can be created. This is so, it is argued, because abstract objects are causally inert. Since creation requires being caused to exist, abstract objects cannot be created. One common way to refute this argument is to reject the causal inefficacy of abstracta. (...)
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  2. An Ontology of Words.Nurbay Irmak - 2019 - Erkenntnis 84 (5):1139-1158.
    Words are indispensable linguistic tools for beings like us. However, there is not much philosophical work done about what words really are. In this paper, I develop a new ontology for words. I argue that words are abstract artifacts that are created to fulfill various kinds of purposes, and words are abstract in the sense that they are not located in space but they have a beginning and may have an end in time given that certain conditions are met. What (...)
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  3. Type Realism Reconsidered.Nurbay Irmak - forthcoming - Journal of Aesthetics and Art Criticism:1-11.
    Realism about types is the view that types are abstract and repeatable objects. Although type realists seem to agree that types, unlike properties, are objects in their own right, they argue that there is a metaphysically intimate tie between the existence conditions of types and properties. In particular, most type realists believe that types are, in a certain sense, determined by the properties that underlie them. I argue that this is a mistake, especially for those type realists who believe that (...)
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  4. Software is an abstract artifact.Nurbay Irmak - 2012 - Grazer Philosophische Studien 86 (1):55-72.
    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 (...)
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