A technical artefact is often described in two ways: by means of a physicalistic model of its structure and dynamics, and by a functional account of the contributions of the components of the artefact to its capacities. These models do not compete, as different models of the same phenomenon in physics usually do; they supplement each other and cohere. Coherence is shown to be the result of a mapping of role-contributions on physicalistic relations that is brought about by the (...) concept of function. It results a sandwich-like structure of the two models, which can be reconstructed as a two-sorted theory element. (shrink)

In 2006, in a special issue of this journal, several authors explored what they called the dual nature of artefacts. The core idea is simple, but attractive: to make sense of an artefact, one needs to consider both its physical nature—its being a material object—and its intentional nature—its being an entity designed to further human ends and needs. The authors construe the intentional component quite narrowly, though: it just refers to the artefact’s function, its being a means to realize a (...) certain practical end. Although such strong focus on functions is quite natural , I argue in this paper that an artefact’s intentional nature is not exhausted by functional considerations. Many non-functional properties of artefacts—such as their marketability and ease of manufacture—testify to the intentions of their users/designers; and I show that if these sorts of considerations are included, one gets much more satisfactory explanations of artefacts, their design, and normativity.Keywords: Artefacts; Dual Nature program; Function; Intentionality; Normativity. (shrink)

One thing about technical artefacts that needs to be explained is how their physical make-up, or structure, enables them to fulfil the behaviour associated with their function, or, more colloquially, how they work. In this paper I develop an account of such explanations based on the familiar notion of mechanistic explanation. To accomplish this, I outline two explanatory strategies that provide two different types of insight into an artefact’s functioning, and show how human action inevitably plays a role in (...) artefact explanation. I then use my own account to criticize other recent work on mechanistic explanation and conclude with some general implications for the philosophy of explanation.Keywords: Artefact; Technical function; Explanation; Levels of explanation; Mechanisms. (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)

In “Psychopower and Ordinary Madness” my ambition, as it relates to Bernard Stiegler’s recent literature, was twofold: 1) critiquing Stiegler’s work on exosomatization and artefactual posthumanism—or, more specifically, nonhumanism—to problematize approaches to media archaeology that rely upon technical exteriorization; 2) challenging how Stiegler engages with Giuseppe Longo and Francis Bailly’s conception of negative entropy. These efforts were directed by a prevalent techno-cultural qualifier: the rise of Synthetic Intelligence (including neural nets, deep learning, predictive processing and Bayesian models of cognition). (...) This paper continues this project but first directs a critical analytic lens at the Derridean practice of the ontologization of grammatization from which Stiegler emerges while also distinguishing how metalanguages operate in relation to object-oriented environmental interaction by way of inferentialism. Stalking continental (Kapp, Simondon, Leroi-Gourhan, etc.) and analytic traditions (e.g., Carnap, Chalmers, Clark, Sutton, Novaes, etc.), we move from artefacts to AI and Predictive Processing so as to link theories related to technicity with philosophy of mind. Simultaneously drawing forth Robert Brandom’s conceptualization of the roles that commitments play in retrospectively reconstructing the social experiences that lead to our endorsement(s) of norms, we compliment this account with Reza Negarestani’s deprivatized account of intelligence while analyzing the equipollent role between language and media (both digital and analog). (shrink)

Artefacts do not always do what they are supposed to, due to a variety of reasons, including manufacturing problems, poor maintenance, and normal wear-and-tear. Since software is an artefact, it should be subject to malfunctioning in the same sense in which other artefacts can malfunction. Yet, whether software is on a par with other artefacts when it comes to malfunctioning crucially depends on the abstraction used in the analysis. We distinguish between “negative” and “positive” notions of malfunction. A negative malfunction, (...) or dysfunction, occurs when an artefact token either does not or cannot do what it is supposed to. A positive malfunction, or misfunction, occurs when an artefact token may do what is supposed to but, at least occasionally, it also yields some unintended and undesirable effects. We argue that software, understood as type, may misfunction in some limited sense, but cannot dysfunction. Accordingly, one should distinguish software from other technical artefacts, in view of their design that makes dysfunction impossible for the former, while possible for the latter. (shrink)

Artifacts are ubiquitous and influential in our world, but their nature and existence are controversial. Several theories have been proposed to explain the ontology of artifacts. Drawing on Popper's theory of three worlds, this paper suggests a metaphysics for artifacts along the line of a critical rationalist (CR) approach. This theory distinguishes between three realms of reality: the physical world (World 1), the mental world (World 2), and the world of objective knowledge (World 3). The paper argues that artifacts have (...) different ontological components that correspond to these three realms, and that each component is real and causal. The paper shows how this perspective can account for the intentional and functional aspects of artifacts, as well as their dependence on plans that influence different realms of reality. The paper explains how this pluralistic ontology, compared to the rival theories, enables one to explain the relevant ontological problems of artifacts. The paper also explores how this proposal can lead to a research program encompassing a broader range of technologies, such as social artifacts. In sum, the paper suggests that Popper's three worlds theory provides a rich and comprehensive framework for understanding the metaphysics of artifacts. (shrink)

In this article, we advocate the use of “epistemic” ontologies, i.e., systems of categories representing our knowledge of the world, rather than the world directly. We first expose a metaphysical framework based on a dual mental and physical realism, which underpins the development of these epistemic ontologies. To this end, we refer to the theories of intentionality and representation established within the school of Franz Brentano at the turn of the 20th century and choose to rehabilitate the notion of a (...) ‘representation object’, as theorized by Kasimir Twardowski. We therefore propose that the categories of epistemic ontologies correspond to ‘general representation objects’. Secondly, we apply these proposals to the treatment of technical artefacts, material qualities of objects and events (notably as a continuation of our previous work on events). This leads us to sketch out a foundational epistemic ontology. (shrink)

The recent publication of André Bazin's Écrits complets, an enormous two-volume edition of 3000 pages which increases ten-fold Bazin's available corpus, provides opportunities for renewed reflection on, and possibly for substantial revisions of, this key figure in film theory. On the basis of several essays, I propose a drastic rereading of Bazin's most explicitly philosophical notion of “ontology.” This all too familiar notion, long settled into a rather dust-laden couple nonetheless retains its fascination. Rather than attempting to provide a systematic (...) reworking of this couple along well established lines, particularly those defined by realism and indexicality, this article proposes to shift the notion of ontology in Bazin from its determination as actual existence toward a more radical concept of ontology based on the notion of mimesis, particularly as articulated, in a Heideggerian mode, by Philippe Lacoue-Labarthe. This more properly ontological concept, also paradoxically and radically improper, is shown to be at work already in Bazin's texts, and it allows us to see that far from simplistically naturalizing photographic technology, Bazin does the contrary: he technicizes nature. If Bazin says that the photograph is a flower or a snowflake, he also implies that, like photographs, these are likewise a kind of technical artifact, an auto-mimetic reproduction of nature. Bazin likewise refers to film as a kind of skin falling away from the body of History, an accumulating pellicule in which nature and history disturbingly merge. This shifted perspective on Bazin's thinking is extended further in reference to Georges Didi-Huberman on the highly mimetic creatures known as phasmids, insects that mimic their environement. I extend this into the dynamic notion of eternal return, an implicit dimension of Bazin's thinking, clarified here in reference to Giorgio Agamben and the “immemorial image” which, like Bazin's “Death Every Afternoon,” presents an eminently repeatable deathly image, an animated corpse-world that can be likened to hell. (shrink)

La actitud del diseño es una estrategia interpretativa propuesta por Dennett, que consiste en tratar al sistema, cuyo “comportamiento” se quiere predecir, bajo el supuesto de que sus partes cumplen funciones que obedecen a un diseño satisfactorio. Sin embargo, estudios recientes sobre atribución funcional en artefactos técnicos consideran que la actitud del diseño supone una estrategia inadecuada para entender qué hace un artefacto técnico. En particular, dos críticas han ganado visibilidad. Por una parte, Vermaas et al. (2013) señalan una inconsistencia (...) en la propuesta dennettiana de la actitud del diseño: las intenciones del diseñador a veces desempeñan un papel en la interpretación de los artefactos y a veces no lo hacen, sin tener finalmente una intuición clara sobre su rol. Por otra parte, Vaesen y Van Amerongen (2008) sostienen que la actitud del diseño admite dos interpretaciones, una descriptiva y una normativa, y que ambas son implausibles. No obstante, en este trabajo argumentamos que estas críticas son rebatibles y que el problema reside en que ambas acusaciones, i.e. inconsistencia e implausibilidad, suponen una interpretación incorrecta de la posición de Dennett. The design attitude is an interpretive strategy proposed by Dennett, which consists of treating the system, whose “behavior” is to be predicted, under the assumption that its parts fulfill functions that accomplish a satisfactory design. Recent studies on technical artifacts' functional attribution claim that the design attitude is an inadequate strategy to elicit what a technical artifact does. In particular, two criticisms have gained visibility. On the one hand, Vermas et al (2013) remark an inconsistency in Dennett’s design stance. The very designer's intentions sometimes play a role in the interpretation of artifacts and sometimes they don´t, without finally having a clear intuition about their role. On the other hand, Vaesen and Van Amerongen (2008) argue that the design stance admits two interpretations, a descriptive and a normative one and that both are implausible. However, we argue that these criticisms miss the point given that both accusations, i.e. of inconsistency and of implausibility, result from a wrong interpretation of Dennett's position. (shrink)

My argument is that Chalmers' zombie fiction and his rigid-designator-argument going back on Kripke comes down to a petitio principii. Rather, at the core it appears to be more related to the essential 'privacy' of the phenomenal internal perspective. In return for Chalmers I argue that the 'principle self-preservation' of living organisms necessarily implies subjectivity and the emergence of sense. The comparison with a robot proves instructive. The mode of 'mere physical' being is transcended if, in the form of phenomenal (...) perception, sense appears on the stage of higher animals – a transition explained here as an emergence phenomenon based on the systemic co-operation of perception, valuation and action ('perc-val-act system'). Some fundamental considerations are added: Those consequences implied by the principle self-preservation reveal the natural-biological origin of the organism – primarily seeming a more insignificant circumstance – as a momentous fundamental difference (end-in-itself-character, subjectivity, constitution of sense) compared to technical artefacts (robot). And the emergentist approach indicates the – maybe paradoxical – possibility of a dualism of physical and psychical phenomena in an overall physical system, that is not dualistic at the same time. (shrink)

Could a person ever transcend what it is like to be in the world as a human being? Could we ever know what it is like to be other creatures? Questions about the overcoming of a human perspective are not uncommon in the history of philosophy. In the last century, those very interrogatives were notably raised by American philosopher Thomas Nagel in the context of philosophy of mind. In his 1974 essay What is it Like to Be a Bat?, Nagel (...) offered reflections on human subjectivity and its constraints. Nagel’s insights were elaborated before the social diffusion of computers and could not anticipate the cultural impact of technological artefacts capable of materializing interactive simulated worlds as well as disclosing virtual alternatives to the “self.” In this sense, this article proposes an understanding of computers as epistemological and ontological instruments. The embracing of a phenomenological standpoint entails that philosophical issues are engaged and understood from a fundamentally practical perspective. In terms of philosophical praxis, or “applied philosophy,” I explored the relationship between human phenomenologies and digital mediation through the design and the development of experimental video games. For instance, I have conceptualized the first-person action-adventure video game Haerfest (Technically Finished 2009) as a digital re-formulation of the questions posed in Nagel’s famous essay. Experiencing a bat’s perceptual equipment in Haerfest practically corroborates Nagel’s conclusions: there is no way for humans to map, reproduce, or even experience the consciousness of an actual bat. Although unverifiable in its correspondence to that of bats, Haerfest still grants access to experiences and perceptions that, albeit still inescapably within the boundaries of human kinds of phenomenologies, were inaccessible to humans prior to the advent of computers. Phenomenological alterations and virtual experiences disclosed by interactive digital media cannot take place without a shift in human kinds of ontologies, a shift which this study recognizes as the fundamental ground for the development of a new humanism (I deem it necessary to specify that I am not utilizing the term “humanism” in its common connotation, that is to say the one that emerged from the encounter between the Roman civilization and the late Hellenistic culture. According to this conventional acceptation, humanism indicates the realization of the human essence through “scholarship and training in good conduct” (Heidegger 1998, p. 244). However, Heidegger observed that this understanding of humanism does not truly cater to the original essence of human beings, but rather “is determined with regard to an already established interpretation of nature, history, world, and […] beings as a whole.” (Heidegger 1998, p. 245) The German thinker found this way of embracing humanism reductive: a by-product of Western metaphysics. As Heidegger himself specified in his 1949 essay Letter on Humanism, his opposition to the traditional acceptation of the term humanism does not advocate for the “inhuman” or a return to the “barbaric” but stems instead from the belief that the humanism can only be properly understood and restored in culture as more original way of meditating and caring for humanity and understanding its relationship with Being.). Additionally, this study explicitly proposes and exemplifies the use of interactive digital technology as a medium for testing, developing and disseminating philosophical notions, problems and hypotheses in ways which are alternative to the traditional textual one. Presented as virtual experiences, philosophical concepts can be accessed without the filter of subjective imagination. In a persistent, interactive, simulated environment, I claim that the crafting and the mediation of thought takes a novel, projective (In Martin Heidegger’s 1927 Being and Time, the term “projectivity” indicates the way a Being opens to the world in terms of its possibilities of being (Heidegger 1962, pp. 184–185, BT 145). Inspired by Heidegger’s and Vilem Flusser’s work in the field of philosophy of technology as well as Helmuth Plessner’s anthropological position presented in his 1928 book Die Stufen des Organischen und der Mensch. Einleitung in die philosophische Anthropologie, this study understands the concept of projectivity as the innate openness of human beings to construct themselves and their world by means of technical artefacts. In this sense, this study proposes a fundamental understanding of technology as the materialization of mankind’s tendency to overcome its physical, perceptual and communicative limitations.) dimension which I propose to call “augmented ontology.”. (shrink)

Technical artifacts have the capacity to fulfill their function in virtue of their physicochemical make-up. An explanation that purports to explicate this relation between artifact function and structure can be called a technological explanation. It might be argued, and Peter Kroes has in fact done so, that there issomething peculiar about technological explanations in that they are intrinsically normative in some sense. Since the notion of artifact function is a normative one (if an artifact has a (...) proper function, it ought to behave in specific ways) an explanation of an artifact’s function must inherit this normativity.In this paper I will resist this conclusion by outlining and defending a ‘buck-passing account’ of the normativity of technological explanations. I will first argue that it is important to distinguish properly between (1) a theory of function ascriptions and (2) an explanation of how a function is realized. The task of the former is to spell out the conditions under which one is justified in ascribing a function to an artifact; the latter should show how the physicochemical make-up of an artifact enables it to fulfill its function. Second, I wish to maintain that a good theory of function ascriptions should account for the normativity of these ascriptions. Provided such a function theory can be formulated — as I think it can — a technological explanation may pass the normativity buck to it. Third, to flesh out these abstract claims, I show how a particular function theory — to wit, the ICE theory by Pieter Vermaas and Wybo Houkes — can be dovetailed smoothly with my own thoughts on technological explanation. (shrink)

Benjamin Libet's celebrated experiments concerning freedom elicited numerous attempts of _philosophical_ repudiation. Ten years ago, however, Judy Trevena and Jeff Miller published a _technical_ objection; they claim to have detected a,,smearing artifact" in Libet's calculations. This rests on a misunderstanding of Libet's methodology. In my reconstruction of Libet's argument, he draws an abductive inference to the best explanation. Now, Trevena's and Miller's objection does indeed lead to alternative explanations of Libet's measurements. These alternatives are _ad hoc_ and extremely improbable. (...) They constitute worse explanations than the explanation offered by Libet. _German_ Benjamin Libets bahnbrechende Experimente zur Willensfreiheit aus den Achtziger Jahren des vorigen Jahrhunderts gehören längst zu den Klassikern der Experimentalkunst. Aus _philosophischer_ Perspektive sind sie oft kritisiert worden; unabhängig davon ist zu Beginn des neuen Jahrtausends ein _technischer_ Einwand gegen Libet prominent geworden, der von Freiheitsfreunden gerne zitiert wird. Er geht auf Judy Trevena und Jeff Miller zurück und besteht in dem Vorwurf, dass Libet mit seiner Berechnung der _gemittelten_ Bereitschaftspotential-Kurven die wahren Verhältnisse verschmiere und dabei aus mathematischen Gründen den Anstiegs-Zeitpunkt des Bereitschaftspotentials künstlich nach vorne verschiebe – das ist der Vorwurf des sog. Verschmierungsartefakts. Ich zeige, dass der Vorwurf nicht sticht. Er beruht auf einem Missverständnis der Schlussmethode Libets. Laut meiner wissenschaftstheoretischen Rekonstruktion zieht Libet weder deduktive noch induktive Schlüsse aus seinen Einzelbeobachtungen; er schließt abduktiv, d.h. er schließt auf die beste Erklärung seiner Einzelbeobachtungen. Wie eine genaue arithmetische Analyse zeigt, bieten die Alternativ-Erklärungen, unter denen sich das Verschmierungsartefakt bewahrheiten würde, schlechtere Erklärungen als Libets Erklärung – sie sind an den Haaren herbeigezogen und extrem unwahrscheinlich. (shrink)

In this paper, we argue that the Anthropocene is relevant for philosophy of technology because it makes us sensitive to the ontological dimension of contemporary technology. In §1, we show how the Anthropocene has ontological status insofar as the Anthropocenic world appears as managerial resource to us as managers of our planetary oikos. Next, we confront this interpretation of the Anthropocene with Heidegger’s notion of “Enframing” to suggest that the former offers a concrete experience of Heidegger’s abstract, notoriously difficult, and (...) allegedly totalitarian concept. In consequence, technology in the Anthropocene cannot be limited to the ontic domain of artefacts, but must be acknowledged to concern the whole of Being. This also indicates how the Anthropocene has a technical origin in an ontological sense, which is taken to imply that the issue of human responsibility must be primarily understood in terms of responsivity. In the final section, we show how the Anthropocene is ambiguous insofar as it both accords and discords with what Heidegger calls the “danger” of technology. In light of this ambiguity, the Earth gains ontic-ontological status, and we therefore argue that Heidegger’s unidirectional consideration concerning the relation between being and beings must be reoriented. We conclude that the Anthropocene entails that Heidegger’s consideration of the “saving power” of technology as well as the comportment of “releasement” must become Earthbound, thereby introducing us to a saving Earth. (shrink)

Much recent discussion has focused on the nature of artifacts, particularly on whether artifacts have essences. While the general consensus is that artifacts are at least intention-dependent, an equally common view is function essentialism about artifacts, the view that artifacts are essentially functional objects and that membership in an artifact kind is determined by a particular, shared function. This paper argues that function essentialism about artifacts is false. First, the two component conditions of function essentialism are given a clear (...) and precise formulation, after which counterexamples are offered to each. Second, ways to handle the counterexamples suggested by Randall Dipert and Simon Evnine are considered and rejected. Third, I then consider the prospects for restricting function essentialism to so-called technical artifacts, as Lynne Baker does, and argue that this, too, fails. This paper thereby consolidates the scattered literature on function essentialism and shows that, despite the seeming plausibility of the thesis, it should be rejected as an account of artifact essences. (shrink)

The value sensitive design (VSD) approach to designing transformative technologies for human values is taken as the object of study in this chapter. VSD has traditionally been conceptualized as another type of technology or instrumentally as a tool. The various parts of VSD’s principled approach would then aim to discern the various policy requirements that any given technological artifact under consideration would implicate. Yet, little to no consideration has been given to how laws, regulations, policies and social norms engage (...) within VSD practices. Similarly, how the interactive nature of the VSD approach can, in turn, influence those directives. This is exacerbated when we consider machine ethics policy that have global consequences outside their development spheres. What constructs and models will position AI designers to engage in policy concerns? How can the design of AI policy be integrated with technical design? How might VSD be used to develop AI policy? How might law, regulations, social norms, and other kinds of policy regarding AI systems be engaged within value sensitive design? This chapter takes the VSD as its starting point and aims to determine how laws, regulations and policies come to influence how value trade-offs can be managed within VSD practices. It shows that the iterative and interactional nature of VSD both permits and encourages existing policies to be integrated both early on and throughout the design process. The chapter concludes with some potential future research programs. (shrink)

Metaphors allow us to come to terms with abstract and complex information, by comparing it to something which is structured, familiar and concrete. Although modern science is “iconoclastic”, as Gaston Bachelard phrases it, scientists are at the same time prolific producers of metaphoric images themselves. Synthetic biology is an outstanding example of a technoscientific discourse replete with metaphors, including textual metaphors such as the “Morse code” of life, the “barcode” of life and the “book” of life. This paper focuses on (...) a different type of metaphor, however, namely on the archetypal metaphor of the mandala as a symbol of restored unity and wholeness. Notably, mandala images emerge in textual materials related to one of the new “frontiers” of contemporary technoscience, namely the building of a synthetic cell: a laboratory artefact that functions like a cell and is even able to replicate itself. The mandala symbol suggests that, after living systems have been successfully reduced to the elementary building blocks and barcodes of life, the time has now come to put these fragments together again. We can only claim to understand life, synthetic cell experts argue, if we are able to technically reproduce a fully functioning cell. This holistic turn towards the cell as a meaningful whole also requires convergence at the “subject pole”: the building of a synthetic cell as a practice of the self, representing a turn towards integration, of multiple perspectives and various forms of expertise. (shrink)

Heidegger’s oeuvre (> 100 volumes) contains a plethora of comments on contemporary science, or rathertechnosciencebecause, according to Heidegger, science is inherently technical. What insights can be derived from such comments for philosophers questioning technoscience as it is practiced today? Can Heidegger’s thoughts become a source of inspiration for contemporary scholars who are confronted with automated sequencing machines, magnetic resonance imaging machines and other technoscientific contrivances? This is closely related to the question of method, I will argue. Although Heidegger himself (...) was notoriously ambivalent when it came to method, especially in his later writings, his oeuvre nonetheless contains important hints for how a philosophical questioning of technoscience could be practiced, such as: paying attention to language (to the words that we use) or taking a step backwards (towards the moment of commencement of the type of rationality at work). For Heidegger, method means: being underway, and a philosophical method must be developed along the way. After discussing Heidegger’s views on method, both in his earlier and in his later writings, three dimensions of contemporary technoscience will be addressed, namely: technoscientific objects (research artefacts), technoscientific sites (laboratories as unworldly environments) and technoscience as a global enterprise. In the final section, the question will be addressed whether and how a critical encounter between philosophy and technoscience is possible. (shrink)

Self-reflexive videogames are videogames designed to materialize critical and/or satirical perspectives on the ways in which videogames themselves are designed, played, sold, manipulated, experienced, and understood as social objects. This essay focuses on the use of virtual worlds as mediators, and in particular on the use of videogames to guide and encourage reflections on technical, interactive, and thematic conventions in videogame design and development. Structurally, it is composed of two interconnected parts: -/- 1) In the first part of this (...) essay, I will discuss NECESSARY EVIL (Gualeni et al., 2013), an experimental videogame that I designed as a self-reflexive virtual artifact. With the objective of clarifying the philosophical aspirations of self-reflexive videogames – and in order to understand how those aspirations can be practically pursued – I will dissect and examine the design decisions that contributed to the qualities of NECESSARY EVIL as an example of “playable philosophy”. -/- 2) Taking off from the perspectives on self-reflexive videogames offered in the first part of the essay, the second half will focus on virtual worlds as viable mediators of philosophical thought more in general. In this section, I will argue that, both through the practice of game design and through the interactive experiences of virtual worlds, twenty-first century philosophers have the possibility to challenge the often-unquestioned understanding of written discourse as the only context in which philosophical thought can emerge and be developed. (shrink)

I present a developmental account of Aristotle’s concept of hê hylê (usually translated “the matter”), focused the earliest developments. I begin by analyzing fragments of some lost early works and a chapter of the Organon, texts which indicate that early in his career Aristotle had not yet begun to use he hylê in a technical sense. Next, I examine Physics II 3, a chapter in which Aristotle conceives of he hylê not as a kind of cause in its own (...) right, but merely as an example of the so-called “out of which” cause : the material is the cause out of which an artifact is made. Next, I examine Physics II 7, a chapter in which Aristotle names "the material" as one of the four kinds of cause in its own right. But Aristotle’s model of "the material" remains the material out of which an artifact is made. (shrink)

According to a dogma mainly set up by Heidegger and Horkheimer/Adorno technology prevents the humans from reflecting their own situation in the world. Revealing the conditions of being is not only every humans main task, but even that of philosophy and art. From this point of view the motion picture taken to be merely a piece of technology is not of any worth philosophically and also not considered as art. This dogma is false. It is derived from the assertion that (...) a motion picture has only technical aspects. Indeed it would be impossible to produce it without technology. But a film expresses it‘s director‘s view of the world. This is not systematically different from what an author or composer does with his works. A Film can show why and how artifacts are used and thereby reveal and maybe explain what I call an artifact‘s history of sense. This makes a view of the world understandable. (shrink)

We examine the notion of cognitive artifact and its possible application to the animal technic. Although the issue of animal technic is not very much discussed, the case studies focused on the capacity of using and manufacturing tools suggest that some animals deploy cognitive skills. Could the tools employed by animals be considered genuine cases of cognitive artifacts? In this paper we propose a definition of “cognitive artifact” based on the notion of “proper function,” which allows us to (...) develop a gradual scale where we place different kinds of artifacts according to the prevalence of the cognitive function (in opposition to the prac-tical one). Applying this scale to the non-human sphere, we defend the idea that there exists a range of non-human technical phenomena of use and artifacts and tools manufacturing, and that some of this artifacts have an incipient proper cognitive function. In order to defend these theses, we examine the examples of the cobwebs, the nests and the honeycombs. (shrink)

The application of modern technologies with artificial intelligence (AI) in all spheres of human life is growing exponentially alongside concern for its controllability. The lack of public, state, and international control over AI technologies creates large-scale risks of using such software and hardware that (un)intentionally harm humanity. The events of recent month and years, specifically regarding the Russian Federation’s war against its democratic neighbour Ukraine and other international conflicts of note, support the thesis that the uncontrolled use of AI, especially (...) in the military sphere, may lead to deliberate disregard for the moral standards of controlled AI or the spontaneous emergence of aggressive autonomous AI. The development of legal regulation for the use of technologies with AI is prolonged concerning the rapid development of these artefacts, which simultaneously cover all areas of public relations. Therefore, control over the creation and use of AI should be carried out not only by purely technical regulation (e.g., technical standards and conformance assessments, corporate and developer regulations, requirements enforced through industry-wide ethical codes); but also by comprehensive legislation and intergovernmental oversight bodies that codify and enforce specific changes in the rights and duties of legal persons. This article shall present the “Morality Problem” and “Intentionality Problem” of AI, and reflect upon various lacunae that arise when implementing AI for military purposes. (shrink)

Philosophers and psychologists widely hold that artifact categories – just like biological categories – are individuated by their function. But recent empirical findings in psychology question this assumption. My proposal is to suggest a way of squaring these findings with the central role function should play in individuating artifact categories. But in order to do so, we need to give up on the standard account of artifact function, according to which function is fixed by design, and replace (...) it with a more context-sensitive account, according to which function attributions depend on the explanatory context and, as a result, categorization also depends on the explanatory context, just as the empirical findings from psychology suggest. I argue that the recent ‘modal theory of function’ originally proposed to explain biological function, is capable of providing such an account of artifact function. (shrink)

Consciousness is scientifically challenging to study because of its subjective aspect. This leads researchers to rely on report-based experimental paradigms in order to discover neural correlates of consciousness (NCCs). I argue that the reliance on reports has biased the search for NCCs, thus creating what I call 'methodological artefacts'. This paper has three main goals: first, describe the measurement problem in consciousness science and argue that this problem led to the emergence of methodological artefacts. Second, provide a critical assessment of (...) the NCCs put forward by the global neuronal workspace theory. Third, provide the means of dissociating genuine NCCs from methodological artefacts. (shrink)

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)

In this paper, I explore a line of argument against one form of realism about fictional characters : abstract artifact theory, the view according to which fictional characters like Harry Potter are part of our reality, but, they are abstract objects created by humans, akin to the institution of marriage and the game of soccer. I will defend artifactualism against an objection that Mark Sainsbury considers decisive against it: the category-mistake objection. The objection has it that artifactualism attributes to (...) people who produce and process sentences and thoughts about Harry Potter massive error, indeed, a category mistake about what kind of thing Harry Potter is; for an abstract object isn’t the sort of thing that can wear glasses, ride a double-decker bus, attend school. Given problems with this objection, artifactualism, I shall conclude, remains a tenable contender. (shrink)

This paper responds to an argument against a kind of anthropology. According to the argument, if the aim of anthropology is to describe the different worldviews of different groups, then anthropologists should only refer to material artefacts in order to illustrate a worldview; but the interest of artefacts to anthropology goes beyond mere illustration. This argument has been endorsed by key members of the ontological movement in anthropology, who found at least one of its premises in Marilyn Strathern’s writing.

What are the possible varieties of cognition-artifact relations, and which dimensions are relevant for exploring these varieties? This question is answered in two steps. First, three levels of functional and informational integration between human agent and cognitive artifact are distinguished. These levels are based on the degree of interactivity and direction of information flow, and range from monocausal and bicausal relations to continuous reciprocal causation. In these levels there is a hierarchy of integrative processes in which there is (...) an increasing degree of hybridization. Therefore, from a functional and informational level of abstraction, it becomes increasingly difficult to distinguish between agent and artifact in this hierarchy. Second, a multidimensional matrix for exploring cognition-artifact relations is sketched. The dimensions in the matrix include reliability, durability, trust, procedural and representational transparency, individualization, bandwidth, speed of information flow, distribution of computation, and cognitive and artifactual transformation. Together, these dimensions constitute a multidimensional space in which particular cognition-artifact relations can be located. The higher a particular cognition-artifact relation scores on these dimensions, the more integration and hybridization occurs, and the more tightly coupled the overall system is. It is then better, for explanatory reasons, to see agent and artifact as one cognitive system with a distributed informational architecture. (shrink)

This paper discusses an explanation, offered by Tim Ingold, for why social and cultural anthropologists have so far paid little attention to the materials from which artefacts are composed. The explanation is that these anthropologists accept a certain argument. According to the argument, what an anthropologist should focus on when examining an artefact is the quality that makes it part of a culture, and this is not the materials from which the artefact is composed. I show that Ingold has not (...) made a compelling case against this argument, but also that it is not sound. (shrink)

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)

There appear to be multifunctional artefacts of a type such that none of their functions can be attributed only to some proper part of the artefact. I use two examples of allegedly multifunctional artefacts of this kind in what follows, one due to Lynne Rudder Baker (aspirin) and another of my own (a spork). The two examples are meant to make the same point. I discuss her aspirin example, since its discussion has entered the literature, but without its being dealt (...) with satisfactorily. My example is, I believe, more intuitive than that of aspirin, which Baker introduced in her response to a challenge to her views, and so I will mostly rely on my example of a spork, especially at the end of the paper, to make my case. -/- I argue that in at least those two cases, if the standard arguments for distinguishing between an object and what constitutes it are sound, an argument showing that what we might have taken to be a single multifunctional object is in fact a case of multiple single-function artefacts which collocate. Or almost. There is one further assumption needed for these cases, beyond what the constitution cases require, and I produce reasons for accepting that assumption. (shrink)

Much of a culture’s history – its knowledge, capacity, style, and mode of material engagement – is encoded and transmitted in its artifacts. Artifacts crystallize practice; they are a type of meme reservoir that people interpret though interaction. So, in a sense, artifacts transmit cognition; they help to transmit practice across generations, shaping the ways people engage and encounter their world. So runs one argument.

This is a technical supplement to "Abstraction and Grounding", forthcoming in /Philosophy and Public Affairs/.

The artefacts produced by artists during their creation of works of art are very various: paintings, writings, musical scores, and so on. I have a general thesis to offer about the relations of artefacts and artworks, but within the confines of this article I shall mainly discuss cases drawn from the art of painting, central specimens of which seem to be autographic in Nelson Goodman's sense, namely such that even the most exact duplication of them does not count as producing (...) the same work of art. My view will be that an artwork (such as a painting) and its associated artefact are not identical, and nor is the artefact in any sense part of the painting in question,2 but that nevertheless it is still possible to maintain the view that paintings are autographic (which view I shall call l the autographic thesis). I shall proceed initially through presentation of some counter-examples to common assumptions as to the relations of artefacts and artworks, and then present an alternative 'representational' theory of their relations. (shrink)

The purpose of this article is to explore the close link between technology and death in the philosophical writings of Lewis Mumford. Mumford famously argued that throughout the history of western civilization we find intertwined two competing forms of technics; the democratic biotechnic form and the authoritarian monotechnic form. The former technics were said to be strongly compatible with an organic form of life while the latter were said to be allied to a mechanical power complex. What is perhaps less (...) well known is the extent to which Mumford characterizes the authoritarian technical form as being a technics of death. This article will argue that the connection between death and technics is a key theme in Mumford’s philosophy of technology. In addition to elaborating this theme and detailing how it informs Mumford’s other positions on the nature of technology, this article will also argue that Mumford’s theory of a technics of death bears witness, both implicitly and explicitly, to the influence of Sigmund Freud’s theory of the death instinct. Freud’s account of the death instinct will be outlined briefly and its influence on Mumford’s writings will be explained. Death, in Mumford’s technological writings, has a generally negative function and serves to warn humanity of the perilous course that its technological civilization is set upon. However it also has a positive function in that it encourages man to transcend its biological existence in acts of creativity and purpose. Death, in this positive sense, serves the purpose of life whereas, in the negative sense, it hinders it. The role of death, in both aspects, will be explored and related to Mumford’s overall perspective on technics and life. It is argued that Mumford’s philosophy of technology cannot be fully understood without an awareness of his views on death and its role in the life of technological society. (shrink)

On a modified view of embodied cognition, I argue that the conceptual structure of some present-day’s abstract artifact concepts such as PIECE OF MUSIC or PIECE OF ART can be effectively explained if it is taken into account that “visual recordings” of first observed result objects played a major role in developing abstract artifact concepts.

The scope of the paper is to present the concept of the radical dyad of the “non-human,” in an attempt to think radical humanity in terms of Marxian materialism, which is the product of approaching Marx’s writings on “the real” and “the physical” by way of François Laruelle’s non-philosophical method. Unlike posthumanism, inspired by critical theory and the method of poststructuralism, the theory of the non-human, as a radical dyad of technology in the generic sense of the word (ranging from (...) the techné of speaking a natural language to AI technology) and the organic understood as physicality, does away with anthropocentrism. Moreover, it does away with any anthropomorphology of thought, that is, it does away with any theorizing or philosophy that is centered on the notion of (human) subjectivity or, to borrow a Laruellian term, any “posture of thought” that is molded according to the structure of subjectivity centered thinking. (shrink)

Motivated by the significant amount of successful collaborative problem solving activity on the Web, we ask: Can the accumulated information propagation behavior on the Web be conceived as a giant machine, and reasoned about accordingly? In this paper we elaborate a thesis about the computational capability embodied in information sharing activities that happen on the Web, which we term socio-technical computation, reflecting not only explicitly conditional activities but also the organic potential residing in information on the Web.

Where Gillo Dorfles sees an ‘aesthetic quotient’ able to promote a right relationship between man and nature, and nature and artefact, the concept of objectualization accounts for the ambivalent consequences of man’s appropriation of nature, occurring in the shaping of reality. This concept appears in the arts but also in the production of ordinary man-made objects. The latter recalibrates our own understanding of art and nature. Starting from a definition of objectualization, the hypothesis of an equation between ar- tificiality and (...) aesthetics will be found. Taking into account Dorfles’s claim about redeeming the unnatural as nature in its being the product of man’s creativity, we will assess his works focusing on the case of the artefact and graphic-musical object. Dorfles’s theory will be applied without following the different levels of analysis entirely: phenomenological, since the relationship between men, objects and machine is intentional; functional, as art depends on the role, determining a significance inside social condition, but on a symbolic or formal level, insofar as determining a stable presence of the significance at the level of the aspect, the shape becoming a mirror of men. In the end our own aesthetic constitution will be found together with the recalibration of the relationship with nature and the world through an idea of form combining artificialness and naturalness. (shrink)

The article gives a definition of the technical and economic potential of the application of the deforming broaching process. Research of the consequences of introducing deforming broaching into technological processes at manufacturing enterprises is carried out on the basis of application of system resource and matrix approach. On the basis of the performed researches, a methodological basis for the economic evaluation of the results of applying deforming broaching on the pro-duction has been developed. The article has improved the well-known (...) scientific and methodological foundations for the determination of technical and economic results of the application of deforming broaching due to the complex identifica-tion of production-organizational decisions - in technical and forms of evaluation in economic spheres. The developed approach gives an opportunity to more accu-rately assess the economic effect of introducing deforming broaching on the min-ing, metallurgical and machine building industries. It can be used to assess the economic effect of introducing other process parts processing. (shrink)

The study aimed to analyze lexical items underpinned in the textbooks used in the current teaching of ESP and GE. Using content analysis, a systematic evaluation of texts to examine nuances to bridge the gap between quantitative and qualitative data. This was such of importance, however, difficult to study due to issues of interest like in the study, frequency of lexical items in ESP, and GE textbooks. Results found 13,713 lexical items in Hospitality Management, 17,561 in Criminology, 4576 in Tourism, (...) 7167 in Marine Engineering, and 512 in Information Technology. Furthermore, the overall percentage of ESP lexical items fell in Tier 2 (with multiple-meaning while the least was in Tier 3, specifically on context-specific vocabulary. It is the core of vocabulary learning to ensure English language teaching. It is its goal to help learners better understand language, allowing them to understand others as they want to express themselves as well. This applies not only in speaking but also in writing and reading. Wilkins (1972, p. 111-112) stated that without grammar very little understanding can be acquired and without vocabulary there can be no learning at all. Thus, even without good grammar, so long as you equipped with useful words and expression, one can still manage to communicate. Lewis (1993) argued that “lexis is the heart of language” and that it develops a better fluency and expression in English. He also added the significance to the learners of acquiring a more productive vocabulary knowledge, also, their eagerness to develop their own personal vocabulary strategies. Thus, a proposed bridge model program was recommended to highlight the study findings using the lexicons found from the different respective courses. (shrink)

The study aimed to identify the reality of technical education in Palestine. The analytical descriptive method was used in the study. A questionnaire which consisted of 41 paragraphs was distributed randomly to the technical colleges in Gaza Strip. Random sample of (275) employees of these colleges were used, and the response rate was (74.5%). The results showed a high degree of approval for the dimensions of technical education with a relative weight of 76.07%. The ranking and relative (...) weight was as follows: Technical education institutions: 79.51%, graduates of technical education 75.75%, Labor market and local community 72.96%. The researchers propose a number of recommendations, the most important of which is: the need to pay attention to technical education in line with the National Strategic Plan for Higher Education by moving towards technical education. The importance of offering special courses in all technical education programs in these colleges. The researchers urged more future studies that address the same variables as the current study and apply them to other sectors. (shrink)

The Information Artifact Ontology (IAO) was created to serve as a domain‐neutral resource for the representation of types of information content entities (ICEs) such as documents, data‐bases, and digital im‐ages. We identify a series of problems with the current version of the IAO and suggest solutions designed to advance our understanding of the relations between ICEs and associated cognitive representations in the minds of human subjects. This requires embedding IAO in a larger framework of ontologies, including most importantly the (...) Mental Func‐tioning Ontology (MFO). It also requires a careful treatment of the aboutness relations between ICEs and associated cognitive representa‐tions and their targets in reality, which implies in turn a new treatment of the relation of truthmaking. (shrink)

Both the irreducible complexity of biological phenomena and the aim of a universalized biology (life-as-it-could-be) have lead to a deep methodological shift in the study of life; represented by the appearance of ALife, with its claim that computational modelling is the main tool for studying the general principles of biological phenomenology. However this methodological shift implies important questions concerning the aesthetic, engineering and specially the epistemological status of computational models in scientific research: halfway between the well established categories of theory (...) and experiment. ALife models become powerful epistemic artefacts allowing the simulation of emergent phenomena, the interaction between different levels of organization and the integration of different causal factors in the very same manipulable object. The use of computational models in ALife can be classified in four main categories depending on their position between theoretical and empirical practices: generic, conceptual, functional and mechanistic. For each of these categories we analyse their epistemic value and select paradigmatic examples that illustrate how ALife models can be fruitfully inserted in the study of life. (shrink)

This paper argues that Bitcoin can be conceptualized as a manifestation of Technics, building on definitions of this term offered by selected philosophers of technology from the last century. Such conceptualization aims to help frame Bitcoin’s understanding and trajectory, especially in relation to other forces competing in the world over the past two centuries and still striving for their own affirmation. Starting by defining this approach to Technics as the essence of technology, we explore some of its critical traits such (...) as autonomy and purpose and discuss its interplay with other and apparently competing forces. For each section of our exploration, we look at and for analogies and connections with Bitcoin to substantiate its overarching conceptualization as a manifestation of Technics. (shrink)

Recent work in metaphysics has focused on the nature of artefacts, most accounts of which assume that artefacts depend on the intentions of their individual makers. Artefacts are thus importantly different from institutional kinds, which involve collective intentions. However, recent work in social ontology has yielded renewed focus on the social dimensions of various kinds, including artefacts. As a result, some philosophers have suggested that artefacts have a distinctly social dimension that goes beyond their makers' individual intentions but which stops (...) short of the collective intentionality of institutional kinds. I aim to combine these insights into an account of artefacts that involves disjunctive conditions of mind-dependence: Artefacts can either depend on the singular intentions of their makers or they can depend on the collective acceptance of particular social groups. Whether the first or second disjunct is satisfied depends on the artefact's context of creation. I'll argue that this applies not to artefact kinds but to individual artefacts. I then consider two objections to my view based on Robinson Crusoe cases and show how my account allows us to fit artefacts into a taxonomy of social kinds. (shrink)

The current technical report presents the partial results of the quantitative analysis of the research project, after the review of 247 gambling websites. It is focused on and discusses the usage of the math terms specific to gambling in the reviewed sample. In particular, the fifth technical report discusses the usage of math terms associated with the game of slots, as found in the reviewed sample.