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)

The goal of this essay is to put forward an original theory of artifact function, which takes on board the results of the debate on the notion of biological function and also accommodates the distinctive aspects of artifacts. More precisely, the paper develops and defends the Dual-Aspect Theory, which is a monist account according to which an artifact’s function depends on intentional and reproductive aspects. It is argued that this approach meets a set of theoretical (...) and meta-theoretical desiderata and is superior to alternative views. (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)

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)

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 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)

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)

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

The function of a trait token is usually defined in terms of some properties of other (past, present, future) tokens of the same trait type. I argue that this strategy is problematic, as trait types are (at least partly) individuated by their functional properties, which would lead to circularity. In order to avoid this problem, I suggest a way to define the function of a trait token in terms of the properties of the very same trait token. To (...) able to allow for the possibility of malfunctioning, some of these properties need to be modal ones: a function of a trait is to do F just in case its doing F would contribute to the inclusive fitness of the organism whose trait it is. Function attributions have modal force. Finally, I explore whether and how this theory of biological function could be modified to cover artifact function. (shrink)

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 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)

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)

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)

The function or intended use of a device such as a fire escape is escape from fire, whether or not it is ever actually used as such or it acquires other uses. Biological function, on the other hand, depends, in one way or another, on actual use. Philosophical attempts to explain artifact function by analogy with biological function or to build a unified theory of function are nonetheless common. What such attempts routinely overlook, however, (...) is the role of forethought in intentional function. I defend the traditional intended use view of function, emphasize the role of forethought and argue that design intentions are rationally grounded in a design brief, for which there is no obvious natural analogue. (shrink)

Alexander Bird puts forward a modest version of anti-Humeanism about the non-fundamental, by providing an argument for the existence of a certain select class of non-fundamental but sparse dispositions: those that have an evolutionary function. I argue that his argument over-generates, so much so that the sparse–abundant distinction, and with it the tenet of his anti-Humean view, becomes obsolete. I suggest an alternative way of understanding anti-Humeanism in the non-fundamental realm, one which is not concerned with the existence of (...) sparse properties but with explanatory relations. (shrink)

Scott Shapiro’s theory that law is a social plan is helpful in seeing law essentially as a tool of human creation and as such is sympathetic to understanding law in terms of the social functions it performs, a method I argue for elsewhere. I focus here on two problems with the theory as presented. The planning theory does not adequately explain the persistence of law beyond the utility of those who implement it. Generally, plans can cease to exist as soon (...) as those engaged in them have no more use for them. Laws however, must usually be declared invalid or otherwise nullified for them to have no further effect. Shapiro’s use of self-certification to explain how law is differentiated from other forms of social planning is ad hoc and threatens circularity when he admits it to be a matter of degree. Both of these issues can be better solved by seeing law as an institutionalised abstract artefact, with a greater emphasis upon the nature of institutions doing much of the work done by the idea of planning. (shrink)

The culturally pervasive tendency to identify aspects of the body as aesthetically imperfect harms individuals and scaffolds injustice related to disability, race, gender, LGBTQ+ identities, and fatness. But abandoning the notion of imperfection may not respect people’s reasonable understandings of their own bodies. I examine the prospects for a practice of aesthetic assessment grounded in a notion of the body’s function. I argue that functional aesthetic assessment, to be respectful, requires understanding the body’s functions as complex, malleable, and determined (...) by the projects and interests of the person whose body it is. Aesthetically relevant functions, on this account, are determined neither by the body’s status as organism nor by cultural assumptions about how bodies should function or be used. (shrink)

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)

The goal of this paper is to develop a systematic taxonomy of cognitive artifacts, i.e., human-made, physical objects that functionally contribute to performing a cognitive task. First, I identify the target domain by conceptualizing the category of cognitive artifacts as a functional kind: a kind of artifact that is defined purely by its function. Next, on the basis of their informational properties, I develop a set of related subcategories in which cognitive artifacts with similar properties can be grouped. (...) In this taxonomy, I distinguish between three taxa, those of family, genus, and species. The family includes all cognitive artifacts without further specifying their informational properties. Two genera are then distinguished: representational and non-representational (or ecological) cognitive artifacts. These genera are further divided into species. In case of representational artifacts, these species are iconic, indexical, or symbolic. In case of ecological artifacts, these species are spatial or structural. Within species, token artifacts are identified. The proposed taxonomy is an important first step towards a better understanding of the range and variety of cognitive artifacts and is a helpful point of departure, both for conceptualizing how different artifacts augment or impair cognitive performance and how they transform and are integrated into our cognitive system and practices. (shrink)

This article proposes that thinking of scientific instruments as playthings or philosophical toys offers a method for looking at the ways in which we learn from made things and from the act of making in investigating the world. Rather than approaching artefacts as stable ob- jects, definable and categorisable in terms of their function, this method puts forward the instability and mobility of artefacts on several levels: in terms of their movements between hands, social contexts and systems of knowledge, (...) in terms of their physical articulations and of their changing functions, and in terms of the flows and processes of materials at work within and through them. (shrink)

The focus of the study is on the values, priorities and arguments needed to advance ‘design for sustainability’. The discussion critiques conventions related to innovation and technology and offers a product design approach that emphasises minimal intervention, integrated thinking-and-doing, reinstating the familiar, localization and the particularities of place. These interdependent themes are discussed in terms of their relationship to design for sustainability and are clarified through the conceptualization, design, production and use of a simple functional object that is, essentially, a (...) ‘symbolic sustainable artefact’. Although it is fully functional, its practical usefulness in contemporary society would probably be seen as marginal. Its potential contribution is as a symbol of an alternative direction. It asks us to consider aspects of our humanity that are beyond instrumental approaches. It challenges sustainable initiatives that become so caught up in practical and environmental concerns that they fail to question the underlying values, priorities and social drivers which affect how we act in the world; those behaviours and norms that have created the very problems we are so urgently trying to tackle. The discussion is accompanied by a parallel series of photographs that document the relationship between argument, locale and the creation of the conceptual artefact. These photographs convey some of the qualitative differences between the place of much contemporary arte- fact acquisition, i.e. the shopping mall, and the particular locale that yielded the artefact created during this study; they are also useful in conveying the potential relationship that exist between place and the aesthetics of functional objects. (shrink)

Memory technologies are cultural artifacts that scaffold, transform, and are interwoven with human biological memory systems. The goal of this article is to provide a systematic and integrative survey of their philosophical dimensions, including their metaphysical, epistemological and ethical dimensions, drawing together debates across the humanities, cognitive sciences, and social sciences. Metaphysical dimensions of memory technologies include their function, the nature of their informational properties, ways of classifying them, and their ontological status. Epistemological dimensions include the truth-conduciveness of external (...) memory, the conditions under which external memory counts as knowledge, and the metacognitive monitoring of external memory processes. And lastly, ethical and normative dimensions include the desirability of the effects memory technologies have on biological memory, their effects on self and culture, and their moral status. Whilst the focus in the article is largely philosophical and conceptual, empirical issues such as the way we interact with memory technologies in various contexts are also discussed. We thus take a naturalistic approach in which philosophical and empirical concepts and approaches are seen as continuous. (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)

The evolution of human cognitive abilities, despite intensive sociological, psychoanalytic and neurobiological investigations, is poorly understood. The basic events of this evolution: progressive language development, technologization, increased learning aptitude, remain a field of speculations without coherent and consistent explanations. In the recent manuscript, a production of artefacts as a general pre-condition of human being is highlighted, and a key role they played by reshaping of neuro-physiological functions is factually substantiated. • • • -/- German Abstract: Die Evolution menschlicher kognitiver Fähigkeiten (...) ist, trotz vielseitiger Untersuchungensmethoden, bislang kaum verstanden. Die grundsätzlichen Ereignisse dieser Evolution: fortschreitende Sprachentwicklung, Intellektualisierung, Technisierung, Bildung großer Gemeinschaften, werden spekulativ, ohne zusammenhängende und schlüssige Erklärung, diskutiert. In aktuellem Manuskript wird die allgemeine Voraussetzung menschlicher Existenz, die Artefaktenherstellung, hervorgehoben, um auf ihre Schlüsselrolle bei der Neuformung neuro-physiologischer Funktionen hinzuweisen. Im Weiteren werden die Gefahren erörtert, die entstehen, wenn der Schöpfer die Kontrolle über sich selbst verliert, und im Züge der Technisierung und Verwissenschaftlichung die Grundlagen eigener Existenz zerstört. • • • -/- Russian Abstract: Происхождение рассудочной деятельности у вида Homo sapiens, несмотря на интенсивные социологические, психологические, нейробиологические и прочие методы изучения, до сих пор мало понято. Основные события эволюции человека: прогрессивное развитие речевой деятельности, технологизация, повышенная способность к обучению, остаются областью бессвязных спекуляций. В данной работе освящается значение производства артефактов как условие возникновения человека, и доказывается роль, которую артефакты играют в процессе новообразования нейро–физиологических функций. (shrink)

Do essence-based accounts of necessity and Vetter’s potentiality-based account of possibility in fact lead to the same result, viz., a single derived notion of necessity that is interdefinable with possibility or vice versa? And does each approach independently have the ability to reach its desired goal without having to rely on the primitive notion utilized by the other? In this essay, I investigate these questions and Vetter’s responses to them. Contrary to the “separatist” position defended by Vetter, I argue that (...) there are reasons to favor “Combination”, according to which an essence-based account of necessity should be combined with a potentiality-based account of possibility, or vice versa. According to this alternative approach, essentialism and potentialism should be regarded as allies, rather than as competitors, in a theory of derived modality, since both notions are needed in order to give a full account of necessity and possibility. Keywords: possibility, necessity, potentiality, essence, interdefinability, actuality, dependence, artifact-functions. (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)

This chapter provides an explanation of precedent as a kind of artefact, in keeping with broader accounts of law that do so, specifically the author’s account of law as a genre of institutionalized abstract artefact. The chapter develops its explanation by responding to an argument by Dan Priel against seeing the common law as an artefact when understood to be a form of custom. The chapter shows that customs can themselves be artefacts but also that the precedential elements of common (...) law are not necessarily quite as customary as sometimes considered, showing that the common law built from precedents fits within a distributed design model of artefacts and that stare decisis has a wider systemic function of upholding certain rule of law principles. It ends with some considerations about the institutional nature of precedents, specifically that judicial decisions are most often both applications and developments of legal norms, but also determinations of legal validity. (shrink)

This article looks at some of the metaphysical properties of cognitive artefacts. It first identifies and demarcates the target domain by conceptualizing this class of artefacts as a functional kind. Building on the work of Beth Preston, a pluralist notion of functional kind is developed, one that includes artefacts with proper functions and system functions. Those with proper functions have a history of cultural selection, whereas those with system functions are improvised uses of initially non-cognitive artefacts. Having identified the target (...) domain, it then briefly looks at the multiple usability of physical structures and the multiple realizability of cognitive function. Further developing insights from the “dual nature of artefacts thesis”, the article ends with conceptualizing the structure–function relations of cognitive artefacts. More specifically, it unpacks the relation between physical structure, representational structure, information, and cognitive function. (shrink)

Much recent discussion has focused on the nature of artifacts, particularly on whether they have essences. While it is often held that artifacts are intention-dependent and necessarily have functions, it is equally commonly held, though far less discussed, that artifacts are the result of physical modification of some material objects. This paper argues that the physical modification condition on artifacts is false. First, it formulates the physical modification condition perspicuously for the first time. Second, it offers counterexamples to this condition, (...) both concrete and abstract. Third, it considers, and rejects, two responses to these counterexamples, one which appeals to the distinction between being a K and being used as a K and another which argues that the counterexamples are merely of functional, not artifactual, kinds. Finally, it considers, and rejects, a more general objection that appropriation makes artifact creation too easy. As a consequence, artifacts can be created by appropriating pre-existing objects and it sketches some success conditions for such appropriation. (shrink)

I respond to Kersten’s criticism in his article “Music and Cognitive Extension” of my approach to the musically extended emotional mind in Krueger (2014). I specify how we manipulate—and in so doing, integrate with—music when, as active listeners, we become part of a musically extended cognitive system. I also indicate how Kersten’s account might be enriched by paying closer attention to the way that music functions as an environmental artifact for emotion regulation.

The purpose of this article is to reconstruct Aristotle’s distinction between primary substances and their homonyms. It is shown that the Stagirite regards both body parts and artefacts as mere homonyms of primary substances when they are no longer capable of performing their function (ergon) and actualizing their end (telos). In the course of the present discussion, Aristotle’s approach is confronted with his famous doctrine of the four causes, whilst an analysis of the examples given by the Stagirite serves (...) the purpose of determining the ontic status of homonyms. Subsequently, this paper argues that Aristotle’s hylomorphism not only defies the functionalist assumption of the irrelevance of matter but also precludes the possibility of equating artefacts with living organisms. The discussion concludes with an observation that primary substances which are truly (alēthōs) and things which are only homonymously (plēn homōnymōs) require different definitions. (shrink)

Teleology has a complicated history in the biological sciences. Some have argued that Darwin’s theory has allowed biology to purge itself of teleological explanations. Others have been content to retain teleology and to treat it as metaphorical, or have sought to replace it with less problematic notions like teleonomy. And still others have tried to naturalize it in a way that distances it from the vitalism of the nineteenth century, focusing on the role that function plays in teleological explanation. (...) No consensus has seemed possible in this debate. This paper takes a different approach. It argues that teleology is a perfectly acceptable scientific notion, but that the debate took an unfortunate misstep some 2300 years ago, one that has confused things ever since. The misstep comes in the beginning of Aristotle’s Physics when a distinction is made between two types of teleological explanation. One type pertains to artifacts while the other pertains to entities in nature. For Aristotle, artifacts are guided by something external to themselves, human intentions, while natural entities are guided by an internal nature. We aim to show that there is, in fact, only one type of legitimate teleological explanation, what Aristotle would have considered a variant of an artifact model, where entities are guided by external fields. We begin with an analysis of the differences between the two types of explanation. We then examine some evidence in Aristotle’s biological works suggesting that on account of his natural-artifactual distinction, he encountered difficulties in trying to provide teleological accounts of spontaneous generation. And we show that it is possible to resolve these difficulties with a more robust version of an artifact model of teleology, in other words, with an externalist teleology. This is McShea’s model, in which goal-directed entities are guided by a nested series of upper-level fields. To explain teleological behavior, this account invokes only external physical forces rather than mysterious internal natures. We then consider how field theory differs from other efforts to naturalize teleology in biology. And finally, we show how the account enables us to grapple with certain difficult cases – genes and intentions – where, even in biology today, the temptation to posit internal natures remains strong. (shrink)

The primary aim of this chapter is to show that several missteps made by others in in their thinking about law as an artefact are due to misconceptions about the role of intentions in understanding law as an artefact. I first briefly recap my own contention that law is a genre of institutionalized abstract artefacts (put forth in The Functions of Law (OUP 2016) and subsequent papers), mostly following Searle’s understanding of institutions and Thomasson’s understanding of public artefacts. I highlight (...) the central place that this theory affords law’s functions, without requiring the theorist to say that possession or performance of the function is either necessary or sufficient for inclusion in the class of law. Some of the most common misunderstandings are exemplified in Brian Leiter’s paper ‘Legal Positivism about the Artifact Law’. He thinks that holding an intentionalist view of artefacts commits the theorist to privileging drafters’ intentions when interpreting law. (It doesn’t.) He also has confusions about the differences between artefact tokens and artefact types leading him to a problematically broad understanding of artefacts. Another problem can be seen in thinking that functional understandings of artefacts are vulnerable to the same problems that arise in functional explanations for biological systems. I go on to consider the work of Luka Burazin and Corrado Roversi, addressing worries that making intentionality central to artefacts implies too much conscious thought is required to make one, noting that several theories of intentionality do not require conscious thought in the execution of intentional action. While those who think a central place for intentionality threatens to leave us unable to explain customary law, this can be dealt with by noting the important distinction between customary rules and customary laws (where the latter requires a decision to enlist public aid in redressing violations). I claim that authors’ intentions are communicated requests for the artefacts’ audiences to see the artefacts as members of their putative kinds. Finally, I address the question of whether or not legal systems are themselves artefacts and institutions, given that they may or may not have been intentionally created. An early lawgiver might have created a legal system by accident in the process of handing down the first laws. I raise the possibility that we might want to impute intentionality to necessary by-products of artefact creation, seeing those by-products as artefacts as well. (shrink)

According to the account of artifacts developed by Lynne Rudder Baker, artifacts have a certain “proper function” essentially. The proper function of an artifact is the purpose or use intended for the artifact by its “author(s)”, viz., the artifact’s designer(s) and/or producer(s). Baker’s account therefore traces the essences of artifacts back indirectly to the intentions of an artifact’s original author (e.g., its inventor, maker, producer or designer). Like other “author-intention-based” accounts (e.g., those defended by (...) Amie Thomasson, Simon Evnine, and others), Baker’s treatment, or so I have argued, is subject to the concern that, when stated in its most general form, human creative intentions are not nearly as powerful and discriminating as proponents of author-intention-based accounts make them out to be (see Kathrin Koslicki, Form, Matter, Substance, Oxford University Press, 2018, Chapter 8). When Baker responds to a version of this objection launched against her account by Theodore Sider and Dean Zimmerman, she proposes that we cannot simply think things into existence for which “our conventions and practices do not have a place” (Lynne Rudder Baker, The Metaphysics of Everyday Life: An Essay in Practical Realism, 2007, p. 44). For example, I cannot, according to Baker, make up the word, “bonangle”, apply it to a piece of driftwood and thereby succeed in bringing into existence a new artifact, viz., a bonangle, merely by thinking to myself “It would be nice if the world contained bonangles; I hereby make that piece of driftwood a bonangle”. In order for this response to be effective, however, more needs to be said about how our conventions and practices support the creation of some artifacts and artifact kinds, while disallowing the attempted creation of others. In this paper, I examine the effectiveness of Baker’s response in addressing the challenges posed by the inclusion of artifacts in Baker’s practical realist ontology. (shrink)

As artefacts, the worlds of digital games are designed and developed to fulfil certain expressive, functional, and experiential objectives. During play, players infer these purposes and aspirations from various aspects of their engagement with the gameworld. Influenced by their sociocultural backgrounds, sensitivities, gameplay preferences, and familiarity with game conventions, players construct a subjective interpretation of the intentions with which they believe the digital game in question was created. By analogy with the narratological notion of the implied author, we call the (...) figure to which players ascribe these intentions ‘the implied designer’. In this article, we introduce the notion of the implied designer and present an initial account of how appreciators ascribe meaning to interactive, fictional gameworlds and act within them based on what they perceive to be the designer’s intentions. (shrink)

The complementary properties and functions of cognitive artifacts and other external resources are integrated into the human cognitive system to varying degrees. The goal of this paper is to develop some of the tools to conceptualize this complementary integration between agents and artifacts. It does so by proposing a multidimensional framework, including the dimensions of information flow, reliability, durability, trust, procedural transparency, informational transparency, individualization, and transformation. The proposed dimensions are all matters of degree and jointly they constitute a multidimensional (...) space in which situated cognitive systems can be located and have certain dimensional configurations. These dimensions provide a new perspective on the conditions for cognitive extension. They are, however, not meant to provide a set of necessary and sufficient conditions, but to provide a toolbox for investigating the degree and nature of the integration of agent and artifact into “new systemic wholes”. The higher a situated system scores on the proposed dimensions, the more functional integration occurs, and the more tightly coupled the system is. (shrink)

The complementary properties and functions of cognitive artifacts and other external resources are integrated into the human cognitive system to varying degrees. The goal of this paper is to develop some of the tools to conceptualize this complementary integration between agents and artifacts. It does so by proposing a multidimensional framework, including the dimensions of information flow, reliability, durability, trust, procedural transparency, informational transparency, individualization, and transformation. The proposed dimensions are all matters of degree and jointly they constitute a multidimensional (...) space in which situated cognitive systems can be located and have certain dimensional configurations. These dimensions provide a new perspective on the conditions for cognitive extension. They are, however, not meant to provide a set of necessary and sufficient conditions, but to provide a toolbox for investigating the degree and nature of the integration of agent and artifact into “new systemic wholes”. The higher a situated system scores on the proposed dimensions, the more functional integration occurs, and the more tightly coupled the system is. (shrink)

The aim of this paper is to defend a theory of artifacts based on the concept of field of action, as an alternative to functional, intentional and double-nature theories. The proposed theory is realistic about the existence of entities that are artifacts, and praxiological about the nature of such entities. The basis of the theory is the concept of action; from this concept, the concepts of field of action and participants in a field of action, namely, agents and objects, are (...) introduced. An artifact is defined as an object that has a part and role in the achievement of an action. (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)

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)

This paper presents a new account of aesthetic pleasure, according to which it is a distinct psychological structure marked by a characteristic self-reinforcing motivation. Pleasure figures in the appreciation of an object in two ways: In the short run, when we are in contact with particular artefacts on particular occasions, aesthetic pleasure motivates engagement and keeps it running smoothly—it may do this despite the fact that the object we engagement is aversive in some ways. Over longer periods, it plays a (...) critical role in shaping how we engage with objects to get this kind of pleasure from them. This account is yoked to a broadly functional understanding of art: it is not the nature of the object that makes it art, but the nature of the response that it is designed to elicit. The view does not, however, rest on individual psychology alone, as some other functional accounts do. Crucially, it is argued that shared cultural context is a key determinant of the pleasure we derive from aesthetic artefacts. The pleasure of art is always communal and communicative. (shrink)

The Ontology for Biomedical Investigations (OBI) is an ontology that provides terms with precisely defined meanings to describe all aspects of how investigations in the biological and medical domains are conducted. OBI re-uses ontologies that provide a representation of biomedical knowledge from the Open Biological and Biomedical Ontologies (OBO) project and adds the ability to describe how this knowledge was derived. We here describe the state of OBI and several applications that are using it, such as adding semantic expressivity to (...) existing databases, building data entry forms, and enabling interoperability between knowledge resources. OBI covers all phases of the investigation process, such as planning, execution and reporting. It represents information and material entities that participate in these processes, as well as roles and functions. Prior to OBI, it was not possible to use a single internally consistent resource that could be applied to multiple types of experiments for these applications. OBI has made this possible by creating terms for entities involved in biological and medical investigations and by importing parts of other biomedical ontologies such as GO, Chemical Entities of Biological Interest (ChEBI) and Phenotype Attribute and Trait Ontology (PATO) without altering their meaning. OBI is being used in a wide range of projects covering genomics, multi-omics, immunology, and catalogs of services. OBI has also spawned other ontologies (Information Artifact Ontology) and methods for importing parts of ontologies (Minimum information to reference an external ontology term (MIREOT)). The OBI project is an open cross-disciplinary collaborative effort, encompassing multiple research communities from around the globe. To date, OBI has created 2366 classes and 40 relations along with textual and formal definitions. The OBI Consortium maintains a web resource providing details on the people, policies, and issues being addressed in association with OBI. (shrink)

Is there a role for aesthetic judgements in science? One aspect of scientific practice, the use of thought experiments, has a clear aesthetic dimension. Thought experiments are creatively produced artefacts that are designed to engage the imagination. Comparisons have been made between scientific (and philosophical) thought experiments and other aesthetically appreciated objects. In particular, thought experiments are said to share qualities with literary fiction as they invite us to imagine a fictional scenario and often have a narrative form (Elgin 2014). (...) But philosophical discussions of aesthetics in science have focused mainly on the epistemic role of beauty and elegance when it comes to theories and mathematical proofs, and thought experiments have been widely overlooked. My aim in this chapter is to address how the aesthetic choices scientists make in the design of a thought experiment contribute to its function: to communicate, convince, or explain a theory or phenomenon. A key issue is whether any aesthetic features in science provide anything beyond catching our attention, or are at best, a mere heuristic aid. I respond to accounts that argue this way and show how formulation is important in scientific thought experiments and, similarly to literary fictions, there is more than one way of interpreting a thought experiment scenario. I end by considering which literary examples are most appropriate when making comparisons with thought experiments. As a result, the difference between representations in art and science raised in current discussions is not as stark as it has been made out to be, and science is a more heterogeneous practice than has been allowed. Part of the value of thought experiments in scientific practice includes the qualities they share with literary works. (shrink)

This paper considers two issues raised by the claim that fictional characters are abstract artifacts. First, given that artifacts normally have functions, what is the function of a fictional character? Second, given that, in experiencing works of fictions, we usually treat fictional characters as concrete individuals, how can such a phenomenology fit with an ontology according to which fictional characters are abstract artifacts? I will indirectly address the second issue by directly addressing the first one. For this purpose, I (...) will rely on the notion of a mental file. I will argue that the function of fictional characters is the generation of mental files of a special kind. I will show that our experience of fictional characters as concrete individuals depends on the kind of mental files that are generated by fictional characters as abstract artifacts. I will conclude that an appreciator of a work of fiction can open two files about a certain fictional character; one about the character as an individual in the fictional world, and the other about the character as an abstract artifact in the actual world. In this sense, our relation to a fictional character is characterized by a duality of files or ‘twofileness’. (shrink)

This article reconsiders the early hominid ‘‘lithic niche’’ by examining the social implications of stone artifact making. I reject the idea that making tools for use is an adequate explanation of the elaborate artifact forms of the Lower Palaeolithic, or a sufficient cause for long-term trends in hominid technology. I then advance an alternative mechanism founded on the claim that competency in making stone artifacts requires extended learning, and that excellence in artifact making is attained only by (...) highly skilled individuals who have been taught and practiced for extensive periods. Consequently both competency and expertise in knapping comes at a high learning cost for both the individual learner and the social group to which they belong. Those high intrinsic costs of learning created contexts in which groups selected cost-reducing forms of social learning and teaching, and in which specialization could develop. Artifacts and their manufacturing processes probably acquired functions as social signals—as honest signals of valuable capacities. The magnification of these signals, through competition between knappers and through inspiring later craftspeople, may account for a substantial amount of the accumulated elaboration visible in the archaeological record. Consequently lithic artifacts operated as material symbols from an early time in hominid evolution. (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)

The primary goal of this essay is to provide a comprehensive overview and analysis of the various relations between material artifacts and the embodied mind. A secondary goal of this essay is to identify some of the trends in the design and use of artifacts. First, based on their functional properties, I identify four categories of artifacts co-opted by the embodied mind, namely (1) embodied artifacts, (2) perceptual artifacts, (3) cognitive artifacts, and (4) affective artifacts. These categories can overlap and (...) so some artifacts are members of more than one category. I also identify some of the techniques (or skills) we use when interacting with artifacts. Identifying these categories of artifacts and techniques allows us to map the landscape of relations between embodied minds and the artifactual world. Second, having identified categories of artifacts and techniques, this essay then outlines some of the trends in the design and use of artifacts, focussing on neuroprosthetics, brain-computer interfaces, and personalisation algorithms nudging their users towards particular epistemic paths of information consumption. (shrink)

We offer an argument for the extended mind based on considerations from brain development. We argue that our brains develop to function in partnership with cognitive resources located in our external environments. Through our cultural upbringing we are trained to use artefacts in problem solving that become factored into the cognitive routines our brains support. Our brains literally grow to work in close partnership with resources we regularly and reliably interact with. We take this argument to be in line (...) with complementarity or “second-wave” defences of the extended mind that stress the functional differences between biological elements and external, environmental resources in putative cases of extended cognition. Complementarity defences argue that many of the kinds of cognition humans excel at can only be accomplished by brains working together with a body that directly manipulates and acts on the world [Rowlands (1999); Menary (2007); Sutton (2010)]. We argue that complementarity and functionalist defences of the extended mind aren’t opposed, but that complementarity considerations can provide much needed and hitherto under exploited leverage in defending EMT. Moreover, the developmental work we will describe adds extra weight to the complementarity case for EMT. (shrink)

This paper addresses the question whether we can conceive of music cognition in ecosemiotic terms. It claims that music knowledge must be generated as a tool for adaptation to the sonic world and calls forth a shift from a structural description of music as an artifact to a process-like approach to dealing with music. As listeners, we are observers who construct and organize our knowledge and bring with us our observational tools. What matters is not merely the sonic world (...) in its objective qualities, but the world as perceived. In order to make these claims operational we can rely on the ecological concept of coping with the sonic world and the cybernetic concepts of artificial and adaptive devices. Listeners, on this view, are able to change their semantic relations with the sonic world through functional adaptations at the level of sensing, acting and coordinating between action and perception. This allows us to understand music in functional terms of what it affords to us and not merely in terms of its acoustic qualities. There are, however, degrees of freedom and constraints which shape the semiotization of the sonic world. As such we must consider the role of event perception and cognitive economy: listeners do not perceive the acoustical environment in terms of phenomenological descriptions but as ecological events. (shrink)