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

This essay outlines one way to conceptualise the relation between cultural identity, collective memory, and artifacts. It starts by characterising the notion of cultural identity as our membership to cultural groups and briefly explores the relation between cultural and narrative identity (section 2). Next, it presents how human memory is conceptualised on an individual and collective level (section 3) and then distinguishes between small-scale and large-scale collective memory (section 4). Having described cultural identity and (...) collective memory, it argues that cultural identity is materialised in the environment when we retrieve and construct collective memories by integrating information from our biological memory with information in artifacts or in other people’s embodied brains (section 5). This essay ends with analysing how materialised cultural identities are constructed by using a niche construction approach from evolutionary biology (section 6). (shrink)

It is widely thought that stealing, trading and destroying cultural artifacts in time of war are inherently immoral actions, and that it is right that they be treated as war crimes, which, indeed, they currently are. But oppressive cultures have their heritage and cultural artifacts too, in the form of monuments, sites of worship, and so on; and for the oppressed, these things may be awful reminders of their subordination, and may even perpetuate it. This chapter (...) suggests that, since cultural objects can be both tools and symbols of unjust oppression, their theft and destruction ought to be seen as appropriate when this would be a means of overcoming oppression. Whatever current law may say, in these instances, it would be morally inappropriate to count such acts as war crimes. Furthermore, it is bizarre that theft and destruction of cultural property are counted as war crimes when soldiers killing each other is not (due to combatant immunity). Surely killing is worse than property destruction and theft. It is therefore argued that, where possible, it would be better for conflicts to be fought using the latter methods. Finally, the chapter responds to many objections to using theft and destruction of cultural property as a method of warfare. E.g. to the objection that such property has timeless, trans-cultural, aesthetic, historical and scientific value, it is replied that justice is a more important value; and to the objection that these practices amount to cultural genocide it is replied that unjust cultures have no right to exist unmodified. (This chapter was formerly entitled: "Culture Weaponized: A Contrarian Theory of the Sometime Appropriateness of the Destruction, Theft and Trade of Art and Cultural Artifacts in Armed Conflict." The PhilPapers archived version is a pre-penultimate version of the published version.). (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)

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)

Amongst other things, this paper argues that a kind of anthropology, referred to by Strathern as modernist anthropology, has no reason to refer to artifacts except as illustrations. They are merely useful examples to illustrate information the anthropologist has provided about a given social/cultural context, e.g. to illustrate a worldview.

The culture of Vietnam (Vietnamese: Văn hoá Việt Nam, chữ Hán: 文化越南) are the customs and traditions of the Kinh people and the other ethnic groups of Vietnam. -/- Originating from the Red River Delta, ancient Vietnamese cultural artifacts, such as the Đông Sơn drums, were found throughout Southeast Asia and South China, suggesting a spread of ancient Viet (the generalized term "Baiyue" i.e. "100 Yue") all the way south to Indonesia.

This article connects philosophical debates about cognitive enhancement and situated cognition. It does so by focusing on moral aspects of enhancing our cognitive abilities with the aid of external artifacts. Such artifacts have important moral dimensions that are addressed neither by the cognitive enhancement debate nor situated cognition theory. In order to fill this gap in the literature, three moral aspects of cognitive artifacts are singled out: their consequences for brains, cognition, and culture; their moral status; and (...) their relation to personal identity. (shrink)

Cultural Attraction Theory (CAT), also referred to as cultural epidemiology, is an evolutionary theory of culture. It provides conceptual tools and a theoretical framework for explaining why and how ideas, practices, artifacts and other cultural items spread and persist in a community and its habitat. It states that cultural phenomena result from psychological or ecological factors of attraction.

Human biological memory systems have adapted to use technological artifacts to overcome some of the limitations of these systems. For example, when performing a difficult calculation, we use pen and paper to create and store external number symbols; when remembering our appointments, we use a calendar; when remembering what to buy, we use a shopping list. This chapter looks at the history of memory artifacts, describing the evolution from cave paintings to virtual reality. It first characterizes memory (...) class='Hi'>artifacts, memory systems, and the two main functions such artifacts have, which are to aid individual users in completing memory tasks and as a cultural inheritance channel (section 2). It then outlines some of our first symbolic practices such as making cave paintings and figurines, and then moves on to outline several key developments in external representational systems and the artifacts that support these such as written language, numeral systems and counting devices, diagrams and maps, measuring devices, libraries and archives, photographs, analogue and digital computational artifacts, the World Wide Web, virtual reality, and smartphones (section 3). After that, it makes some brief points about the cumulative nature of the cultural evolution of memory artifacts and speculates about the possible future of memory artifacts, arguing that it is very difficult to look beyond an epistemological horizon of more than five years (section 4). (shrink)

This article proposes a sensory studies methodology for the interpretation of museum objects. The proposed method unfolds in two phases: virtual encounter via an on-line catalog and actual exposure in the context of a handling workshop. In addition to exploring the écart between image and object, the “Sensing Art and Artifacts” exercise articulates a framework for arriving at a multisensory, cross-cultural, interactive understanding of aesthetic value. The case studies presented here involve four objects from the collection of the (...) Hunterian Museum as sensed and interpreted by scholars of psychology, philosophy, sociology, and anthropology. It is proposed that aesthetic judgment in the expanded (cross-cultural) sense contemplated here involves apprehending the museum object through multiple sensory modalities in place of the conventional Western fixation on visible form. (shrink)

An obvious tendency in the nature of modern development is the overpowering influence of Westernization. We now live in the midst of a technocracy being monitored by the west. This has been given a psychological anchorage that, in nation like Nigeria, our policy for development seems to be undermining the potential in our culture and tradition. We have tacitly accepted a separation of Tradition and Modernity. Thus, our leaders with serious tenacity embrace globalization, deregulation, privatization and readily ponder to western (...) recommendation. Meanwhile, there is a pervading menace of unproductive corruption prebandalism, financial recklessness, crass materialism, uncritical adoption of foreign paradigm and trivialization of indigenous initiatives. It is pertinent to note that development has a cultural basis, its pattern is motivated by reality within a given culture. It does not thrive on holistic import of artifacts across cultural latitude without prior look into the expediency and workability of such. With reference to Africa, development pattern must ensue from the people’s experience and integrated to the global network in pragmatic nature. It is not transferred technology nor a consumer’s economy. It is not attainable at the undermining of indigenous initiative and the strong ethos that define our brotherhood. So, a thorough hermeneutic of development in Africa must pay crucial attention to the cultural imperatives, the ethos and perception of development as an organic whole, not an absolute concentration on the technical and the economical. (shrink)

An obvious tendency in the nature of modern development is the overpowering influence of Westernization. We now live in the midst of a technocracy being monitored by the west. This has been given a psychological anchorage that, in nation like Nigeria, our policy for development seems to be undermining the potential in our culture and tradition. We have tacitly accepted a separation of Tradition and Modernity. Thus, our leaders with serious tenacity embrace globalization, deregulation, privatization and readily ponder to western (...) recommendation. Meanwhile, there is a pervading menace of unproductive corruption prebandalism, financial recklessness, crass materialism, uncritical adoption of foreign paradigm and trivialization of indigenous initiatives. It is pertinent to note that development has a cultural basis, its pattern is motivated by reality within a given culture. It does not thrive on holistic import of artifacts across cultural latitude without prior look into the expediency and workability of such. With reference to Africa, development pattern must ensue from the people’s experience and integrated to the global network in pragmatic nature. It is not transferred technology nor a consumer’s economy. It is not attainable at the undermining of indigenous initiative and the strong ethos that define our brotherhood. So, a thorough hermeneutic of development in Africa must pay crucial attention to the cultural imperatives, the ethos and perception of development as an organic whole, not an absolute concentration on the technical and the economical. (shrink)

Here, I consider the recent application of phylogenetic methods in historical linguistics. After a preliminary survey of one such method, i.e. cladistic parsimony, I respond to two common criticisms of cultural phylogenies: that cultural artifacts cannot be modeled as tree-like because of borrowing across lineages, and that the mechanism of cultural change differs radically from that of biological evolution. I argue that while perhaps remains true for certain cultural artifacts, the nature of language may (...) be such as to side-step this objection. Moreover, I explore the possibility that cladistic parsimony can be justified even if is true by appealing to the inference pattern known among philosophers as ‘Inference to the Best Explanation’. (shrink)

Different approaches to the definition of organizational culture are considered; its types, essential elements and functions in the organization are characterized. Author's point of view on organizational culture in a broad and narrow sense is formulated. Some peculiarities of employees’ perception of organizational culture in Ukrainian enterprises are analyzed.

This paper draws on the deconstruction(ist) toolbox and specifically on the textual unweaving tactics of supplementarity, exemplarity, and parergonality, with a view to critically assessing institutional (UNESCO’s) and ordinary tourists’ claims to authenticity as regards artifacts and sites of ‘cultural heritage’. Through the ‘destru[k]tion’ of claims to ‘originality’ and ‘myths of origin’, that function as preservatives for canning such artifacts and sites, the cultural arche-writing that forces signifiers to piously bow before a limited string of ‘transcendental (...) signifieds’ is brought to full view. The stench of the aeons is thus forced to evaporate through a post-transcendentalist opening towards originary myths’ original doubles. (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)

Museums are home to millions of artworks and cultural artifacts, some of which have made their way to these institutions through unjust means. Some argue that these objects should be repatriated (i.e. returned to their country or culture of origin). However, these arguments face a series of philosophical challenges. In particular, repatriation, even if justified, is often portrayed as contrary to the aims and values of museums. However, in this paper, I argue that some of the very considerations (...) museums appeal to in order to oppose repatriation claims can be turned on their heads and marshaled in favor of the practice. In addition to defending against objections to repatriation, this argument yields the surprising conclusion that the redistribution of cultural goods should be much more radical than is typically supposed. (shrink)

Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw inspiration (...) and courage from Von Wright’s insistence that trying to understand Wittgenstein in relation to his times is a philosophic task in its own right in order to probe into a relatively obscure region in Wittgenstein’s thought: his relation to the music of his times. It is a topic, on which Von Wright, and most other prominent Wittgenstein scholars, have said very little, but it is also one, which Wittgenstein himself attested was so important to him that he felt without it he was sure to be misunderstood. -/- I offer textual and historical evidence in support of my claim that, parallel to Wittgenstein’s exposure to Spengler’s Decline of the West in 1930, he was also introduced to the music theory of Heinrich Schenker, which helped him to articulate, partly by way of critique, a complex and unique position concerning the modern music of his times, which exhibits his rejection of what Von Wright later dubbed ‘the myth of progress’. As Von Wright observed in other regions of Wittgenstein’s work, he believed also with regards to the arts and to music in particular, neither in a brilliant future nor in the good old days. -/- I argue that Wittgenstein actually made a distinction between three kinds of modern music: (a) bad modern music, which is clearly a case of confusing means for ends, the hallmark of the myth of progress, as Von Wright observed; (b) vacuous modern music, which embodies some sort of diffidence, a difficulty to see through the omnipresence of what Von Wright called (following Habermas) a ‘colonialization’ of reified measures of progress; (c) good modern music, a paradoxical notion for Wittgenstein, which betokens the unlikely yet possible striving to penetrate through what appears as dissolution of the resemblances which unite this culture’s ways of life by rendering this condition as expressible and intransitively understandable. In the context of this third category, I offer an interpretation of Wittgenstein’s complex remarks on the music of Gustav Mahler, which palpably show that the problem of good modern music and the problem of philosophizing in the time of civilization were one and the same in Wittgenstein’s mind. -/- I conclude that, with regards to Von Wright’s own critical view of the modern myth of progress, we can learn from Wittgenstein that progress in the realm of art is closely aligned with the ideal of the perfection of man, yet transcending a social or political context. It is the ideal of cultural cohesion: affinity that the arts show to other human practices and cultural artifacts of its period. Wittgenstein’s tentative notion of good modern music (and its circumscription by his notion of the music of the future) may show its true colors when viewed in the context of Von Wright’s plea not to abandon work for progress as a critical task. (shrink)

Embodied human minds operate in and spread across a vast and uneven world of things—artifacts, technologies, and institutions which they have collectively constructed and maintained through cultural and individual history. This chapter seeks to add a historical dimension to the enthusiastically future-oriented study of “natural-born cyborgs” in the philosophy of cognitive science,3 and a cognitive dimension to recent work on material memories and symbol systems in early modern England, bringing humoral psychophysiology together with material culture studies. The aim (...) is to sketch an integrative framework which spans early modern ideas and practices relating to brains, bodies, memory, and objects. Embodiment and environment, I’ll argue, were not (always) merely external influences on feeling, thinking, and remembering, but (in certain circumstances) partly constitutive of these activities. (shrink)

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, (...) the central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts. (shrink)

The purpose of cultural competence education for medical professionals is to ensure respectful care and reduce health disparities. Yet as Berger and Miller (2021) show, the cultural competence framework is dated, confused, and self-defeating. They argue that the framework ignores the primary driver of health disparities—systemic racism—and is apt to exacerbate rather than mitigate bias and ethnocentrism. They propose replacing cultural competence with a framework that attends to two social aspects of structural inequality: health and social policy, (...) and institutional-system activity; and two psychological aspects of structural inequality: the clinical encounter, and the epistemic. -/- We agree with the structural approach. To that end, we think it would be fruitful to include attention to physical contributors to structural inequality, namely the material artifacts used in medicine. Devices, tools, and technologies can materialize biases, perpetuate oppression, and contribute to health disparities. Granted, not everything that interests philosophers can be squeezed into medical education. Nevertheless, there are compelling reasons for including the study of material artifacts in education designed to reduce health disparities. First, devices and tools often carry forward biases from the past, and keep biases hidden from plain sight. Second, by studying these artifacts, future clinicians can begin to see themselves as part of a larger sociotechnical system. Finally, as medicine becomes increasingly tech-laden, it’s important for clinicians to see how material artifacts (including algorithms) connect individuals to structures. This will help to undermine oversimplified narratives according to which objective tools and technologies can correct for the bias and subjectivity of flawed human beings. (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.

The historic material culture produced by American Cold War nuclear weapons testing includes objects of scientific inquiry that can be generally categorized as being either ephemeral or enduring. Objects deemed to be ephemeral were of a less substantial nature, being impermanent and expendable in a nuclear test, while enduring objects were by nature more durable and long-lasting. Although all of these objects were ultimately subject to disappearance, the processes by which they were transformed, degraded, or destroyed prior to their disappearing (...) differ. Drawing principally upon archaeological theory, this paper proposes a functional dichotomy for categorizing and studying the historical trajectories of nuclear weapons testing technoscience artifacts. In examining the transformation patterns of steel towers and concrete blockhouses in particular, it explores an associated loss of scientific method that accompanies a science object's disappearance. (shrink)

In his wide-ranging study of architecture and cultural evolution, Chris Abel argues that, despite progress in sustainable development and design, resistance to changing personal and social identities shaped by a technology-based and energy-hungry culture is impeding efforts to avert drastic climate change. The book traces the roots of that culture to the coevolution of Homo sapiens and technology, from the first use of tools as artificial extensions of the human body to the motorized cities spreading around the world, whose (...) uncontrolled effects are fast changing the planet itself. Advancing a new concept of the meme, called the 'technical meme', as the primary agent of cognitive extension and technical embodiment, Abel proposes a theory of the 'extended self' as a complex and diffuse outcome of that coevolution. Challenging conventional ideas of the self as a separate and autonomous being, the extended self, he explains, encompasses material and spatial as well as psychological and social elements, including the built environment and artifacts, and now reaches out into the virtual world of cyberspace. Drawing upon research into extended cognition and embodied minds from philosophy, psychology and the neurosciences, the book presents a new approach to environmental and cultural studies. N.B. This book was the winner of the International Committee of Architectural Critics 2017 Bruno Zevi Book Award by unanimous decision of the international jury. (shrink)

Extended and distributed cognition theories argue that human cognitive systems sometimes include non-biological objects. On these views, the physical supervenience base of cognitive systems is thus not the biological brain or even the embodied organism, but an organism-plus-artifacts. In this paper, we provide a novel account of the implications of these views for learning, education, and assessment. We start by conceptualising how we learn to assemble extended cognitive systems by internalising cultural norms and practices. Having a better grip (...) on how extended cognitive systems are assembled, we focus on the question: If our cognition extends, how should we educate and assess such extended cognitive systems? We suggest various ways to minimize possible negative effects of extending one’s cognition and to efficiently find and organise (online) information by adopting a virtue epistemology approach. Educational and assessment implications are foregrounded, particularly in the case of Danish students’ use of the Internet during exams. (shrink)

In recent years, the international commons movement has increasingly joined forces with the global movement of municipalities, putting common ideas on the political agenda in many western countries. Commons have been widely discussed in literature. Broadly understood, commons refers to the practices for collective development, ownership, management, and fair access to resources and artifacts (social, cultural, economic, political, environmental, and technological). However, the concept remains vague, complex, and unclear, especially when it comes to different contexts in which new (...) definitions are needed to better understand the societal and cultural dimensions of urban commons. Decolonizing the notion of urban commons brings into visibility the unseen cultures, infrastructural systems, and communities showing where de-growth and separation can take place. Therefore, this analysis can provide new insights, opportunities, and the need for new theoretical, methodological, and shared approaches. There is a gap in transnational research and cultural understanding within the field of urban commons. This research opens new lines of inquiry relating to the definitions of commons in non-European countries. This may include longitudinal research on the decolonization and potential fragmenting of the commons and in particular 'commoning' mindset, more detailed empirical evidence of the cultural and communal concepts, and how these cultural diversities and new interpretations can be implemented in collaborative governance in a wider variety of non-western contexts. By challenging existing frameworks, this study facilitates the emergence of differentiated, dynamic, and non-linear forms of social and political subjectivity within various sociospatial domains. (shrink)

Evidence affirms that aesthetic engagement patterns our movements, often with us barely aware. This invites an examination of pre-reflective engagement within cities and also aesthetic experience as a form of the pre-reflective. The invitation is amplified because design has political implications. For instance, it can draw people in or exclude them by establishing implicitly recognized public-private boundaries. The Value Sensitive Design school, which holds that artifacts embody ethical and political values, stresses some of this. But while emphasizing that design (...) embodies implicit values, research in this field lacks sustained attention to largely unconscious background biases or values, rooted in cultural attitudes and personal interests, that lead theorists and planners—often too narrowly—to promote design organized around specific values such as defensibility. In examining these points, I draw on J. J. Gibson, a central figure for some writing on aesthetics and cities, and whom pragmatists and phenomenologists in turn influenced. Taking a cue from pragmatists in particular, I argue Gibson’s perceptual theory of affordances entails a theory of values, meaning our perception and therewith movements are inherently value-based. I advocate design that accounts for relatively constantly held values such as safety, while also handling the vast pluralism that exists and not crushing the aesthetic vibrancy of city life. (shrink)

Realism about types is the view that types are abstract and repeatable objects. Although type realists seem to agree that types, unlike properties, are objects in their own right, they argue that there is a metaphysically intimate tie between the existence conditions of types and properties. In particular, most type realists believe that types are, in a certain sense, determined by the properties that underlie them. I argue that this is a mistake, especially for those type realists who believe that (...) social and cultural types such as works of music and fiction or words are artifacts. I offer an alternative version of type realism where social and cultural types are dependent objects that should be understood in analogy with concrete artifacts. (shrink)

It is well-known that racism is encoded into the social practices and institutions of medicine. Less well-known is that racism is encoded into the material artifacts of medicine. We argue that many medical devices are not merely biased, but materialize oppression. An oppressive device exhibits a harmful bias that reflects and perpetuates unjust power relations. Using pulse oximeters and spirometers as case studies, we show how medical devices can materialize oppression along various axes of social difference, including race, gender, (...) class, and ability. Our account uses political philosophy and cognitive science to give a theoretical basis for understanding materialized oppression, explaining how artifacts encode and carry oppressive ideas from the past to the present and future. Oppressive medical devices present a moral aggregation problem. To remedy this problem, we suggest redundantly layered solutions that are coordinated to disrupt reciprocal causal connections between the attitudes, practices, and artifacts of oppressive systems. (shrink)

If it were followed by “I’m a president,” Richard Nixon’s televised denial (“I am not a crook”) would be tantamount to Jimmy McGill’s self-portrayal in Better Call Saul. Out of the crooked timber of humanity, an honest president or an ethical lawyer rarely emerges. They’re like needles in a haystack. Nevertheless, it’s worthwhile to search for these rare artifacts and, in the process, ask, “Why do so many lawyers (and presidents) fall from grace, transforming into morally bad or corrupt (...) actors?” The ability to be a good or ethical person can deteriorate over time. In their personal and professional lives, people can make consistently poor choices in their capacity as moral agents. In turn, they cultivate flawed habits or what are often referred to as vices. Jimmy McGill’s trajectory is, without a doubt, a harrowing story of moral decline. In some ways, his transformation into Saul Goodman resembles a trite story about how a profession, lawyering, corrupts its practitioners. On a deeper level, McGill’s journey involves a fundamental change in how he habitually interacts with his environment, a change of motivation and disposition that is, almost entirely, a change for the worse. To know the content of Jimmy’s character is to be familiar with his story, a story of moral decline and ethical failure. (shrink)

How do archaeologists make effective use of physical traces and material culture as repositories of evidence? Material Evidence is a collection of 19 essays that take a resolutely case-based approach to this question, exploring key instances of exemplary practice, instructive failures, and innovative developments in the use of archaeological data as evidence. The goal is to bring to the surface the wisdom of practice, teasing out norms of archaeological reasoning from evidence. -/- Archaeologists make compelling use of an enormously diverse (...) range of material evidence, from garbage dumps to monuments, from finely crafted artifacts rich with cultural significance to the inadvertent transformation of landscapes over the long term. Each contributor to Material Evidence identifies a particular type of evidence with which they grapple and considers, with reference to concrete examples, how archaeologists construct evidential claims, critically assess them, and bring them to bear on pivotal questions about the cultural past. -/- Historians, cultural anthropologists, philosophers, and science studies scholars are increasingly interested in working with material "things" as objects of inquiry and as evidence – and they acknowledge on all sides just how challenging this is. One of the central messages of the book is that close analysis of archaeological best practice can yield constructive guidelines for practice that have much to offer practitioners within archaeology and well beyond. (shrink)

This paper is a tentative step towards a historical cognitive science, in the domain of memory and personal identity. I treat theoretical models of memory in history as specimens of the way cultural norms and artifacts can permeate ('proto')scientific views of inner processes. I apply this analysis to the topic of psychological control over one's own body, brain, and mind. Some metaphors and models for memory and mental representation signal the projection inside of external aids. Overtly at least, (...) medieval and Renaissance theorists agreed that such models had to allow for, or even guarantee, some conception of cognitive order and discipline. Individual memory traces had to be independent, not mixed up or interfering with others. The long tradition of improving or bypassing 'natural memory' by deliberately internalizing artefactual models was part of an arduous process of self-fashioning. Moral panic about confusion and mixture features centrally in the imposition of cognitive discipline in local memory traditions. (shrink)

Since the beginning of the 21st century, technologies like neural networks, deep learning and “artificial intelligence” (AI) have gradually entered the artistic realm. We witness the development of systems that aim to assess, evaluate and appreciate artifacts according to artistic and aesthetic criteria or by observing people’s preferences. In addition to that, AI is now used to generate new synthetic artifacts. When a machine paints a Rembrandt, composes a Bach sonata, or completes a Beethoven symphony, we say that (...) this is neither original nor real art, but simply the complex imitation and reproduction of existing products of human culture. We face the old question concerning the nature of creativity: what kind of recombination of ideas, unusual analogies, and conceptual connections are considered the mark of originality? Can AI produce artworks? Could machines reach a point at which we consider them genuinely creative? We also need to investigate the challenges posed by AI-art to the notion of authoriality: Who is the author of an artificially generated artifact? An artificial system could be considered just an artist’s and a programmer’s tool. However, we are also fascinated by the idea of autonomous artificial creativity in the aesthetic domain, as a manifestation of highly intelligent behavior. This paper will try to define some key questions around what could it mean to consider a machine creative or even equipped with artistic intentionality. (shrink)

In light of the recent credibility crisis in psychology, this paper argues for a greater emphasis on theorizing in scientific research. Although reliable experimental evidence, preregistration, methodological rigor, and new computational frameworks for modeling are important, scientific progress also relies on properly functioning theories. However, the current understanding of the role of theorizing in psychology is lacking, which may lead to future crises. Theories should not be viewed as mere speculations or simple inductive generalizations. To address this issue, the author (...) introduces a framework called “cognitive metascience,” which studies the processes and results of evaluating scientific practice. This study should proceed both qualitatively, as in traditional science and technology studies and cognitive science, and quantitatively, by analyzing scientific discourse using language technology. By analyzing theories as cognitive artifacts that support cognitive tasks, this paper aims to shed more light on their nature. This perspective reveals that multiple distinct theories serve entirely different roles, and studying these roles, along with their epistemic vices and virtues, can provide insight into how theorizing should proceed. The author urges a change in research culture to appreciate the variety of distinct theories and to systematically advance scientific progress. . (shrink)

Neuroeconomics illustrates our deepening descent into the details of individual cognition. This descent is guided by the implicit assumption that “individual human” is the important “agent” of neoclassical economics. I argue here that this assumption is neither obviously correct, nor of primary importance to human economies. In particular I suggest that the main genius of the human species lies with its ability to distribute cognition across individuals, and to incrementally accumulate physical and social cognitive artifacts that largely obviate the (...) innate biological limitations of individuals. If this is largely why our economies grow, then we should be much more interested in distributed cognition in human groups, and correspondingly less interested in individual cognition. We should also be much more interested in the cultural accumulation of cognitive artefacts: computational devices and media, social structures and economic institutions. (shrink)

Modern humans are probably a product of social and anatomical preadaptations on the part of our Miocene australopithecine ancestors combined with the increasingly high amplitude, high frequency climate variation of the Pleistocene. The genus Homo first appeared in the early Pleistocene as ice age climates began to grip the earth. We hypothesize that this co-occurrence is causal. The human ability to adapt by cultural means is, in theory, an adaptation to highly variable environments because cultural evolution can better (...) track rapidly changing environments than can genes. High resolution ice and sediment cores published in the early 1990s showed the last ice age was characterized by high amplitude millennial and submillenial scale variation, exactly the sort of variation mathematical models suggest should favor a costly capacity for culture. More recent cores suggest that over the last several 100 thousand year glacial cycles the amount of millennial scale variation has increased rather dramatically in parallel with increases in hominin brain size and sophistication of the artifacts they made. (shrink)

God is dead, but, contrary to Nietzsche’s diagnosis, ‘we’ didn’t kill him; he died of cancer. This perhaps crudely cold and off-putting opening does not refer to a naively metaphorically constituted transcendental abstraction, but to a spatio-temporally situated rock legend, Ronnie James Dio. This study aims at contributing to the burgeoning research field of memory and collective identity by providing a sociosemiotic account of the formation of collective narrative identity. By drawing on the three major categories whereby collective memory is (...) formed, that is artifacts, processes, places, as well as on the three key sociosemiotic metafunctions which are responsible for shaping a cultural event as sign system, the pursued interpretive route seeks to effectively contextualize how collective memory is fleshed out situationally in the context of Dio’s memorial. At the same time, by expanding the interpretive canvass to incorporate phenomenological perspectives on the mode of formation of collective memory, the offered analytic is intent on tracing invisible structures that point to operative mechanisms beyond the formal constraints of a sociosemiotic reading. Both phenomenological and sociosemiotic approaches are reinscribed within an overarching narrativity paradigm, wherein their relative merits in addressing the scrutinized phenomenon are discussed in an attempt to formulate a hybrid sociosemiotic phenomenological perspective of memorial events. (shrink)

This article describes various ways actors in Kashmiri carpet weaving practice deploy a range of artifacts, from symbolic, to material, to hybrid, in order to achieve diverse cognitive accomplishments in their particular task domains: information representation, inter and intra-domain communication, distribution of cognitive labor across people and time, coordination of team activities, and carrying of cultural heritage. In this repertoire, some artifacts position themselves as naïve tools in the actors’ environment to the point of being ignored; however, (...) their usage-in-context unfolds their cognitive involvement in the tasks. These usages-in-context are shown through artifact analysis of their routine, improvised, and opportunistic uses, where cognitive artifacts like talim—the central artifact of this practice—are shown to play not only multifunctional roles beyond representation, but are also complemented by trade-specific skills bearing strong cognitive implications in a task. (shrink)

Over the last thirty years, once staunchly film history scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, André Gaudreault and Benoît Turquety (to name just a few) have abandoned history for historiography and film studies for media archaeology. Considering the heightened attention given to kulturtechnik (Siegert), the database as a dominant symbolic metaphor,1 and the decentered networked tenants of the postmodern global present, cinema is taking on the characteristics of new media, existing in increasingly intertextual space. Thus, the term (...) “post-cinema” has been co-opted as a viable intermediary that accounts for new media conditions, as cinema is no longer emblematic of our cultural climate. It was once presaged in 1992 that “[t]he end of the cinema truly sounds the death knell of the ultimate metaphysical adventure of Dasein. In the twilight of post-cinema, of which we are seeing the beginning, human quasi-existence, now stripped of any metaphysical hypostasis and deprived of any theological model, will have to seek its proper generic consistency elsewhere.” Accordingly, we are no longer “moviegoing animals” who seek images of ourselves among a collective in the dark but, rather, users interfacing within a network of moving images. By locating post-cinema within the semblance of social media, we are allocated a newfound series of theoretical interventions, the most marked of which is that of media archeology vis-à-vis dialectical materialism. This is a lens through which Brian Winston has recently deftly decried Virtual Reality’s “empathy machine” utopic illusionism, bolstered by Chris Milk and a slew of neurohumanities researchers, steadily maintaining that the fundamental myth of “technologies of seeing” is in disguising “their artifice, their cultural formation and their ideological import.” However, this approach, which illuminates the bifurcation between Max Horkheimer/Theodor Adorno and Walter Benjamin, neglects what Benjamin identified as occurring to the work of art in the age of its technological reproducibility—a shift from a technology’s “cult value,” associated with the unique work, to its “exhibition value,” associated with the social act of viewing as part of a mass. Speaking to this divarication, Benjamin Barber, in Strong Democracy, foresaw new media’s two-fold potential—as they are organized and networked, new media and communications technologies possess the possibility to both energize citizen information and political participation but, simultaneously, to supplement the deterioration of public debate. As evinced by Mark Adrejevic’s concept of Infoglut, this two-pronged possibility has only been exacerbated by the interlocking relationship between the advent of a “glut” of information, post-truth politics, the demise of symbolic efficiency, and a renewed focus on the role of affect and emotion as “alternative modalities for thinking about the role of communication in a post-referential era.” Manuel Castells qualifies Barber’s pessimism, noting that the Internet can “be an appropriate platform for informed, interactive politics, stimulating political participation.. […] beyond the closed doors of political institutions,” but that the Internet, like any technology, “is shaped by its uses and users.” Thus, if there exists a positive correlation between exposure to post-cinema media artifacts and political participation, then I seek to explore the revelatory political possibilities of “exhibition value” by way of a particular “post-cinema” case study: the Marxist-Leninist Turkish hacktivist group Redhack’s YouTube-circulated documentary RED! (2013), a project that demanded—by way of the moving-image—to galvanize cyberprotest and democratize a “hacktivist commons. (shrink)

This paper presents an artifactual approach to models that also addresses their fictional features. It discusses first the imaginary accounts of models and fiction that set model descriptions apart from imagined-objects, concentrating on the latter :251–268, 2010; Frigg and Nguyen in The Monist 99:225–242, 2016; Godfrey-Smith in Biol Philos 21:725–740, 2006; Philos Stud 143:101–116, 2009). While the imaginary approaches accommodate surrogative reasoning as an important characteristic of scientific modeling, they simultaneously raise difficult questions concerning how the imagined entities are related (...) to actual representational tools, and coordinated among different scientists, and with real-world phenomena. The artifactual account focuses, in contrast, on the culturally established external representational tools that enable, embody, and extend scientific imagination and reasoning. While there are commonalities between models and fictions, it is argued that the focus should be on the fictional uses of models rather than considering models as fictions. (shrink)

The Predynastic Period in Ancient Egypt is the time before recorded history from the Paleolithic to the Neolithic Age and on to the rise of the First Dynasty and is generally recognized as spanning the era from c. 6000-3150 BCE (though physical evidence argues for a longer history). While there are no written records from this period, archaeological excavations throughout Egypt have uncovered artifacts which tell their own story of the development of culture in the Nile River Valley. The (...) periods of the Predynastic Period are named for the regions/ancient city sites in which these artifacts were found and do not reflect the names of the cultures who actually lived in those areas. The Predynastic Period was given its name in the early days of archaeological expeditions in Egypt before many of the most important finds were discovered and catalogued which has led some scholars to argue over when, precisely, the Predynastic Period begins and, more importantly, ends. These scholars suggest the adoption of another designation, 'Protodynastic Period', for that span of time closer to the Early Dynastic Period (c. 3150-2613 BCE) or 'Zero. (shrink)

Title - Gender in distributed cognitive systems: Possible conceptualizations. Abstract - There is a mismatch between social and biological approaches in the studies on sex and gender. Neurofeminist researchers critically examine gendered impacts of research in neuroscience and cognitive science, as well as develop more adequate and gender‑appropriate neuroscientific studies. However, they still seem to be focused on the brain and its relationship with the environment. Moreover, there are a little ‘science‑phobic’ feminist approaches based on actor‑network theory, and social science (...) and technology studies. In this context, I would like to suggest another account of gender. My account is not centered on individual selves, minds or brains, but it is based on concept of distributed cognitive system and cultural ecosystem developed in the cognitive science. The potential integrational role of the approach seems worthy of attention. On the one hand, there are no contradictions between more important assumptions of distributed cognition theory and social studies. On the other hand, it is not necessarily limited to human beings and their minds. I pay particular attention to distinction between the distributed cognition theory and the extended mind theory. Ones of the most important elements of the ‘gender‑sensitive’ distributed system are artifacts and their affordances, most of all — cultural and canonical ones. In this light, the gender relations seem not only distributed, but also able to be designed. (shrink)

In 2006, David Carrier (Carrier, 2006, Museum Skepticism: A History of the Display of Art in Public Galleries. Durham: Duke University Press.) coined the term ‘museum skepticism’ to describe the idea that moving artworks into museum settings strips them of essential facets of their meaning; among art historians, this is better known as ‘decontextualization’, ‘denaturing’, or ‘museumization’. Although they do not usually name it directly, many contemporary debates in the philosophy of art are informed by an inclination towards museum skepticism, (...) from work on aesthetic cognitivism (Feagin, Susan, 1995, “Paintings and their places” Australasian Journal of Philosophy 73.2: 260-8.) and contextualism (Danto, Arthur C., 1988, “Artifact and Art”, in ART/ARTIFACT: African Art in Anthropological Collections. Exhibition Catalogue. New York: Center for African Art and Prestel Verlag, 18-32.) to cultural appropriation (Eaton, A. W. and Gaskell, Ivan, 2009, “Do subaltern artifacts belong in art museums?,” The Ethics of Cultural Appropriation, ed. James O. Young and Conrad Brunk, Oxford and Malden, Mass.: Wiley-Blackwell, 235-67), street art (Baldini, Andrea, 2016, “Street Art: A Reply to Riggle” Journal of Aesthetics and Art Criticism 74.2: 187-91), and the value of authenticity (Korsmeyer, Carolyn, 2016, “Real Old Things” British Journal of Aesthetics, 56.3: 219-31). The very first museum skeptic, however, was Antoine Chrysostôme Quatremère de Quincy (1755-1849). (shrink)

Cognitive archaeology is a relatively new interdisciplinary science that uses cognitive and psychological models to explain archaeological artifacts like stone tools, figurines, and art. Edited by cognitive archaeologist Karenleigh A. Overmann and psychologist Frederick L. Coolidge, Squeezing Minds From Stones is a collection of essays, from both early pioneers and 'up and coming' newcomers in the field, that addresses a wide variety of cognitive archaeology topics, including the value of experimental archaeology, primate archaeology, the intent of ancient tool makers, (...) and how they may have lived and thought. (shrink)

Suppose one has a system, the infinite set of positive integers, P, and one wants to study the characteristics of a subset (or subsystem) of that system, the infinite subset of odd positives, O, relative to the overall system. In mathematics, this is done by pairing off each odd with a positive, using a function such as O=2P+1. This puts the odds in a one-to-one correspondence with the positives, thereby, showing that the subset of odds and the original set of (...) positives are the same size, or have the same cardinality. This counter-intuitive result ignores the “natural” relationship of one odd for every two positives in the sequence of positive integers, which would suggest that O is one-half the size of P. However, in the set of axioms that constitute mathematics, it is considered valid. Fair enough. In the physical universe (i.e., the starting system), though, relationships between entities matter. In biochemistry, if you start with an organism, say a rat, and you want to study its heart, you can do this by removing some heart cells and studying them in isolation in a cell culture system. But, the results often differ compared to what occurs in the intact animal because studying the isolated cultured cells ignores the relationships in the intact body between the cells, the rest of the heart tissue and the rest of the rat. In chemistry, if a copper atom were studied in isolation, it would never be known that copper atoms in bulk can conduct electricity because the atoms share their electrons. In physics, the relationships between inertial reference frames in relativity, and observer and observed in quantum physics can't be ignored. Relationships matter in the physical world, but the mathematics of infinite sets is still used to describe it. Does this matter? It seems to, at least in physics. Infinities cause numerous problems in theoretical physics such as non-renormalizability and problems in unifying quantum mehanics and general relativity . This suggests that the pairing off method and the mathematics of infinite sets based on it are analogous to a cell culture system or studying a copper atom in isolation if they are used in studying the physical universe because they ignore the inherent relationships between entities. In the real, physical world, the natural, inherent, relationships between entities can't be ignored. Said another way, the set of axioms that constitute abstract mathematics may be similar but not identical to the set of physical axioms by which the real, physical universe runs. This suggests that the results from abstract mathematics about infinities may not apply to or should be modified for use in physics. (shrink)

The guiding premise of this chapter is that we, as teachers in higher education, must consider how the content and form of our teaching can foster inclusivity through a responsiveness to neurodiverse learning styles. A narrow pedagogical focus on lectures, textual engagement, and essay-writing threatens to exclude neurodivergent students whose ways of learning and making sense of the world may not be best supported through these traditional forms of pedagogy. As we discuss in this chapter, we, as engineering ethics educators, (...) designed and implemented a new engineering ethics exercise with which we aimed to promote inclusivity at the levels of form and content. At the content level, students were invited to critically engage with inclusivity-undermining ableist assumptions in technology development. This took shape, at the form level, through a hands-on ‘material tinkering’ workshop in which students collaboratively and creatively altered (or ‘hacked’) artifacts used in contexts of disability and healthcare, so as to operationalize values of inclusivity and accessibility. Our hunch was that this hands-on tinkering workshop would simultaneously encourage a meaningful way of engagement with these ethical issues and values, while also enacting a more inclusive learning environment by enriching the range of pedagogical activities and learning formats available to our students.As we aim to show in this chapter, we believe this hunch largely panned out – though there are clear areas for future improvement pertaining to the pilot exercise itself and the research we conducted on the exercise. We begin by offering a description of our tinkering exercise. We discuss the exercise’s source of inspiration (Sect. 16.2.1) and its implementation (Sect. 16.2.2), which is visually captured via photographic documentation. We then discuss (Sect. 16.3) how we utilized a triangulated research method to assess the pedagogical value of the exercise. After we discuss our findings, we conclude by identifying areas for future improvement (Sect. 16.4). (shrink)

The guiding premise of this chapter is that we, as teachers in higher education, must consider how the content and form of our teaching can foster inclusivity through a responsiveness to neurodiverse learning styles. A narrow pedagogical focus on lectures, textual engagement, and essay-writing threatens to exclude neurodivergent students whose ways of learning and making sense of the world may not be best supported through these traditional forms of pedagogy. As we discuss in this chapter, we, as engineering ethics educators, (...) designed and implemented a new engineering ethics exercise with which we aimed to promote inclusivity at the levels of form and content. At the content level, students were invited to critically engage with inclusivity-undermining ableist assumptions in technology development. This took shape, at the formal level, through a hands-on ‘material tinkering’ workshop in which students collaboratively and creatively altered (or ‘hacked’) artifacts used in contexts of disability and healthcare, so as to operationalize values of inclusivity and accessibility. Our hunch was that this hands-on tinkering workshop would simultaneously encourage a meaningful way of engagement with these ethical issues and values, while also enacting a more inclusive learning environment by enriching the range of pedagogical activities and learning formats available to our students. As we aim to show in this chapter, we believe this hunch largely panned out - though there are clear areas for future improvement pertaining to the pilot exercise itself and the research we conducted on the exercise. We begin by offering a description of our tinkering exercise. We discuss the exercise’s source of inspiration (2.1) and its implementation (2.2), which is visually captured via photographic documentation. We then discuss (3) how we utilized a triangulated research method to assess the pedagogical value of the exercise. After we discuss our findings, we conclude by identifying areas for future improvement (4). (shrink)

One of the most important contributions in Roland Posner’s work (1993) was the extension and development of the Gricean paradigm on meaning (1957) in a systematic framework, providing thus a general foundation of semiotic phenomena. According to this approach, communication consists in behaviors or artifacts based on reciprocal assumptions about the intentions and beliefs of the subjects involved in a semiotic exchange. Posner’s model develops with clarity the hierarchical relationships of semiotic phenomena of different complexity, from simple pre-communicative behaviors (...) (like indicating or signaling) to full communicative acts. Not only limited to linguistic communication, this framework can be successfully extended in the description of all kind of sign production, from gestures to artifacts. This article discusses a key point of this paradigm, namely our faculty to at-tribute mental states to other individuals through the observation of their behavior, artifacts or texts. New insights from neuropsychology and developmental psychology are discussed in supporting the validity of this model of communication. (shrink)

Preview: /Review: Brian S. Dixon, Dewey and Design: A Pragmatist Perspective for Design Research, 200 pages./ Brian S. Dixon’s book Dewey and Design provides, as the book’s subtitle declaims, a pragmatist perspective for design research. Design research is an academic field that specifically deals with the design process. Its domain-specific knowledge led to the establishment of design as an independent discipline of study in the second half of the last century. According to Dixon’s description, design research consists of three major (...) areas of investigation: the design process, the artifacts that result from this process, and the relation of these artifacts with the end-user. Dixon exposes the fruitlessness of drawing a clear dividing line, and argues that design research would be better off as a continuous, not necessarily linear, process involving “practically” all three. Concurrently, the author emphasizes the practical aspect of this continuity; on the one hand as a stark contrast to the idea of ​​purely theoretical research, on the other, from a pragmatist viewpoint, intending the knowledge of the world as full of the practical consequences of acting within it. Specifically, the pragmatist slant of Dixon’s proposal is that of John Dewey, centered on the ideas of “an experience,” “inquiry,” and “imagination”; notions aiming at providing “a robust epistemological narrative” for design research. The choice of this perspective necessarily leads Dixon to deal with problems such as the ontology of the specifically creative act of designers, distinct from the artistic one, the communicative potential of industrial artifacts, and their ethical import. (shrink)