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)

Two interconnected surveys are presented, one of artifacts and one of designometry. Artifacts are objects, which have an originator and do not exist in nature. Designometry is a new field of study, which aims to identify the originators of artifacts. The space of artifacts is described and also domains, which pursue designometry, yet currently doing so without collaboration or common methodologies. On this basis, synergies as well as a generic axiom and heuristics for the quest of (...) the creators of artifacts are introduced. While designometry has various areas of applications, the research of methods to detect originators of artificial minds, which constitute a subgroup of artifacts, can be seen as particularly relevant and, in the case of malevolent artificial minds, as contribution to AI safety. (shrink)

AI-based technologies are increasingly pervasive in a number of contexts. Our affective and emotional life makes no exception. In this article, we analyze one way in which AI-based technologies can affect them. In particular, our investigation will focus on affective artificial agents, namely AI-powered software or robotic agents designed to interact with us in affectively salient ways. We build upon the existing literature on affective artifacts with the aim of providing an original analysis of affective artificial agents and (...) their distinctive features. We argue that, unlike comparatively low-tech affective artifacts, affective artificial agents display a specific form of agency, which prevents them from being perceived by their users as extensions of their selves. In addition to this, we claim that their functioning crucially depends on the simulation of human-like emotion-driven behavior and requires a distinctive form of transparency—we call it emotional transparency—that might give rise to ethical and normative tensions. (shrink)

Um den Begriff des Originals gibt es heftige Debatten. Können Fälschungen ebenso gut sein wie Originale? Wann sind Kopien vielleicht sogar besser? Und ist die Zeit des Originals nicht überhaupt vorbei? Dabei tritt die Frage, was ein Original eigentlich sei, oft in den Hintergrund. Doris Reisinger stellt die These auf: Der Begriff des Originals ist nicht nur nicht obsolet, er hat auch nicht notwendig mit Neuheit, Urheberschaft oder ästhetischem Wert zu tun - das Problem des Originalbegriffs besteht schlicht darin, (...) dass seine komplexe Struktur verkannt wird. Vor diesem Ausgangspunkt erarbeitet sie einen Explikationsvorschlag, der die Beantwortung einer ganzen Reihe von Fragen dieser klassischen philosophischen Debatte erlaubt. (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)

Humans experience a profound and indescribable emotion when they unearth artifacts from ancient times. Scientific disciplines like paleontology and archaeology reflect our curiosity and desire to understand the natural world’s past and evolutionary history. Physics also invests significant effort in exploring the origin and evolution of the universe. In social life, the study field of humanities also has journals about art history, such as the Art History or Journal of Art History. Through our shared thoughts and efforts to restore (...) humanities for the cause of ecological and biological conservation, we have discovered a picture of a kingfisher taken nearly a century ago by A. F. Skutch in The Condor. Obtaining such a vivid, genuine, and emotionally evocative image was no easy task. This image has the power to stir the thoughts and awaken the conscience of the viewer, emphasizing the importance of a vibrant environment. (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)

Musical works change. Bruckner revised his Eighth Symphony. Ella Fitzgerald and many other artists have made it acceptable to sing the jazz standard “All the Things You Are” without its original verse. If we accept that musical works genuinely change in these ways, a puzzle arises: why can’t I change Bruckner’s Eighth Symphony? More generally, why are some individuals in a privileged position when it comes to changing musical works and other artifacts, such as novels, films, and games? (...) I give a view of musical works that helps to answer these questions. Musical works, on this view, are created abstract objects with no parts. The paradigmatic changes that musical works undergo are socially determined normative changes in how they should be performed. Due to contingent social practices, Bruckner, but not I, can change how his symphony should be performed. Were social practices radically different, I would be able to change his symphony. This view extends to abstract artifacts beyond music, including novels, films, words, games, and corporations. (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)

The desideratum of semantic interoperability has been intensively discussed in medical informatics circles in recent years. Originally, experts assumed that this issue could be sufficiently addressed by insisting simply on the application of shared clinical terminologies or clinical information models. However, the use of the term ‘ontology’ has been steadily increasing more recently. We discuss criteria for distinguishing clinical ontologies from clinical terminologies and information models. Then, we briefly present the role clinical ontologies play in two multicentric research projects. Finally, (...) we discuss the interactions between these different kinds of knowledge representation artifacts and the stakeholders involved in developing interoperational real-world clinical applications. We provide ontology engineering examples from two EU-funded projects. (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)

The desideratum of semantic interoperability has been intensively discussed in medical informatics circles in recent years. Originally, experts assumed that this issue could be sufficiently addressed by insisting simply on the application of shared clinical terminologies or clinical information models. However, the use of the term ‘ontology’ has been steadily increasing more recently. We discuss criteria for distinguishing clinical ontologies from clinical terminologies and information models. Then, we briefly present the role clinical ontologies play in two multicentric research projects. Finally, (...) we discuss the interactions between these different kinds of knowledge representation artifacts and the stakeholders involved in developing interoperational real-world clinical applications. We provide ontology engineering examples from two EU-funded projects. (shrink)

À l’origine de la philosophie comme des sciences, il y a, selon Aristote, « l’étonnement de ce que les choses sont ce qu’elles sont ». Nul doute qu’Aristote aurait trouvé en Suisse maints sujets d’étonnement. Qu’est-ce qu’une vache ? Qu’est-ce qu’une montagne ? Qu’est-ce que le Röstigraben ? Qu’est-ce qu’une fondue ? Qu’est-ce qu’un trou dans l’emmental ? Qu’est-ce que l’argent ? Qu’est-ce qu’une banque ? Qu’est-ce qu’une confédération ? Qu’est-ce qu’une horloge ? Qui est Roger Federer ? Qu’est-ce qu’est (...) Anton Marty ? Qu’est-ce que le plaisir de manger du chocolat ? -/- Chaque chapitre de cet ouvrage a été écrit par un spécialiste de renommée internationale et défend une solution claire à l’une de ces questions. Le tout constitue une introduction à la fois accessible et plaisante à un domaine de recherche philosophique aujourd’hui en effervescence : la métaphysique. (shrink)

In light of new historical evidence regarding ethnomycologist R. Gordon Wasson’s correspondence with art historian Erwin Panofsky, this article provides an in-depth analysis of the presence of entheogenic mushroom images in Christian art within the context of the controversy between Wasson and philologist John Marco Allegro over the identification of a Garden of Eden fresco in the 12th century Chapel of Plaincourault in France. It reveals a compelling financial motive for Wasson’s refusal to acknowledge that this fresco represents Amanita muscaria, (...) as well as for Wasson’s reluctance to pursue his hypothesis regarding the entheogenic origins of religion into Christian art and artifacts. While Wasson’s view – that the presence of psychoactive mushrooms in the Near and Middle East ended around 1000 BCE – prevailed and stymied research on entheogens in Christianity for decades, a new generation of 21st century researchers has documented growing evidence of A. muscaria and psilocybin-containing mushrooms in Christian art, consistent with ethnobotanist Giorgio Samorini’s typology of mushroom trees. This article presents original photographs, taken during fieldwork at churches and cathedrals throughout Europe and the Middle East, that confirm the presence of entheogenic mushrooms in Christian art: in frescoes, illuminated manuscripts, mosaics, sculptures, and stained glass windows. Based on this iconic evidence, the article proposes a psychedelic gospels theory and addresses critiques of this theory by art historians, ardent advocates, medieval historians, and conservative Catholics. It calls for the establishment of an Interdisciplinary Committee on the Psychedelic Gospels to independently evaluate the growing body of evidence of entheogenic mushrooms in Christian art in order to resolve a controversial question regarding the possible role of entheogens in the history and origins of Christianity. (shrink)

What kind of reference (if any) do terms such as “pencil,” “chair,” “television,” and so on have? On the matter, a de-bate between directly referential theorists and descriptiv-ist theorists is open. It is largely acknowledged that natural kind terms (such as “water,” “gold,” “tiger,” etc.) are directly referential expressions (cf. Putnam,1975). That is, they are expressions whose reference is determined by their refer-ents' nature, independent of whether we know or will ever know what this nature is. However, it does not (...) seem like-wise convincing that all artifactual kind terms (like “pen-cil,” “chair,” “television,” etc.) semantically behave the same. Terms for artifactual kinds seem more likely to be subjected to a descriptivist view, that is, definable not by links to their extensions' nature but in terms of conjunctions or clusters of properties. In his celebrated “The Meaning of ‘Meaning’” (1975), Hilary Putnam originated the mentioned debate by arguing that artifactual kind terms also refer directly. Thus, the discussion ultimately revolves around establishing whether artifactual and natural kind terms are both directly referential expressions. The authors engaged in this debate have tried to argue in favor of (or against) Putnam's proposal by highlighting the similarities (or differences) between nat-ural vis-à-vis artifactual kind words and their respective ref-erents. This paper aims to provide a thorough and reasoned overview of the debate at stake, pointing out trends and problems associated with each proposed account. (shrink)

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)

You can survive after death in various kinds of artifacts. You can survive in diaries, photographs, sound recordings, and movies. But these artifacts record only superficial features of yourself. We are already close to the construction of programs that partially and approximately replicate entire human lives (by storing their memories and duplicating their personalities). A digital ghost is an artificially intelligent program that knows all about your life. It is an animated auto-biography. It replicates your patterns of belief (...) and desire. You can survive after death in a digital ghost. We discuss a series of digital ghosts over the next 50 years. As time goes by and technology advances, they are progressively more perfect replicas of the lives of their original authors. (shrink)

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.

The psychology of consciousness as explained by Vygotsky is the ability of one to focus on the inner state of being. Vygotsky’s proposition of external tools redistributing mental and external processes into internalized acts lacks the concept of embodied mediational tools existing in the current world as computational artifacts extending or augmenting human capabilities. This paper proposes sociocultural embodied augmentation theory (SEAT) as a means to explain the impact of augmenting technologies on Vygotsky’s original notion of “psychological tool,” (...) therefore initiating an inevitable transformation of the sociocultural mind. Hence, a new social mind is posited as an evolving symbiosis between human life and artificial life that extends consciousness: a symbiont consciousness. (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)

A discussion of connections between modern language and the earliest artifacts of the emergence of the symbolic mind.

I defend the intention-dependence of artifacts, which says that something is an artifact of kind K only if it is the successful product of an intention to make an artifact of kind K. I consider objections from two directions. First, that artifacts are often mind- and intention-dependent, but that this isn’t necessary, as shown by swamp cases. I offer various error theories for why someone would have artifact intuitions in such cases. Second, that while artifacts are necessarily (...) mind-dependent, they aren’t necessarily intention-dependent. I consider and reject three kinds of cases which purport to show this: accidental creation, automated production, and mass production. I argue that intentions are present in all of these cases, but not where we would normally expect. (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)

In this paper I critically evaluate the value neutrality thesis regarding technology, and find it wanting. I then introduce the various ways in which artifacts can come to influence moral value, and our evaluation of moral situations and actions. Here, following van de Poel and Kroes, I introduce the idea of value sensitive design. Specifically, I show how by virtue of their designed properties, artifacts may come to embody values. Such accounts, however, have several shortcomings. In agreement with (...) Michael Klenk, I raise epistemic and metaphysical issues with respect to designed properties embodying value. The concept of an affordance, borrowed from ecological psychology, provides a more philosophically fruitful grounding to the potential way(s) in which artifacts might embody values. This is due to the way in which it incorporates key insights from perception more generally, and how we go about determining possibilities for action in our environment specifically. The affordance account as it is presented by Klenk, however, is insufficient. I therefore argue that we understand affordances based on whether they are meaningful, and, secondly, that we grade them based on their force. (shrink)

Truth in a correspondence sense is objective in two ways. It is objective because the relation of correspondence is objective and because the facts to which truths correspond are objective. Truth about artifacts is problematic because artifacts are intentionally designed to perform certain functions, and so are not entirely mind independent. Against this, it is argued in this paper that truth about artifacts is perfectly objective despite the role played by intention and purpose in the production of (...) artifacts. (shrink)

Fiat objects may come into existence by intentional explicit defnition and convention or they can be the result of some spontaneous and unintentional activity resulting in tracing fat spatial boundaries. Artifacts and fiat objects seem intuitively to be correlated: both artifacts and fiat objects depend for their existence on agents and their intentions. Is it possible to consider fiat objects as artifacts and to what extent? Or else can we conceive at least some artifacts as fiat (...) objects? In order to draw a map of the possible answers to these two questions we will take into account various defnitions of artifacts stemming from the two classical approaches: the intentional and the functional one. (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)

We extend Langdon Winner's idea that artifacts have politics into the realm of mathematics. To do so, we first provide a list of examples showing the existence of mathematical artifacts that have politics. In the second step, we provide an argument that shows that all mathematical artifacts have politics. We conclude by showing the implications for embedding ethics into mathematical curricula. We show how acknowledging that mathematical artifacts have politics can help mathematicians design better exercises for (...) their mathematics students. (shrink)

Abstract In this paper I criticise a recent account of fictional discourse proposed by Nathan Salmon. Salmon invokes abstract artifacts as the referents of fictional names in both object- and meta-fictional discourse alike. He then invokes a theory of pretence to forge the requisite connection between object-fictional sentences and meta-fictional sentences, in virtue of which the latter can be assigned appropriate truth-values. I argue that Salmon's account of pretence renders his appeal to abstract artifacts as the referents of (...) fictional names in object-fictional discourse explanatorily redundant. I further argue that his account is therefore no improvement over those he criticises, thus leaving his own account unmotivated. (shrink)

In recent years, with the advances in machine learning and neuroscience, the abundances of sensors and emotion data, computer engineers have started to endow machines with ability to detect, classify, and interact with human emotions. Emotional artificial intelligence (AI), also known as a more technical term in affective computing, is increasingly more prevalent in our daily life as it is embedded in many applications in our mobile devices as well as in physical spaces. Critically, emotional AI systems have not only (...) the ability to not passively read and classify emotions, but most also have an ability to predict and ‘nudge’ users to certain desired emotional states. Drawing from Piredda (2020)’s account, we've examined various emerging emotion-sensing technologies such as recommender algorithms, personal AI assistants, work-related emotion trackers, and emotional AI toys and robots through the lens of affective artifacts. We show how these technologies fulfill the criteria of being affective artifacts: they can influence the affective states of the users (e.g., help regulate emotions of ourselves and others), some emotion-sensing algorithms and importantly, our manipulation of these algorithms, can intersect with the maintenance and construction of our sense of self and identity. (shrink)

The epistemic value of models has traditionally been approached from a representational perspective. This paper argues that the artifactual approach evades the problem of accounting for representation and better accommodates the modal dimension of modeling. From an artifactual perspective, models are viewed as erotetic vehicles constrained by their construction and available representational tools. The modal dimension of modeling is approached through two case studies. The first portrays mathematical modeling in economics, while the other discusses the modeling practice of synthetic biology, (...) which exploits and combines models in various modes and media. Neither model intends to represent any actual target system. Rather, they are constructed to study possible mechanisms through the construction of a model system with built-in dependencies. (shrink)

This chapter centers around law's capacity to constitute practical reasons. In discussing this theme, consideration is given to law's artifactual character. The discussion falls into two main parts. In Section 1, I critically examine a skeptical line of thought about law's capacity to constitute reasons for action, which draws, in part, on law's artifactuality. I argue for a somewhat less skeptical (but still qualified) stance, according to which the fact that a legal directive has been issued can (notwithstanding the artifactuality (...) involved) be a reason for action, yet one that is underpinned by bedrock values which (under certain conditions and constraints) law is apt to serve. In Section 2, I consider whether, and in what sense, law can acquire an even more 'robust' status as a source of practical reasons. I focus particularly on Joseph Raz's position about the normative force of (legitimate) legal authority and on an alternative position I have proposed and advocated elsewhere. (shrink)

In this paper I take it for granted that legal institutions are artifacts. In general, this can very well be considered a trivial thesis in legal philosophy. As trivial as this thesis may be, however, to my knowledge no legal philosopher has attempted an analysis of the peculiar reality of legal phenomena in terms of the reality of artifacts, and this is particularly striking because there has been much discussion about artifacts in general philosophy (specifically analytic metaphysics) (...) over the last twenty years. In particular, the concepts of intention, function, plan of action, and history are in competition to explain the ontology of artifacts, and a similar competition can be found at the core of legal theory. Such a striking parallelism between the domain of artifacts and that of legal institutions is a clue for legal ontology that deserves further attention: I will offer my own interpretation of this parallelism in the first part of this paper (Sections 2 and 3). In providing a theory of legal institutions as artifacts, one could be led to the conclusion that law is essentially an artificial phenomenon, something which does not bear any significant relationship to the natural domain. However, I think that such a conclusion would be mistaken. In fact, this is the second thesis I want to explore in this paper: not only that legal institutions are artifacts, but also that they can be artifacts which in some sense "mirror," or imitate, some descriptions of the natural, pre-social reality we live in. What I would like to show is not that legal institutions are "natural" in the sense that they have some feature which is not human-dependent, as some natural law theorists would say, but rather that their conceptual content can depend on our conceptualization of the natural domain despite being entirely artifactual. This is what I will call the "institutional mimesis" behind several important instances of legal artifacts, and I will deal with it in the second part of this paper (Sections 4 and 5). (shrink)

While the term “reactivity” has come to be associated with specific phenomena in the social sciences, having to do with subjects’ awareness of being studied, this paper takes a broader stance on this concept. I argue that reactivity is a ubiquitous feature of the psychological subject matter and that this fact is a precondition of experimental research, while also posing potential problems for the experimenter. The latter are connected to the worry about distorted data and experimental artifacts. But what (...) are experimental artifacts and what is the most productive way of dealing with them? In this paper, I approach these questions by exploring the ways in which experimenters in psychology simultaneously exploit and suppress the reactivity of their subject matter in order to produce experimental data that speak to the question or subject matter at hand. Highlighting the artificiality of experimental data, I raise the question of what distinguishes a genuine experimental result from an experimental artifact. My analysis construes experimental results as the outcomes of inferences from the data that take material background assumptions as auxiliary premises. Artifacts occur when one or more of these background assumptions are false, such that the data do not reliably serve the purposes they were generated for. I conclude by laying out the ways in which my analysis of data quality is relevant to, and informed by, recent debates about the replicability of experimental results. (shrink)

In Saving Truth from Paradox, Hartry Field presents and defends a theory of truth with a new conditional. In this paper, I present two criticisms of this theory, one concerning its assessments of validity and one concerning its treatment of truth-preservation claims. One way of adjusting the theory adequately responds to the truth-preservation criticism, at the cost of making the validity criticism worse. I show that in a restricted setting, Field has a way to respond to the validity criticism. I (...) close with some general considerations on the use of revision-theoretic methods in theories of truth. (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.

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

The 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)

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)

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)

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)

In this reply to Professor Hookway’s lecture the comments are focused, first, on the topic of what dichotomies really are, since it is an illuminating way of understanding pragmatism in general and Putnam’s pragmatism in particular. Dichotomies are artifacts that we devise with some useful purpose in mind, but when inflated into absolute dichotomies they become metaphysical bogeys as it is illustrated by the twentieth century distinction between fact and value. Secondly, a brief comment on the so-called “thick” ethical (...) concepts and artifact terms is presented, and finally it is added a word on John L. Austin, whose approach to dichotomies is aligned with pragmatism and Putnam. (shrink)

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)

Abstract artifacts such as musical works and fictional entities are human creations; they are intentional products of our actions and activities. One line of argument against abstract artifacts is that abstract objects are not the kind of objects that can be created. This is so, it is argued, because abstract objects are causally inert. Since creation requires being caused to exist, abstract objects cannot be created. One common way to refute this argument is to reject the causal inefficacy (...) of abstracta. I argue that creationists should rather reject the principle that creation requires causation. Creation, in my view, is a non-causal relation that can be explained using an appropriate notion of ontological dependence. The existence and the creation of abstract artifacts depend on certain individuals with appropriate intentions, along with events of a certain kind that include but are not limited to creations of certain concrete objects. (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)

Why did such highly abstract ideas as truth, knowledge, or justice become so important to us? What was the point of coming to think in these terms? This book presents a philosophical method designed to answer such questions: the method of pragmatic genealogy. Pragmatic genealogies are partly fictional, partly historical narratives exploring what might have driven us to develop certain ideas in order to discover what these do for us. The book uncovers an under-appreciated tradition of pragmatic genealogy which cuts (...) across the analytic-continental divide, running from the state-of-nature stories of David Hume and the early genealogies of Friedrich Nietzsche to recent work in analytic philosophy by Edward Craig, Bernard Williams, and Miranda Fricker. However, these genealogies combine fictionalizing and historicizing in ways that even philosophers sympathetic to the use of state-of-nature fictions or real history have found puzzling. To make sense of why both fictionalizing and historicizing are called for, the book offers a systematic account of pragmatic genealogies as dynamic models serving to reverse-engineer the points of ideas in relation not only to near-universal human needs, but also to socio-historically situated needs. This allows the method to offer us explanation without reduction and to help us understand what led our ideas to shed the traces of their practical origins. Far from being normatively inert, moreover, pragmatic genealogy can affect the space of reasons, guiding attempts to improve our conceptual repertoire by helping us determine whether and when our ideas are worth having. (shrink)

There are various philosophical approaches and theories describing the intimate relation people have to artifacts. In this paper, I explore the relation between two such theories, namely distributed cognition and distributed morality theory. I point out a number of similarities and differences in these views regarding the ontological status they attribute to artifacts and the larger systems they are part of. Having evaluated and compared these views, I continue by focussing on the way cognitive artifacts are used (...) in moral practice. I specifically conceptualise how such artifacts (a) scaffold and extend moral reasoning and decision-making processes, (b) have a certain moral status which is contingent on their cognitive status, and (c) whether responsibility can be attributed to distributed systems. This paper is primarily written for those interested in the intersection of cognitive and moral theory as it relates to artifacts, but also for those independently interested in philosophical debates in extended and distributed cognition and ethics of (cognitive) technology. (shrink)

Conversational Artificial Intelligence (CAI) systems (also known as AI “chatbots”) are among the most promising examples of the use of technology in mental health care. With already millions of users worldwide, CAI is likely to change the landscape of psychological help. Most researchers agree that existing CAIs are not “digital therapists” and using them is not a substitute for psychotherapy delivered by a human. But if they are not therapists, what are they, and what role can they play in mental (...) health care? To answer these questions, we appeal to two well-established and widely discussed concepts: cognitive and affective artifacts. Cognitive artifacts are artificial devices contributing functionally to the performance of a cognitive task. Affective artifacts are objects which have the capacity to alter subjects’ affective state. We argue that therapeutic CAIs are a kind of cognitive-affective artifacts which contribute to positive therapeutic change by (i) simulating a (quasi-)therapeutic interaction, (ii) supporting the performance of cognitive tasks, and (iii) altering the affective condition of their users. This sheds new light on why virtually all existing mental health CAIs implement principles and techniques of Cognitive Behavioral Therapy — a therapeutic orientation according to which affective change and, ultimately, positive therapeutic change is mediated by cognitive change. Simultaneously, it allows us to conceptualize better the potential and limitations of applying these technologies in therapy. (shrink)

Realism about musical works is often tied to some type of Platonism. Nominalism, which posits that musical works exist and that they are concrete objects, goes with ontological realism much less often than Platonism: there is a long tradition which holds human-created objects (artifacts) to be mind-dependent. Musical Platonism leads to the well-known paradox of the impossibility of creating abstract objects, and so it has been suggested that only some form of nominalism becoming dominant in the ontology of art (...) could cause a great change in the field and open up new possibilities. This paper aims to develop a new metaontological view starting from the widely accepted claim that musical works are created. It contends that musical works must be concrete and created objects of some sort, but, nevertheless, they are mind-independent, and we should take the revisionary methodological stance. Although musical works are artifacts, what people think about them does not determine what musical works are. Musical works are similar to natural objects in the following sense: semantic externalism applies to the term ‘musical work’ because, firstly, they possess a shared nature, and, secondly, we can be mistaken about what they are. (shrink)