Since the middle of the last century, normative language has been much studied. In particular, the normative function performed by certain sentences and by certain speech acts has been investigated in depth. Still, the normative function performed by certain physical artifacts designed and built to regulate human behaviors has not yet been thoroughly investigated. We propose to call this specific type of artifacts with normative intent ‘deontic artifacts’. This article aims to investigate this normative phenomenon that is (...) so widespread in our daily reality, but so often forgotten by scholars of norms and normativity. (shrink)

Artifacts include practical items such as tables, chairs, and screwdrivers, as well as artworks such as paintings, sculptures, and musical works. Social objects include social and institutional things such as dollars, borders, states, corporations, and universities. Although we are all familiar with such entities, it is far from clear what their nature or essence consists in and whether they even have a real nature or essence. The aim of this chapter is to survey and critically examine various positions on (...) these two central philosophical issues concerning essence and artifacts, artworks, and social objects. I first consider whether the kinds 'artifact' and 'social object'—as well as kinds of artifacts and social objects—have essences. I then inquire into what these essences may be. (shrink)

What are the affordances of artifacts? One view is that the affordances of artifacts, just as the affordances of natural objects, pertain to possible ways in which they can be manipulated. Another view maintains that, given that artifacts are sociocultural objects, their affordances pertain primarily to their culturally-derived function. Whereas some have tried to provide a unifying notion of affordance to capture both aspects, here I argue that they should be kept separate. In this paper, I introduce (...) a distinction between standard affordances, which concern the function of artifacts, and ad-hoc affordances, which refer to how artifacts are manipulated. I then argue for the neuropsychological plausibility of such a distinction, linking it to the dissociation between function knowledge and manipulation knowledge. Finally, I defend the equal status of these forms of knowledge and, hence, of standard and ad-hoc affordances, and I show that this has some implications for the debate on the role of motor processes in the conceptual knowledge of artifacts. (shrink)

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)

Humans are always interested in distinguishing natural and artificial entities although there is no sharp demarcation between the two categories. Surprisingly, things do not improve when the second type of entities is restricted to the arguably more constrained realm of physical technical artifacts. This paper helps to clarify the relationship between natural entities and technical artifacts by developing a conceptual landscape within which to analyze these notions. The framework is developed by studying three definitions of technical artifact which (...) arise from different perspectives. All these perspectives share two intuitions: that technical artifacts are physical objects that exist by human intervention; and that technical artifacts are entities to be contrasted to natural entities. Yet the perspectives are different in the way they spell out these intuitions: the relevant human intervention may range from intentional selection to intentional production; and the contrast between technical artifacts and natural entities may be introduced by a constitution relation or by defining properties that set technical artifacts apart. The three perspectives are compared and their similarities and dissimilarities are explored with the help of ontological analysis. (shrink)

The computer is one of the most complex artifacts ever built. Given its complexity, it can be described from many different points of view. The aim of this paper is to investigate the representational structure and multifunctionality of a particular subset of computers, namely personal devices from a user-centred perspective. The paper also discusses the concept of “cognitive task”, as recently employed in some definitions of cognitive artifacts, and investigates the metaphysical properties of such artifacts. From a (...) representational point of view, the article introduces the concepts of artifactual meta-representation and of semi-transparency, two features that personal devices share with some cognitive and non-cognitive artifacts. Recognising the meta-representational nature of personal devices and of other cognitive artifacts, thus overcoming semi-transparency, is important for the understanding of why different artifacts offer us different cognitive affordances as well as different cognitive advantages. In this sense, it is not simply a theoretical achievement, but has some important practical consequences. In our highly technological world we can use different kinds of computers and artifacts for solving the same tasks, and we need to understand why some artifacts are better suited for some tasks than others. The ultimate characterisation of personal devices that emerges from this work is that of a sort of super-artifact. This special status is given to personal devices because of their distinctive features. They are in fact intrinsically multifunctional and meta-representational artifacts, with extremely variable structures. As super-artifacts, personal devices are characterised by macro-functionality and can be easily used as both cognitive artifacts and tools for other functions, depending on the kind of representations they instantiate. (shrink)

Traditionally, in the literature on robustness analysis objects are classified as genuine phenomena (natural objects, events, and processes) or artifacts (results produced in error). But much of biological measurement requires the manipulation of local experimental conditions in order to produce new effects. These types of intervention-based regularities are neither natural objects nor artifacts; characterizing them as either fails adequately to address key ontological properties as well as their role in scientific practice. It is argued that a new classification, (...) based on methodological considerations, can be useful in order to characterize experimental productions. Experimentally-useful context-sensitive objects are referred to as ‘artefacts’. To show how the new classification works and why it is instructive for scientific practice, two case studies are discussed. First, the puzzle of arsenic-consuming living organisms is analyzed, where under a set of specific experimental conditions a given organism was found to replace phosphorous with arsenic in its DNA. Second, ecological epigenetic measurement is discussed to show the complexity of variant effects in the context of lab, field, and computer measurements. It is argued that the line between artifacts and artefacts is fluid because theoretical, experimental, and practical considerations vary. (shrink)

Amie Thomasson’s Easy Ontology program is influential and attractive, but faces criticism for being too easy in a way that undercuts its realism by failing to recognize objects which don’t fall under known kinds and generating spurious and duplicative objects by mere conceptual engineering. We suggest that restricting the Easy Ontology program to artifacts avoids these difficulties. We also propose an Easy Ontology-inspired analysis of artifact which cuts through the major extant objections to existing analyses. As Thomasson suggests, our (...) special authorial role with regard to artifacts grants us privileged knowledge of them, which both disarms objections to Easy Ontology and allows a very easy ontology for artifacts. Easy Ontology and artifacts are made for each other. (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)

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)

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)

This is the first philosophical study of artifacts that is book length. In it Randall Dipert develops a theory of what artifacts are and applies it extensively to one of the most complex and intriguing kind of artifacts, art works. He presents his own account of what agents, intentions, and actions are, then uses these notions to clarify what it is for an agent to "make" something. From this starting point, he develops a full theory of (...) class='Hi'>artifacts and other artificial things - and, especially, a theory of art works and performances of art works as artifacts. He proposes a theory of nature and of the value of nature as what is essentially nonartificial. Two chapters are devoted to value considerations: merit in artifacts generally, and the evaluation of art works and performance art as artifacts or intentional gestures. Believing that a developed theory of action and philosophy of mind is necessary for a developed aesthetics and philosophy of art, Dipert relies on classical and contemporary research on agency, actions, and intentions, and on the intentionalist theory of mental objects of Brentano and Meinong. Dipert considers artifacts to be physical entities, but he also includes in the definition thoughts, utterances, and performances. This vast category encompasses everyday household objects and tools, streets and edifices, as well as communicative and artistic artifacts. Especially with regard to artistic artifacts, Dipert proposes a theory of expression and communication as actions and extensively discusses the problems of interpreting and recognizing actions, artifacts, and art works. (shrink)

Environmental philosophy always presents detailed distinctions concerning the kinds of natural beings that can be granted moral considerability, when discussing this issue. In contrast, artifacts, which are excluded from the scope of moral considerability, are treated as one homogenous category. This seems problematic. An attempt to introduce certain distinctions in this regard—by looking into dissimilarities between physical and digital artifacts—can change our thinking about artifacts in ethical terms, or more precisely, in environmentally ethical terms.

Inspired by Sara Ahmed’s notion of ‘queer use,’ I present and extend a neo-Aristotelian theory of artifacts to capture what I call ‘counter-use.’ The theory of artifacts is based on the idea that what they are, how they come to be, and what their functions are cannot be understood independently from each other. They come to exist when a maker imposes the concept of their substantial kind onto some matter by working on the matter to make an artifact (...) of that kind out of it. The extensions to this core theory that I describe are two. First, I show how using can be a kind of making and how disparate users may form what Benedict Anderson calls an imagined community. Second, I describe what I call an artifact’s historicity and suggest that, like its substantial kind, an artifact’s historicity is essential to it. On this basis, I characterize counter-use as use of an artifact by an imagined community that re-arranges an object’s historicity and hence brings into existence a numerically distinct object. Thus, politically motivated counter-use has genuine ontological implications. (shrink)

This chapter contains sections titled: Introduction Definitions of Technological Artifacts Technological Artifacts in Philosophy References and Further Reading.

By questioning the attribution of a primary role to the eyes as bearers of identity within traditional Western culture, this paper will problematize the agentivity performed by the lower mereology of the face, identified with the mouth-nose assemblage. In particular, the study will focus on the manipulation of such facial spatiality through the intervention of three “lower face” artifacts: the grill, the ball gag and the gas mask. This piece of work will examine their plastic and figurative dimensions in (...) the technological interaction with the facial organs. Furthermore, we will take into consideration the sociocultural context of wearability performed by the different bearers with the aim of grasping the identity shift that the artifacts trigger. The study, therefore, will organize the corpus as a sequence that starts inside the oral cavity where the grill is worn; then moves to a progressive exteriority with the ball gag that emerges from the mouth through the straps fastened around the head; eventually dealing with the exterior projection operated by the gas mask which by means of its filters portends beyond the anatomical face. Ultimately the three artifacts are presented as a threefold articulation of a liminal agency towards an expanded form of humanity including animality embedded within and without the space of meaning represented by the face. (shrink)

In this paper I examine the notion of ‘artifact’ and related notions in the dominant version of extended cognition theory grounded on extended functionalism. Although the term is ubiquitous in the literature, it is far from clear what ECT means by it. How are artifacts conceptualized in ECT? Is ‘artifact’ a meaningful and useful category for ECT? If the answer to the previous question is negative, should we worry? Is it important for ECT to have a coherent theory of (...) artifacts? And what are the demands and constraints that ECT imposes on this theory? I distinguish between two aspects of ECT, one narrow, aligned with extended functionalism ; and one broad or pluralistic, in which EF is combined with other theoretical resources in the context of diverse research programs. I begin by determining the problems in conceptualizing artifacts from EF. Then I address the question of why a concept of artifact may be relevant to ECT. Next, I examine the efforts of Richard Heersmink to combine ECT with dominant theories of artifacts in the philosophy of technology. I argue that both approaches fail to yield a meaningful notion of artifact, let alone one of ‘cognitive’ artifact. Finally, I argue that narrow ECT places rather strong constraints on a theory of artifacts, since it locates the specificity of ‘artifact’ in material aspects of realization that are, by definition, outside its theoretical purview. I examine, then discard, the possibility that a materialist and objectivist theory of artifacts may be of help. And finally I briefly explore some ways in which a broad, pluralistic ECT may address some of these shortcomings. (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)

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)

It is a contested question in contemporary theories of religion whether the concept of religion can be defined in a sound way or not. Many theorists maintain that a universal but delimiting definition is impossible. In this study, by contrast, it is argued that a conceptual analysis of religion that holds universally is perfectly possible because the following thesis can be seen as a necessary and sufficient conceptual condition of what religion is: X is a religion if and only if (...) X is a collection of artifacts which has the proper function of representing a supraphysical world. On this thesis, it is argued that artifacts such as pictorial and verbal representations, rituals, symbols, and various tools constitute religion as a cultural object, which, as a collection of artifacts, has the proper function of representing a conceived world that is not entirely physical, and which, allegedly, is a prerequisite for existential welfare in relation to observance. It is here important to understand what is constitutive for these kinds of conceived worlds. Supraphysical world is defined as follows. Given that the actual world is a physical world, a conception S is a construction of a supraphysical world if and only if both of the following conditions apply to S: Metaphysical component: S is a duplicate of the actual world with the addition of an anti-physical substance. Existential-normative component: S is an alleged prerequisite for existential welfare in relation to observance. The core argument of the study is that holds a priori for the concept of religion and as an a posteriori necessity for every instance of a religion. Apart from discussing the methodological problems of defining religion, the study introduces a new theory of religion in terms of. It addresses issues in the theory of artifacts; in the theory of representations; and in the theory of conceptual analysis. (shrink)

Archaeology, Artifacts and Antiquities of the Ancient Near East. By Oscar White Muscarella. Culture and History of the Ancient Near East, vol. 62. Leiden: Brill, 2013. Pp. vi + 1088. $292.

My goal in this article is to explore the extent to which the conception of rule-following which emerges from Wittgenstein’s later works can also yield important insights concerning the nature of technological practices. In particular, this article aims to examine how two interrelated themes of Wittgenstein’s Philosophical Investigations can be applied in the philosophical analysis of technology. Our first theme concerns linguistic practice; broadly construed, it is the claim that the use of language cannot be understood as determined by a (...) system of context independent rules. The second, interrelated theme emerges as a consequence of the first; that the meaning of language is rendered indeterminate when analyzed in isolation from contexts of practice. Following the common tendency in the sociology of technology to draw analogies between language and technology, I aim to show how the arguments that Wittgenstein makes for these two claims concerning language can also help us to understand the relation between technical artifacts and technological practices. For, similar to Wittgenstein’s account of rules, it will be shown how artifacts cannot be adequately understood in isolation from a wider background of skillful practice and interpretation. To illustrate this idea, we will examine the case of the Geiger counter, with a view towards illustrating how important aspects of the function of the device are rendered indeterminate when assessed on the basis of physical design alone. (shrink)

This article challenges the urge within Actor-Network Theory, posthumanism, and the ontological turn in sociology and anthropology to dissolve analytical distinctions between subject and object, society and nature, and human and non-human. It argues that only by acknowledging such distinctions and applying a realist ontology can exploitative and unsustainable global power relations be exposed. The predicament of the Anthropocene should not prompt us to abandon distinctions between society and nature but to refine the analytical framework through which we can distinguish (...) between sentience and non-sentience and between the symbolic and non-symbolic. The incompatibility of posthumanist and Marxist approaches to the Anthropocene and the question of agency derives from ideological differences as well as different methodological proclivities. A central illustration of these differences is the understanding of fetishism, a concept viewed by posthumanists as condescending but by Marxists as emancipatory. (shrink)

Lack of symmetry of stone tools does not require that hominids making asymmetric tools are incapable of doing better. By analogy, differences between stone tools of early humans and modern technology arose without genetic change. A conservative assumption is that symmetry of stone artifacts may have arisen simply because symmetrical tools work better when used for striking and chopping rather than scraping.

In his Ideas II , Husserl interprets the apprehension of cultural objects by comparing it to that of the human “flesh“ and “spirit.“ Such objects are not just “bodies“ ( Körper ) to which a sense is exteriorly added, but instead they are, similarly to human bodies ( Leiber ), entirely “animated“ by a cultural meaning. In fact, this is not just an analogy for Husserl, since, in several of his later notations, he comes to show that cultural objects are (...) actually understood as such by means of an apperception employing empathy, as sediments of subjective acts and performances. Understood as cultural objects, images also point towards a previous subjective doing, and it is precisely by grasping this “pointing“ that we comprehend them in their proper significance as artifacts. In my paper, I would like to explore the nature and forms of this empathic “pointing,“ focusing on the possible use of Husserl's conception for an interpretation of non-figurative art. (shrink)

People attribute purposes in both mundane and profound ways—such as when thinking about the purpose of a knife and the purpose of a life. In three studies (total N = 13,720 observations from N = 3,430 participants), we tested whether these seemingly very different forms of purpose attributions might actually involve the same cognitive processes. We examined the impacts of four factors on purpose attributions in six domains (artifacts, social institutions, animals, body parts, sacred objects, and human lives). Study (...) 1 manipulated what items in each domain were originally created for (original design) and how people currently use them (present practice). Study 2 manipulated whether items are good at achieving a goal (effectiveness) and whether the goal itself is good (morality). We found effects of each factor in every domain. However, whereas morality and effectiveness had remarkably similar effects across domains, the effects of original design and present practice differed substantially. Finally, Study 3 revealed that, within domains, the effects of original design and present practice depend on which entities design and use items. These results reveal striking similarities in purpose attributions across domains and suggest that certain entities are treated as authorities over the purposes of particular items. (shrink)

Creations of the Mind presents sixteen original essays by theorists from a wide variety of disciplines who have a shared interest in the nature of artifacts and their implications for the human mind. All the papers are written specially for this volume, and they cover a broad range of topics concerned with the metaphysics of artifacts, our concepts of artifacts and the categories that they represent, the emergence of an understanding of artifacts in infants' cognitive development, (...) as well as the evolution of artifacts and the use of tools by non-human animals. This volume will be a fascinating resource for philosophers, cognitive scientists, and psychologists, and the starting point for future research in the study of artifacts and their role in human understanding, development, and behaviour.Contributors: John R. Searle, Richard E. Grandy, Crawford L. Elder, Amie L. Thomasson, Jerrold Levinson, Barbara C. Malt, Steven A. Sloman, Dan Sperber, Hilary Kornblith, Paul Bloom, Bradford Z. Mahon, Alfonso Caramazza, Jean M. Mandler, Deborah Kelemen, Susan Carey, Frank C. Keil, Marissa L. Greif, Rebekkah S. Kerner, James L. Gould, Marc D. Hauser, Laurie R. Santos, Steven Mithen. (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)

Amie Thomasson and other proponents of author-intention-based accounts of artifacts hold that an artifact is what its original author(s) intended it to be. By contrast, according to the user-based framework developed by Beth Preston, an artifact’s function is determined by the practices of users and reproducers. In this chapter, I argue that both author-intention-based and user-based frameworks suffer from an overly agent-centric orientation: despite their many interesting differences, both approaches run into difficulties with scenarios in which the attitudes or (...) dispositions of the relevant agents, whether they are authors, users or reproducers, do not serve as a reliable guide on which to base an artifact’s classification as a member of a certain artifact kind. Such alternative categorizations, which conflict with both author-intentions and user-practices, demonstrate the need for a more object-centered alternative perspective concerning prototype production and the nature of artifacts more generally. (shrink)

Psychological essentialism is an intuitive folk belief positing that certain categories have a non-obvious inner “essence” that gives rise to observable features. Although this belief most commonly characterizes natural kind categories, I argue that psychological essentialism can also be extended in important ways to artifact concepts. Specifically, concepts of individual artifacts include the non-obvious feature of object history, which is evident when making judgments regarding authenticity and ownership. Classic examples include famous works of art (e.g., the Mona Lisa is (...) authentic because of its provenance), but ordinary artifacts likewise receive value from their history (e.g., a worn and tattered blanket may have special value if it was one’s childhood possession). Moreover, in some cases, object history may be thought to have causal effects on individual artifacts, much as an animal essence has causal effects. I review empirical support for these claims and consider the implications for both artifact concepts and essentialism. This perspective suggests that artifact concepts cannot be contained in a theoretical framework that focuses exclusively on similarity or even function. Furthermore, although there are significant differences between essentialism of natural kinds and essentialism of artifact individuals, the commonalities suggest that psychological essentialism may not derive from folk biology but instead may reflect more domain-general perspectives on the world. (shrink)

Inspired by the literature on extended/scaffolded mind, a debate concerning the contribution of extra-bodily resources to our (extended) emotions is recently gaining traction. Within this debate, inspired by the literature on cognitive artifacts introduces the notion of “affective artifacts”, indicating those objects that exert persistent effects on our feelings, possibly altering our self. However, by focusing on feelings, this notion neglects other facets of emotional episodes. Following Scarnatino’s tripartition between feeling, appraisal, and motivational theories of emotion, I present (...) three varieties of affective artifacts: Feeling, Evaluative and Motivational Artifacts. (shrink)

Human improvement is epistemologically challenging and has awakened a wide range of academic and public debates, especially considering the possible ethical and political consequences of its regulation. This article focuses on a selection of conceptual questions about cognitive enhancement and defends, through the discussion, the role of cognitive artifacts and the insufficiency of a strictly materialistic vision of enhancement techniques. The article approaches 3 specific questions: first, that the concept of enhancement should not be linked only with biotechnological (...) class='Hi'>artifacts; second, that the most potent technologies of the near future will be those that offer user integration and transformation with machines without the need for implants or surgery; and third, that cognitive artifacts, i.e. non-biological material devices coupled to cognitive system functions, are responsible for the course of human enhancement throughout history. Thus, we do not need a moral compass to evaluate all dimensions and risks that human enhancement can elicit, since traditional conservatism about enhancement limits itself to the idea that the growth of our powers would make our values unsustainable and put the current way of human life at risk. (shrink)

One of the critical issues in the philosophy of science is to understand scientific knowledge. This paper proposes a novel approach to the study of reflection on science, called “cognitive metascience”. In particular, it offers a new understanding of scientific knowledge as constituted by various kinds of scientific representations, framed as cognitive artifacts. It introduces a novel functional taxonomy of cognitive artifacts prevalent in scientific practice, covering a huge diversity of their formats, vehicles, and functions. As a consequence, (...) toolboxes, conceptual frameworks, theories, models, and individual hypotheses can be understood as artifacts supporting our cognitive performance. It is also shown that by empirically studying how artifacts function, we may discover hitherto undiscussed virtues and vices of these scientific representations. This paper relies on the use of language technology to analyze scientific discourse empirically, which allows us to uncover the metascientific views of researchers. This, in turn, can become part of normative considerations concerning virtues and vices of cognitive artifacts. (shrink)

In this paper I present a new dimension for philosophical and scientific analysis of artifacts as anthropogenic abiotic objects along the lines of the distinction between real and virtual. This distinction purports to replace the classical opposition material–ideal as a better way of defining what an artifact is and as one more compatible with the scientific description and explanation of artefacts. The virtual relativity of the virtual artifacts is their relatedness to local language forms as an adequate coordinate (...) system. The real relativity of artifacts is their relatedness to local and global human life processes. The article follows empirical science as a technique of studying artifacts, and subscribes to the anthropological paradigm. (shrink)

In the near future, our life will normally be surrounded with fairly complicated artifacts, enabled by the autonomous robot and brain–machine interface technologies. In this paper, we argue that what we call the responsibility flaw problem and the inappropriate use problem need to be overcome in order for us to benefit from complicated artifacts. In order to solve these problems, we propose an approach to endowing artifacts with an ability of socially communicating with other agents based on (...) the artifact-as-a-half-mirror metaphor. The idea is to have future artifacts behave according to the hybrid intention composed of the owner’s intention and the social rules. We outline the approach and discuss its feasibility together with preliminary work. (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)

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)

Artifacts are often characterized as intentional products of human activities, suggesting that they must have authors. However, contrary to this common characterization, I argue that there exist novel examples of artifacts that lack authors. This novelty arises directly from the emergence of generative artificial intelligence applications. I provide several examples of such authorless artifacts and address potential objections to their existence.

In controversies about technology and society, there is no idea more pro vocative than the notion that technical things have political qualities. At issue is the claim that the machines, structures, and systems of modern material culture can be accurately judged not only for their contributions of efficiency and pro-ductivity, not merely for their positive and negative environmental side effects, but also for the ways in which they can embody specific forms of power and authority. Since ideas of this kind (...) have a persistent and troubling presence in discussions about the meaning of technology, they deserve explicit attention... (shrink)

In this paper, we focus on the development of geometric cognition. We argue that to understand how geometric cognition has been constituted, one must appreciate not only individual cognitive factors, such as phylogenetically ancient and ontogenetically early core cognitive systems, but also the social history of the spread and use of cognitive artifacts. In particular, we show that the development of Greek mathematics, enshrined in Euclid’s Elements, was driven by the use of two tightly intertwined cognitive artifacts: the (...) use of lettered diagrams; and the creation of linguistic formulae. Together, these artifacts formed the professional language of geometry. In this respect, the case of Greek geometry clearly shows that explanations of geometric reasoning have to go beyond the confines of methodological individualism to account for how the distributed practice of artifact use has stabilized over time. This practice, as we suggest, has also contributed heavily to the understanding of what mathematical proof is; classically, it has been assumed that proofs are not merely deductively correct but also remain invariant over various individuals sharing the same cognitive practice. Cognitive artifacts in Greek geometry constrained the repertoire of admissible inferential operations, which made these proofs inter-subjectively testable and compelling. By focusing on the cognitive operations on artifacts, we also stress that mental mechanisms that contribute to these operations are still poorly understood, in contrast to those mechanisms which drive symbolic logical inference. (shrink)

A “sender–receiver” framework based on models developed in several fields can provide a general treatment of communicative and symbolic phenomena, replacing traditional semiotic theories that have failed to live up to the hopes of their advocates. Sender–receiver models have mostly been applied to linguistic behavior, gestures, and other ephemeral interactions between individuals. I look at the application of this framework to enduring artifacts, including pictures, using indigenous rock art in Australia as a case study.

In Book II, Chapter 1 of the Physics Aristotle attempts to distinguish natural objects from artifacts. He begins by stating that a natural object ‘has in itself a source of change and staying unchanged, whether in respect of place, or growth and decay, or alteration’. But this is not sufficient to distinguish natural objects from artifacts. As he points out later, a wooden bed, for example, can rot or burn, and this is surely a change whose source is, (...) in part, internal to the bed. To make his distinction, Aristotle writes that in a natural object the internal ‘source of change and remaining unchanged’ belongs to it ‘primarily and of itself, that is, not by virtue of concurrence’. The bed rots because it happens to be made of wood: the change is due to its material, not due to its essence, namely that it is a bed. A natural object, however, changes because of its essence, that is, because it is the natural object that it is. (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)

New media can change the way that artifacts are constructed and used. Changes in these artifacts, in turn, will be reflected in work practices and processes. This article draws on an empirical investigation of the impact of computer-based technologies on classical scholarship to discuss some of the ramifications that a switch in medium may have for work. The article defines both traditional and computer-based tools as "packages" that consist of artifacts, skill sets, data, beliefs about the work (...) process, and organizational infrastructures, and applies the package metaphor to understand the multiple levels of changes taking place within classics as the use of textual databanks becomes more prevalent. (shrink)

Most philosophers adopt an etiological conception of functions, but not one that uniformly explains the functions attributed to material entities irrespective of whether they are natural or man-made. Here, I investigate the widespread idea that a combination of the two current etiological theories, SEL and INT, can offer a satisfactory account of the proper functions of both organisms and artifacts.. Making explicit what a realist theory of function supposes, I first show that SEL offers a realist theory of biological (...) functions in which these are objective properties of a peculiar sort. I argue next that an artifact function demonstrates the same objective nature as a biological function when it is accounted for by SEL, but not when it is accounted for by INT. I explain why a dual theory of artifact functions admitting both INT and SEL functions is to be dismissed. I establish that neither INT nor SEL alone can account for all artifact functions. Drawing the conclusion that we need a new etiological theory of function, I show how one can overcome the apparent inevitability of INT for some artifact functions. Finally, I outline a new etiological theory of functions that applies equally to biological entities and to artifacts. (shrink)

Simon J. Evnine explores the view that some objects have matter from which they are distinct but that this distinctness is not due to the existence of anything like a form. He draws on Aristotle's insight that such objects must be understood in terms of an account that links what they are essentially with how they come to exist and what their functions are. Artifacts are the most prominent kind of objects where these three features coincide, and Evnine develops (...) a detailed account of the existence and identity conditions of artifacts, and the origins of their functions, in terms of how they come into existence. He then extends this account to organisms, where evolution accomplishes what is effected by intentional making in the case of artifacts, and to actions, which are seen as artifactual events. (shrink)