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)

This paper presents and discusses Simon Evnine’s hylomorphic account of fictional characters and proposes some amendments to it with the aim of explaining the functioning of fictional characters. The paper does so by relying on a case study, viz. Edgar Allan Poe’s short story Berenice. The amended hylomorphic account of fictional characters will also be capable of explaining the malfunctioning of fictional characters.

Words, languages, symphonies, fictional characters, games, and recipes are plausibly abstract artifacts— entities that have no spatial location and that are deliberately brought into existence as a result of creative acts. Many accept that composition is unrestricted: for every plurality of material objects, there is a material object that is the sum of those objects. These two views may seem entirely unrelated. I will argue that the most influential argument against restricted composition—the vagueness argument—doubles as an argument that (...) there can be no abstract artifacts. There is no way to resist the vagueness argument against abstract artifacts that does not also undermine the vagueness argument against restricted composition. (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)

There has been a lot of discussion recently regarding abstract artifacts and how such entities (e.g., fictional characters like Sherlock Holmes, and mythological planets like Vulcan), if they indeed exist, could possibly be our creations. One interesting aspect of some of these debates concerns the extent to which creative intentions play a role in the creation of artifacts generally, both abstract and concrete. I here address the creation of concrete artifacts in particular. I ultimately defend (...) a Brock-inspired, heterodox view on which creative intentions are not at all necessary for the creation of concrete artifacts. A concrete artifact is just a hunk of matter having a certain configuration owing to human activity and, given that configuration, is disposed to participate in other human activities. (shrink)

The philosophy of computer science is concerned with issues that arise from reflection upon the nature and practice of the discipline of computer science. This book presents an approach to the subject that is centered upon the notion of computational artefact. It provides an analysis of the things of computer science as technical artefacts. Seeing them in this way enables the application of the analytical tools and concepts from the philosophy of technology to the technical artefacts of computer science. With (...) this conceptual framework the author examines some of the central philosophical concerns of computer science including the foundations of semantics, the logical role of specification, the nature of correctness, computational ontology and abstraction, formal methods, computational epistemology and explanation, the methodology of computer science, and the nature of computation. The book will be of value to philosophers and computer scientists. (shrink)

Philosophers frequently draw on natural language to motivate properties, numbers, and propositions as objects, and it is generally taken for granted that abstract objects of this sort are well-reflected in natural language and in fact that reference to them in natural language is pervasive In this paper, I will review and modify in a certain way the view I had advanced in Abstract Objects and the Semantics of Natural Language (Moltmann 2013a). This is the view that natural language (...) permits reference to abstract objects only in its periphery, not in its core. Even though reference to abstract objects of the sort of properties, propositions, and numbers is available only in the periphery of language, natural language permits reference to other sorts of abstract objects in its core, in particular abstract artifacts of various sorts. (shrink)

Abstract creationism about fictional characters is the view that fictional characters are abstract objects that authors create. I defend this view against criticisms from Stuart Brock that hitherto have not been adequately countered. The discussion sheds light on how the number of fictional characters depends on authorial intention. I conclude also that we should change how we think intentions are connected to artifacts more generally, both abstract and concrete.

[full article, abstract in English; abstract in Lithuanian] Constructionists operationalize a powerful notion they share with constructivists: individual learning is facilitated by building models of specific ideas, concepts, methods, objects, environments, feelings, dreams, memories and sounds using the learner’s current stock of knowledge. Constructionists do this by building models or artifacts that can be externally manipulated, interrogated by their builder, and verbally shared with others. Constructionists believe that new knowledge is created during these discussions. Constructionism is rich (...) with heuristic methods for both finding and constructing artifacts and for discussing these artifacts privately and publicly. Constructionists argue that both constructing and discussing are necessary for deep sense-making. This paper describes one specific constructionist learning method: visual modeling. It illustrates one educator’s approach, developed in the classroom over a 40-year period. It references the relevant literature; describes its pedagogic approach, materials and outcomes; and it offers a step-by-step example of one student’s thinking process. Finally, it presents – in appropriate narrative form – 15 arguments why the visual component extends the constructionist project and should be integrated into more educational programs. (shrink)

In recent years, some prominent legal philosophers have argued both that law (as a legal system) is a certain kind of abstract artifact and that we can elucidate its nature by elucidating its artifactual properties (e.g., authorship, functionality, etc). In this chapter, I present an objection to their arguments and show that law is not an abstract artifact, but rather a composite, concrete entity. I do so by arguing that law is an institutional practice, the purpose of which (...) is for legal organisations to produce legal artifacts (e.g., laws, legal judgements, international treaties, etc) through the performance of legal activities. Based on this, I next provide an ontological analysis of these artifacts by elaborating on the conditions for their creation and maintenance. By distinguishing law as an institutional practice from legal artifacts as institutional objects created by legal organisations, I intend to advance a more precise ontological account of legal phenomena. (shrink)

This paper discusses modeling from the artifactual perspective. The artifactual approach conceives models as erotetic devices. They are purpose-built systems of dependencies that are constrained in view of answering a pending scientific question, motivated by theoretical or empirical considerations. In treating models as artifacts, the artifactual approach is able to address the various languages of sciences that are overlooked by the traditional accounts that concentrate on the relationship of representation in an abstract and general manner. In contrast, the (...) artifactual approach focuses on epistemic affordances of different kinds of external representational and other tools employed in model construction. In doing so, the artifactual account gives a unified treatment of different model types as it circumvents the tendency of the fictional and other representational approaches to separate model systems from their “model descriptions”. (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)

> Context • The alleged dichotomy between mind and matter is pervasive. Therefore, the attempt to explain mat- ter in terms of mind (idealism) is often considered a mirror image of that of explaining mind in terms of mat- ter (mainstream physicalism), in the sense of being structurally equivalent despite being reversely arranged. > Problem • I argue that this is an error arising from language artifacts, for dichotomies must reside in the same level of abstraction. > Method • (...) I show that, because matter outside mind is not an empirical observation but rather an explanatory model, the epistemic symmetry between the two is broken. Consequently, matter and mind cannot reside in the same level of abstraction. > Results • It then becomes clear that attempting to explain mind in terms of matter is epistemically more costly than attempting to explain matter in terms of mind. > Implications • The qualities of experience are suggested to be not only epistemically, but also ontologically primary. > Constructivist content • I high- light the primacy of perceptual constructs over explanatory abstraction on both epistemic and ontic levels. > Key words • Idealism, physicalism, pancomputationalism, anti-realism, hard problem of consciousness, epistemic symmetry, explanatory abstraction, levels of abstraction. (shrink)

Technical artifacts do not seem particularly continuous with institutional statuses. If statuses are defined in terms of their constitutive rules, as Searle maintains, then disassociation is always possible – someone or something can satisfy those rules without being able to realize the functional effects that are associated with that status. The gap between technical artifacts and Searlean statuses suggests the possibility of an additional social kind, which I call, following Muhammad Ali Khalidi, a ‘real social kind’. However, the (...) placement of real social kinds between technical artifacts and statuses recommends a reconfiguration of Khalidi’s most abstract characterization of the notion. This reconfiguration also lends support to his surprising claim that money is a real social kind. (shrink)

Software is a ubiquitous artifact, yet not much has been done to understand its ontological nature. There are a few accounts offered so far about the nature of software. I argue that none of those accounts give a plausible picture of the nature of software. I draw attention to the striking similarities between software and musical works. These similarities motivate to look more closely on the discussions regarding the nature of the musical works. With the lessons drawn from the ontology (...) of musical works I offer a novel account of the nature of software. In this account, software is an abstract artifact. I elaborate the conditions under which software comes into existence; how it persists; how and on which entities its existence depends. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 7.1 (2002) 138-146 [Access article in PDF] Understanding Moral Limits in the Duality of Artifacts and NatureA Reply to Critics Eric Katz Ned Hettinger and Wayne Ouderkirk present some cogent criticisms of my ideas in environmental ethics, especially those ideas closely associated with my attacks on the process of ecological restoration. Both trace the source of my alleged problems to a pernicious dualism (...) of nature and humanity that they perceive in my environmental philosophy. In this reply I accept their basic analysis of my work but deny that my overall position leads to the problems they suggest. I explicitly endorse the dualism of human artifacts and natural entities, and I argue that this dualism exists along a spectrum of "more-or-less" natural or artifactual. I claim that this dualism is not pernicious, but on the contrary, it is the first necessary step to understanding the moral limits of human action in the natural world.I begin with a consideration of the formal structure of these critical papers—there is a remarkable formal similarity between these two essays. Each author begins with a brief review of the positive aspects of my position or "theory" in environmental ethics; then there is an analysis of the problems within the position, and the problematic consequences or implications [End Page 138] of my position for environmental policy and environmentalism generally; then there is an attempt to begin a solution to the problems encountered "on my own terms" so to speak—each author points out that within my position there are ideas that could be used to solve the problems uncovered. Thus I am urged to develop specific strands of my own thought—a recommendation that I (logically) cannot avoid.Now on one level this formal structure is commonplace in polite scholarly discourse. Before offering criticisms of an author—especially when he is in the same room—we cite a few positive things about his work, and we end by noting that the position of the author is not completely hopeless. So perhaps the structural similarity between these two papers is not particularly noteworthy. But in this case I think it is. For the structure of the papers points out a distinguishing feature of my work that I recognize: My work is essentially negative and critical. I believe that I am raising problems and provocative questions. My criticisms apply to both traditional ethics (especially as it relates to environmental issues) and to the standard (policy-driven) versions of environmental ethics (especially the anthropocentric and individualistic variations). My criticisms also create questions for mainstream environmental policies—or I so hope, for this is my chief purpose in doing environmental philosophy. Since it is essentially critical, the most one can derive from my work in a positive vein are suggestions or hints for directions in which solutions may be found. I readily admit that I have not followed these paths to work out solutions—at least not yet. Thus in a formal or structural sense I am in substantial agreement with my critics: my essays raise a lot of problems; I do not offer fully worked out solutions; but the seeds of possible solutions may be present in the body of my work.But I have to make one distinction concerning the nature of "problems." Ouderkirk and Hettinger raise two distinct kinds of problems when they interpret my work. First, there are (possibly) internal contradictions in my ideas that make the theory itself incoherent in some mostly formal way. (For example, my argument for the importance of nonanthropocentric value might hide a latent anthropocentrism—Ouderkirk says at one point that I may be letting anthropocentrism in through the back door.) And second, there are (supposedly) problems in my position because my view has serious negative consequences for standard environmental policies. (For example, both Hettinger and Ouderkirk claim that my view of the distinction between artifacts and natural entities makes impossible all restoration [End Page 139] efforts in the natural world.) Does my position lead to unacceptable consequences for standard environmental... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 7.1 (2002) 138-146 [Access article in PDF] Understanding Moral Limits in the Duality of Artifacts and NatureA Reply to Critics Eric Katz Ned Hettinger and Wayne Ouderkirk present some cogent criticisms of my ideas in environmental ethics, especially those ideas closely associated with my attacks on the process of ecological restoration. Both trace the source of my alleged problems to a pernicious dualism (...) of nature and humanity that they perceive in my environmental philosophy. In this reply I accept their basic analysis of my work but deny that my overall position leads to the problems they suggest. I explicitly endorse the dualism of human artifacts and natural entities, and I argue that this dualism exists along a spectrum of "more-or-less" natural or artifactual. I claim that this dualism is not pernicious, but on the contrary, it is the first necessary step to understanding the moral limits of human action in the natural world.I begin with a consideration of the formal structure of these critical papers—there is a remarkable formal similarity between these two essays. Each author begins with a brief review of the positive aspects of my position or "theory" in environmental ethics; then there is an analysis of the problems within the position, and the problematic consequences or implications [End Page 138] of my position for environmental policy and environmentalism generally; then there is an attempt to begin a solution to the problems encountered "on my own terms" so to speak—each author points out that within my position there are ideas that could be used to solve the problems uncovered. Thus I am urged to develop specific strands of my own thought—a recommendation that I (logically) cannot avoid.Now on one level this formal structure is commonplace in polite scholarly discourse. Before offering criticisms of an author—especially when he is in the same room—we cite a few positive things about his work, and we end by noting that the position of the author is not completely hopeless. So perhaps the structural similarity between these two papers is not particularly noteworthy. But in this case I think it is. For the structure of the papers points out a distinguishing feature of my work that I recognize: My work is essentially negative and critical. I believe that I am raising problems and provocative questions. My criticisms apply to both traditional ethics (especially as it relates to environmental issues) and to the standard (policy-driven) versions of environmental ethics (especially the anthropocentric and individualistic variations). My criticisms also create questions for mainstream environmental policies—or I so hope, for this is my chief purpose in doing environmental philosophy. Since it is essentially critical, the most one can derive from my work in a positive vein are suggestions or hints for directions in which solutions may be found. I readily admit that I have not followed these paths to work out solutions—at least not yet. Thus in a formal or structural sense I am in substantial agreement with my critics: my essays raise a lot of problems; I do not offer fully worked out solutions; but the seeds of possible solutions may be present in the body of my work.But I have to make one distinction concerning the nature of "problems." Ouderkirk and Hettinger raise two distinct kinds of problems when they interpret my work. First, there are (possibly) internal contradictions in my ideas that make the theory itself incoherent in some mostly formal way. (For example, my argument for the importance of nonanthropocentric value might hide a latent anthropocentrism—Ouderkirk says at one point that I may be letting anthropocentrism in through the back door.) And second, there are (supposedly) problems in my position because my view has serious negative consequences for standard environmental policies. (For example, both Hettinger and Ouderkirk claim that my view of the distinction between artifacts and natural entities makes impossible all restoration [End Page 139] efforts in the natural world.) Does my position lead to unacceptable consequences for standard environmental... (shrink)

In a 1993 paper, I argued that empirical treatments of the epistemologyused by scientists in experimental work are too abstract in practice tocounter relativist efforts to explain the outcome of scientificcontroversies by reference to sociological forces. This was because, atthe rarefied level at which the methodology of scientists is treated byphilosophers, multiple mutually inconsistent instantiations of theprinciples described by philosophers are employed by contestingscientists. These multiple construals change within a scientificcommunity over short time frames, and these different versions ofscientific (...) methodology can determine the outcome of a controversy. Iillustrated with a comparatively detailed analysis of the methodologyused by biologists debating the existence of an entity called thebacterial mesosome between the mid-1950s and the mid-1970s. This 1993piece has drawn several critiques in the philosophical literature. Inthis present piece I respond to these critiques and argue that they failto address the core argument of the original paper, and I reflectfurther on the methodologies of philosophers of science pursuingempirical or `naturalistic' epistemology. (shrink)

Abstract:In this paper, Heidegger's lifelong interest in usable things is combined with his critique of aesthetics and environmental reading of his works to build the framework for reexamining his notion of authenticity (Eigentlichkeit) as the category which environmental aesthetics can employ to reconceptualize our aesthetic judgment of everyday artifacts and how, by doing so, that contributes to reducing the ecologically harmful effects of consumerism. To this end, I draw upon the ambiguous position of usable artifacts in Heidegger's (...) philosophy. I shall unpack this ambiguity by explaining that it mirrors tensions in Heidegger's idea of truth as inherently agonistic dis-closure. I argue that although everyday artifacts—as opposed to artworks—are situated closer to the pole of hiddenness, they can participate aesthetically in revealing being. Elucidating this requires re-appropriating Heidegger's concept of being 'authentic' as being 'one's own' (eigen). I show that applying the category of (Heideggerian) authenticity to everyday artifacts should consist in unfolding their ontological uniqueness, which is irrespective of their ontic replicability. Finally, I develop an understanding of authenticity by exploring environmental-aesthetical implications of some of Heidegger's remarks on things related to their susceptibility to changes. (shrink)

Many types of everyday and specialized reasoning depend on diagrams: we use maps to find our way, we draw graphs and sketches to communicate concepts and prove geometrical theorems, and we manipulate diagrams to explore new creative solutions to problems. The active involvement and manipulation of representational artifacts for purposes of thinking and communicating is discussed in relation to C.S. Peirce’s notion of diagrammatical reasoning. We propose to extend Peirce’s original ideas and sketch a conceptual framework that delineates different (...) kinds of diagram manipulation: Sometimes diagrams are manipulated in order to profile known information in an optimal fashion. At other times diagrams are explored in order to gain new insights, solve problems or discover hidden meaning potentials. The latter cases often entail manipulations that either generate additional information or extract information by means of abstraction. Ideas are substantiated by reference to ethnographic, experimental and historical examples. (shrink)

‘Second substances’ are Aristotle’s species and genera that reveal the general nature of a thing. Sortals correspond to the most specific, least abstract of these, normally thought of as ‘the’ kind to which a thing belongs. I argue against a common view that artifact terms such as ‘clock’ or ‘pen’ are suitable as sortals and for their being regarded as more like genera. If we can individuate clocks and pens as we do trees and rocks, by a combination of (...) sortal plus ostension, then we must use more specific sortals which indicate the structures by virtue of which the objects perform the functions of clocks or pens. Functions by themselves do not supply the identity conditions of sortals. Similar reasoning supports Wiggins’ view that ‘the kind’ to which we belong is our biological species, not the purely functional kind of being a person. (shrink)

This paper introduces a persistence puzzle involving two sports clubs with a somewhat intertwined history. As one might assume, the implications of the puzzle go far beyond a mere plea for a precise metaphysical analysis of certain perplexing quandaries regarding sports clubs and represents a challenge for our everyday understanding of social groups. To overcome the supposed impediment to the puzzle, as a starting point, I will accept the assumption that these entities are both social groups and abstract (...) class='Hi'>artifacts and will further argue that they are _temporal abstract objects_. Since temporal objects are in time, it will be determined that the cause of the conundrum is the seeming inability to correctly account for the I-relation between the temporal parts, and I will elaborate on why such an explanation is required. Ultimately, I’ll introduce the notion of _I-shifting_, which will explain how temporal abstract objects persist through time and consequently solve the puzzle. (shrink)

This paper explores the problem of knowledge in computational informational organisms, i.e. organisms that include a computing machinery at the artifact side. Although information can be understood in many ways, from the second half of the past century information is getting more and more digitised, von Neumann machines becoming dominant. Computational information is a challenge for the act of measuring, as neither purely quantitative nor totally qualitative approaches satisfy the need to explain the interplay among the agents producing and managing (...) computational information. In this paper, Floridi’s method of levels of abstraction is applied to the analysis of computational information, with a chief interest in the concepts of information measure, quantification and quality. (shrink)

Discovering the influences between paintings and artists is very important for automatic art analysis. Lately, this problem has gained more importance since research studies are looking into explanations about the origin and evolution of artistic styles, which is a related problem. This paper proposes to build a multiplex artwork representation based on artistic formal concepts to gain more understanding about the aforementioned problem. We complement and built our approach on the previous notion of Creativity Implication Network. We used the recently (...) proposed MultiRank algorithm to suggest possible explanations of the dynamic of some artistic styles. Our results corroborate some well-known facts about the artists analyzed and give qualitative and quantitative information that show the possibilities and strengths of the proposed framework. We plan to expand our analysis to include more abstract artworks. Ideally, we are going to be able to validate more our results and test how our methodology could be used to generate visual artifacts too. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Paradox of Kandinsky's Abstract RepresentationKenneth BerryThere is a paradox in the relationship between Kandinsky's use of the terms, "abstract" and "concrete," which is presented in the expression, "Kandinsky's abstract representation." Thisexpression, while being apparently contradictory, may point to a feature underpinning Kandinsky's art, which is pivotal to a proper experience of his work, just as, in Christopher Middleton's view, a poetic language may be (...) pivotal to the formation of cultures.1 Art and cultural artifacts are vital to aesthetic experience and aesthetic education, and both the language of art and other languages are instrumental to this end. However, how may Kandinsky's mature abstraction, being in essence objectless, have any claim to representation, and consequently the higher cultural goals of aesthetic expression and the aesthetic enrichment of society?According to Thomas M. Messer, the position of centrality that Kandinsky has assumed in our understanding of modern art is largely due to his having brought to bear on his art, an instinctive awareness of what constituted the central aesthetic issues of his era.2 Kandinsky's writings in Concerning the Spiritual in Art elaborate on his aesthetic theories, and, in particular, [End Page 99] present the view that paintings should be looked at as a graphic representation of a mood rather than as a representation of objects. Messer observes that, for Kandinsky, abstraction, defined as a mode of painting extending beyond the depiction of recognizable objects, having gradually stripped itself of mimetic vestiges, thus becomes paramount. Michael Carter has similarly pointed out that with the pure forms of absolute abstraction, the non-objective colors and shapes of Kandinsky's paintings were regarded as distillations of the aesthetic properties of the artistic sign3 — separable from any referential aspect of art.4 This aesthetic aspect of Kandinsky's work, which became known as nonfigurative, nonobjective, or nonrepresentational,goes along with the cultural — and, as sculptor Anish Kapoor has remarked, "in the deepest, deepest depths of human history the cultural has always been a motivator of people," and has the power to transform society through finding visual equivalents for an emotional language.5Much has been written about Kandinsky's use of color, but perhaps the primary innovation that he made, as in the case of Barnett Newman, was in the field of drawing. Kandinsky was influenced by Gauguin's idea that drawing was an abstraction from memory after nature, just as Gauguin had been affected by the simplified contours and flattened forms of Puvis de Chavannes. Drawing did not come so easily to Kandinsky as color — he had to work harder at drawing, but in his early improvisations, forms and their outlines as graphic symbols came welling up from the unconscious, and eidetic motifs only had to be copied — almost as the art of calligraphy. Kandinsky's "organic" drawing developed as an urge to nonnaturalistic impulses, and during the period of Point and Line to Plane became almost a grammar of form, saved from mere pedantry by the living forces or visual tensions that made various kinds of line operate not just as contours but as dynamic or restful elements within themselves. In 1913, Kandinsky wrote in his "Reminiscences" that, "painting is a thundering collision of different worlds, intended to create a new world in, and from, their struggles with one another, a new world which is the work of art."6 It is clear from this that the Modernist work of art was intended to be a "new world" operating according to its own universal aesthetic laws.Kandinsky is not just a painter; he is also a visual poet. Poetry, according to Tony Curtis, involves the expression of the intensification of experience — the elevation of banal facts of life into something beyond the merely prosaic — something unique and perceptively heightened.7 It involves both imagination and poetic license to explore both ambiguity and paradox. As Scottish poet Norman MacCaig observed, poetry renders the ordinary extraordinary, seeing the unfamiliar in the familiar.8 Creative analogical thinking such as evinced in Kandinsky's art, often involves breaking free of a clichéd representation.Malcolm Budd has remarked that, in its most exclusive sense, a work... (shrink)

In several papers, Petr Koťátko defends an “ontologically modest account of fictional characters”. Consider a position (which I have been defending) that is anything but ontologically restrained: positing fictional characters like Andrei Bolkonsky in War and Peace as abstract artifacts. I will argue, first, that such a position turns out to offer a nice fit with Petr Koťátko’s proposal about narrative fiction, one that fares better than an alternative pretense-based theory that doesn’t posit Bolkonsky as existing in any (...) sense. Second, I will explore a recent challenge by Jeffrey Goodman—which I will call the inadvertent creation challenge—that is originally posed for those who hold that fictional characters and mythical objects alike are abstract artifacts. The crux of the challenge is this: if we think that astronomers like Le Verrier, in mistakenly hypothesizing the planet Vulcan, inadvertently create an abstract artifact, then the inadvertent creation” element turns out to be inescapable yet theoretically unattractive. Third, based on considerations about actually existing concrete objects being featured in fictional works (as Napoleon is in War and Peace), I argue that regardless of where one stands on mythical objects, admitting fictional characters as abstract artifacts is enough to give rise to the inadvertent creation challenge; yet this very set of considerations serves to undermine the challenge, indicating that inadvertent creation is not nearly as worrisome after all as Goodman is suggesting. Taking fictional characters (and mythical objects) to be abstract artifacts therefore remains a viable option. -/- . (shrink)

In a series of papers (two of them in previous ESA Proceedings), I have been defending a fictional artifactualist position according to which fictional characters (like Prince Bolkonsky in Tolstoy’s War and Peace are non-concrete, human created objects (which are commonly labeled abstract artifacts). In this paper, I aim to bring together from my previous work two lines of defending fictional artifactualism: that (for the fictional artifactualist) making room for (i) authorial creation and for (ii) inadvertent authorial creation (...) are tenable moves. Indeed, instances of authorial creation (intentional or inadvertent) are what we expect if we accept Saul Kripke’s general view about what determines the reference of proper names, and this view’s consequences for fictional names. Fictional artifactualism emerges as our best choice if we want to admit fictional characters in our ontology and are sympathetic to Kripke’s general view about proper name reference. Fictional artifactualists having taken these two conditions on board need not worry about these features of their view: that authors sometimes create fictional characters and sometimes do so inadvertently. (shrink)

My goal is to reflect on the phenomenon of inadvertent creation and argue that—various objections to the contrary—it doesn’t undermine the view that fictional characters are abstract artifacts. My starting point is a recent challenge by Jeffrey Goodman that is originally posed for those who hold that fictional characters and mythical objects alike are abstract artifacts. The challenge: if we think that astronomers like Le Verrier, in mistakenly hypothesizing the planet Vulcan, inadvertently created an abstract (...) artifact, then the “inadvertent creation” element turns out to be inescapable yet theoretically unattractive. Based on considerations about actually existing concrete objects featured in fictional works (as Napoleon is in Tolstoy’s War and Peace), I argue that independently of one’s stand on mythical objects, admitting fictional characters as abstract artifacts is enough to give rise to the challenge at hand; yet this very point serves to undermine the challenge, indicating that inadvertent creation is not nearly as worrisome as Goodman suggests. Indeed, the inadvertent creation phenomenon’s generality extends far beyond objects of fiction and myth, and I will use this observation to counter a further objection. Taking fictional characters (and mythical objects) to be abstract artifacts therefore remains a viable option. (shrink)

Artifactualism about fictional characters, positing Harry Potter as an abstract artifact created by J. K. Rowling, has been criticized on the grounds that the idea of creating such objects is mysterious and problematic. In the light of such qualms, it is worth homing in on an argument in favor of artifactualism, showing that it is the best way to include the likes of Harry Potter in our ontology precisely because it incorporates authorial creation. To that end, I will be (...) exploring Kripke’s fleeting remarks in the Addenda to his “Naming and Necessity” lectures about expressions like ‘unicorn’ and ‘Harry Potter’. Elsewhere, Kripke motivates artifactualism by suggesting that incorporating authorial creation (as artifactualism does) is a move that is intuitive and natural; but beyond this, he doesn’t provide any arguments in favor of such a move. My purpose in this paper is to construct such an argument based on considerations about Kripke’s general view about proper names, in particular, his seminal causal-historical chain account of reference determination, and its consequences for fictional names as well as nonfictional names without bearers such as ‘Vulcan’. (shrink)

I explain a tension between musical creationism (the view that musical works are abstract artifacts) and the view that there is no vague existence. I then suggest ways to reconcile these views. My central conclusion is that, although some versions of musical creationism imply vague existence, others do not. I discuss versions of musical creationism held by Jerrold Levinson, Simon Evnine, and Kit Fine. I also present two new versions. I close by considering whether the tension is merely (...) an instance of a general problem raised by artifacts, both abstract and concrete. I argue that on at least one defensible account of music the tension is especially problematic for abstracta. I focus on musical works, but much of the paper straightforwardly applies to other kinds of abstract artifacts. (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)

This paper argues for a distinction between fictional characters, as parts of intentionally created abstract artifacts, and intentional objects, as nonexistent objects generated by referential acts that fail to refer. It argues that intentional objects as the nonexistent objects of imagination and other objectual attitudes are well-reflected in natural language, though in a highly restricted way, reflecting their ontological dependence on referential acts. The paper elaborates how that ontological dependence can be understood.

This challenging study places fiction squarely at the centre of the discussion of metaphysics. Philosophers have traditionally treated fiction as involving a set of narrow problems in logic or the philosophy of language. By contrast Amie Thomasson argues that fiction has far-reaching implications for central problems of metaphysics. The book develops an 'artifactual' theory of fiction, whereby fictional characters are abstract artifacts as ordinary as laws or symphonies or works of literature. By understanding fictional characters we come to (...) understand how other cultural and social objects are established on the basis of the independent physical world and the mental states of human beings. (shrink)

Words are indispensable linguistic tools for beings like us. However, there is not much philosophical work done about what words really are. In this paper, I develop a new ontology for words. I argue that words are abstract artifacts that are created to fulfill various kinds of purposes, and words are abstract in the sense that they are not located in space but they have a beginning and may have an end in time given that certain conditions (...) are met. What follows from this two-fold argument is that words, from an ontological point of view, are more like musical works, fictional characters or computer programs, than numbers or sets. (shrink)

Existence as reflected in natural language is not a univocal notion, but divides into different modes of being, such as existence (as, roughly, endurance) and occurrence. One aim of the paper is to distinguish sharply between abstract artifacts and non-existent objects (e.g., plans vs. planned events that fail to occur); another is to argue for validity as a mode of being distinct from existence, as well as for corresponding distinctions among non-being.

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

Memes, of the kind found often on the internet, are an increasingly significant medium of expressive activity. I develop a theory of their ontological nature and, in parallel, an analysis of the concept meme. On my view, memes are abstract artifacts made out of norms for production of instances. The norms say things like ‘use a certain image; add text of a certain kind; the text should be delivered in two chunks, one at the top of the image, (...) one at the bottom, etc.’ Instances of these memes are created when users follow these norms and publish the results. The concept meme is analyzed in terms of the notion of memographic practice, a historically situated form of activity within which memes are created and their instances produced and made public. (shrink)

Artworks have authors. According to Christy Mag Uidhir, this simple assumption has significant consequences for the ontology of artworks. One such consequence is that artworks cannot be identified with abstract entities: if there are works of art, they are concrete entities. Therefore, one cannot create an abstract work of art. Mag Uidhir presents a novel challenge against abstract creationism, the view that certain kinds of art objects are abstract artifacts. This article has two aims. First, (...) it provides a defense of abstract creationism against Mag Uidhir’s arguments. Second, it argues that creation, even in the case of concrete artifacts, is never purely causal: to create an artifact is to bring about the conditions on which the created object ontologically depends. I conclude that a properly developed account of creation provides a better understanding of the question of how one comes to create an artifact, be it abstract or concrete. (shrink)

In this paper, I defend fictional creationism, the view that fictional objects are abstract artifacts, from the objection that the apparent truth of fictional negative existentials, such as “Sherlock Holmes does not exist,” poses a serious problem for creationism. I develop a sophisticated version of the pragmatic approach by focusing on the inconsistent referential intentions of ordinary speakers: the upshot would be that creationism is no worse —perhaps even in a better position— than anti-realism, even if we restrict (...) our linguistic data to fictional negative existentials. (shrink)

Creationism with respect to fictional entities, i.e., the position according to which ficta are creations of human practices, has recently become the most popular realist account of fictional entities. For it allows one to hold that there are fictional entities while simultaneously giving such entities a respectable metaphysical status, that of abstract artifacts. In this paper, I will draw what are the ontological and semantical consequences of this position, or at least of all its forms that are genuinely (...) creationist. For some people, these consequences will sound as plagues against the position; for some others, especially realists on ficta, they are welcome results. Although I hold that all forms of genuine creationism have these consequences, I will conclude by explaining why I take moderate creationism, according to which ficta are created by means of a reflexive stance on the make-believe practice grounding them, to be the best of these forms. (shrink)

According to the so-called ‘artifactual theory’ of fiction, fictional objects are to be considered as abstract artifacts. Within this framework, fictional objects are defined on the basis of their complex dependence on literary works, authors, and readership. This theory is explicitly distinguished from other approaches to fictions, notably from the imaginary-object theory. In this article, I argue that the two approaches are not mutually exclusive but can and should be integrated. In particular, the ontology of fiction can be (...) fruitfully supplemented by a phenomenological analysis, which allows us to clarify the defining modes of givenness of fictional objects. Likewise, based on the results of the artifactual theory, some assumptions in the imaginary-object theory, which are liable to be interpreted as laying the ground to phenomenalism, can be corrected. (shrink)

In my “Creatures of Fiction, Objects of Myth” (2014), I present and defend an argument for thinking that mythical creationism—the view that mythical objects like phlogiston and Vulcan are abstract artifacts—is false. One intriguing sort of objection to my argument has been recently put forth by Zvolenszky (2016); she claims that a crucial premise is seen to be unjustified once one considers the phenomena of inadvertently created abstracta—specifically, inadvertently created fictional characters. I argue here that even if we (...) admit inadvertently created abstracta into our ontology, my argument survives. I ultimately defend a view on which fictional characters (if real) may be countenanced as created abstracta whether purposefully created or not, yet mythical objects are best taken to be discoverable, Platonic abstracta (if real). We can see that such a hybrid ontology is justified once we take proper note of the nature of the sorts of authorial activities involved in fictional storytelling and scientific hypothesizing. (shrink)