Technology explosion induced by information explosion will eventually change artifacts into intelligent autonomous agents consisting of surrogates and mediators from which humans can receive services without special training. Four potential problems might arise as a result of the paradigm shift: technology abuse, responsibility flaw, moral in crisis, and overdependence on artifacts. Although the first and second might be resolved in principle by introduction of public mediators, the rest seems beyond technical solution. Under the circumstances, a reasonable goal (...) might be to create a mutual dependency between empathy and technology: Using technology to help people cultivate empathy among people, so empathy in the society may allow people to help each other to recover from disasters beyond the scope of the assumption underlying the society of mediators. I highlight an immersive collaborative interaction environment for helping people share first-person view and its application to building empathic agents. (shrink)

Investigates Aristotle's views on the ontological status of artifacts in the Metaphysics, with implications for a variety of metaphysical problems.

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

Book Information Aristotle on Artifacts: A Metaphysical Puzzle. By Errol G. Katayama. State University of New York Press. Albany. 1999. Pp. xiii + 202. Paperback.

Among medieval Aristotelians, William of Ockham defends a minimalist account of artifacts, assigning to statues and houses and beds a unity that is merely spatial or locational rather than metaphysical. Thus, in contrast to his predecessors, Thomas Aquinas and Duns Scotus, he denies that artifacts become such by means of an advening ‘artificial form’ or ‘form of the whole’ or any change that might tempt us to say that we are dealing with a new thing (res). Rather, he (...) understands artifacts as per accidens composites of parts that differ, but not so much that only divine power could unite them, as in the matter and form of a proper substance. For Ockham, artifacts are essentially rearrangements, via human agency, of already existing things, like the clay shaped by a sculptor into a statue or the stick and bristles and string one might fashion into a broom. Ockham does not think that a new thing is thereby created, although his emphasis on the contribution of human artisans seems to leave questions about the ontological status of their agency open. In any case, there are no such things as natural statues, any more than substances created by human artifice. (shrink)

This collection of newly published essays examines our relationship to physical objects that invoke, commemorate, and honor the past. The recent destruction of cultural heritage in war and controversies over Civil War monuments in the US have foregrounded the importance of artifacts that embody history. The book invites us to ask: How do memorials convey their meanings? What is our responsibility for the preservation or reconstruction of historically significant structures? How should we respond when the public display of a (...) monument divides a community? This anthology includes coverage of the destruction of Palmyra and the Bamiyan Buddhas, the loss of cultural heritage through war and natural disasters, the explosive controversies surrounding Confederate-era monuments, and the decay of industry in the U.S. Rust Belt. The authors consider issues of preservation and reconstruction, the nature of ruins, the aesthetic and ethical values of memorials, and the relationship of cultural memory to material artifacts that remain from the past. Written by a leading group of philosophers, art historians, and archeologists, the 23 chapters cover monuments and memorials from Dubai to Detroit, from the instant destruction of Hiroshima to the gradual sinking of Venice. (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)

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)

_ Source: _Volume 54, Issue 1, pp 1 - 21 Thomas Aquinas sees a sharp metaphysical distinction between artifacts and substances, but does not offer any explicit account of it. We argue that for Aquinas the contribution that an artisan makes to the generation of an artifact compromises the causal responsibility of the form of that artifact for what the artifact is; hence it compromises the metaphysical unity of the artifact to that of an accidental unity. By contrast, the (...) metaphysical unity of a substance is achieved by a process of generation whereby the substantial form is solely responsible for what each part and the whole of a substance are. This, we submit, is where the metaphysical difference between artifacts and substances lies for Aquinas. Here we offer on behalf of Aquinas a novel account of the causal process of generation of substances, in terms of _descending forms_, and we bring out its explanatory merits by contrasting it to other existing accounts in the literature. (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)

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)

The ubiquity of technology in our lives and its culmination in artificial intelligence raises questions about its role in our moral considerations. In this paper, we address a moral concern in relation to technological systems given their deep integration in our lives. Coeckelbergh develops a social-relational account, suggesting that it can point us toward a dynamic, historicised evaluation of moral concern. While agreeing with Coeckelbergh’s move away from grounding moral concern in the ontological properties of entities, we suggest that it (...) problematically upholds moral relativism. We suggest that the role of power, as described by Arendt and Foucault, is significant in social relations and as curating moral possibilities. This produces a clearer picture of the relations at hand and opens up the possibility that relations may be deemed violent. Violence as such gives us some way of evaluating the morality of a social relation, moving away from Coeckelbergh’s seeming relativism while retaining his emphasis on social–historical moral precedent. (shrink)

Although logical empiricism is now mostly decried, their naturalist claim that the content of a theory can be read off from its structure, without any philosophical considerations needed, still supports traditional strategies to escape cases of underdetermination. The appeal to theoretical equivalence or to theoretical virtues, for instance, both assume that there is a neutral standpoint from which the structure of the theories can be analyzed, the physically relevant from the superfluous separated, and a comparison made between their theoretical content (...) and virtues. In my dissertation, I examine the presuppositions upon which such strategies depend. I argue that the methodological principle underlying them, according to which theories with no superfluous structure should be preferred, is unpractical, for what constitutes relevant structure is determined by epistemic considerations about the aim of scientific theories. In chapter 1, I analyze the claim that theories with ordinary bosons and fermions are theoretically equivalent to theories with exotic `paraparticles'. I argue that this claim does not do justice to the latter, as the proof is formulated in a vocabulary parochial to the former and thus favors one of the theory while giving an impoverished version of the second. In chapter 2, I examine recent arguments to the effects that any interpretation of Quantum Mechanics that can offer a no-go theorem against paraparticles possesses an explanatory advantage over other interpretations and should, as such, be favored over others. Given that most physicists consider paraparticles as surplus structure whose non-observation does not require an explanation, I evaluate arguments of both sides and suggest a third way to approach the question. Finally, in chapter 3, I turn my attention to methods for excluding another kind of unphysical structure, mathematical artifacts, from rival dark matter models. Simulations are our only window into what rival models predict about the universe’s structure. But for them to play a useful role in generating knowledge, we need to distinguish reliably between real predictions and artifacts. I argue that robustness analysis fails to fulfill this task. I propose in its place another methodology, that of crucial simulations. (shrink)

The common notion of artifacts characterizes them as the products of successful activities of their makers, guided by intentions that such objects would instantiate certain features, such as their specific functions. Many counterexamples, however, reveal the unsuitability of the common notion. In the face of this acknowledgment, the paper explores the possibility that features of artifacts, and more specifically, the possession of their functions, may arise, at least partially, from collective assignments. In order to achieve the mentioned goal, (...) the paper critically examines some notions and theses put forward by John Searle and others. Its main result, however, consists in offering and elucidating an original thesis, namely, that the functions of many artifacts would be maintained, partially, by forms of continuous collective intentionality, which can involve conscious or unconscious, active or inactive collective intentional states. Keywords: Artifacts, assignment of function, collective intentionality, maintenance of function. (shrink)

Given his known predilection for ontological parsimony, Ockham’s ontology of artifacts is unsurprisingly reductionist: artifacts are nothing over and above their existing and appropriately ordered parts. However, the case of artifacts is notable in that they are real objects that human artisans produce by bringing about a real change: they spatially rearrange existing natural thing(s) or their parts for the sake of some end. This article argues that the human contribution to the nature and production of (...) class='Hi'>artifacts is two-fold: (1) the artisan’s cognitive grasp of her expertise and her decision to deploy that expertise are the two efficient causes necessary to explain the existence of an artifact, and (2) the purpose that the artisan had in mind when she decided to make an artifact fixes the function(s) of the artifact such that an artisan’s purpose is the final cause necessary to explain what an artifact is. Artifacts indeed exist, owing what they are and that they are to intelligent and volitional human activity, which Ockham never denies. The article submits that a myopic focus on Ockham’s indisputable reductionism does not exhaust what is metaphysically interesting and relevant about artifacts. (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)

The paper contains a conceptual proposal, its key idea being that the successful functioning of a rule embedding artifact designed to regulate a practice (not pertaining to its use) produces the same result as the successful performance of the rule-invoking non-communicative actions belonging to the practice in case.

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)

One of the important questions discussed by philosophers of technology has to do with the moral significance of artefacts in human life. While many philosophers agree that artefacts do have moral significance attached to them, opinions vary as to how it is to be construed. In this paper we deal with the approach of the influential Dutch philosopher of technology Peter Paul Verbeek. He criticizes traditional ethical theories for assuming that whatever relevancy artefacts have for morality is entirely dependent on (...) human beings, since artefacts are mere passive instruments of human agency. In contrast, he develops a view of moral agency that includes artefacts and that ascribes moral agency to human-technology hybrids rather than to humans as such. The goal of this paper is to elucidate Verbeek’s account of moral agency and evaluate it. We also deal with his views on post phenomenology and mediation underlying this account. Although the general gist of our paper is expository, we point out to several problems for Verbeek’s account. (shrink)

It is now standard to interpret Aquinas as recognizing two main types of material objects: substances and artifacts, where substances are those material objects that result from some particular substantial form inhering in prime matter, and artifacts are those material objects that result from some particular accidental form inhering in one or more material substances. There are two problems with this standard interpretation. First, there are passages in which Aquinas states that accidental forms should be understood not as (...) inhering in substances from the outside, but as entering into their composition so as to be included among their metaphysical parts. Second, there are passages in which Aquinas states that it is impossible for any accidental form to be shared by two or more substances. This article considers what implications these two observations might have for how we understand the metaphysical structure of artifacts in Aquinas’s ontology. (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)

Creations of the Mind: Essays on Artifacts and their Representation, ed. Stephen Laurence and Eric Margolis, Oxford: Oxford University Press, 2007.

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

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

Neste artigo faz-se uma descrição do Sistema Global de Posicionamento e dos dispositivos de navegação de uso rodoviário que o constituem, enquanto artefatos, com vista a uma leitura semiótica destes últimos em articulação com a sistematicidade. De uma semiótica tradicional dos objetos passa-se a uma que se centra na sua materialidade, a partir da qual é possível detecar sentidos performativos na tecnologia. Esta abordagem permite uma compreensão mais detalhada do caráter global das tecnologias móveis em articulação com a sua individualização. (...) A tese que se defende é a de que é possível dar conta do que é próprio da materialidade deste fenómeno, explorando, a par dos elementos tradicionalmente simbólicos, aspectos não redutíveis a estes. Não obstante, destaca-se como o material e o simbólico permanecem numa relação que permite identificar mais claramente a complexidade dos sistemas e artefatos técnicos, bem como os elementos que, neste domínio, estabelecem uma interação entre produção e consumo. Deste modo, chega-se a uma semiótica material que permite uma interpretação mais fiel do que é específico da componente funcional da tecnologia, em particular de um sistema e artefatos que se instalam cada vez mais no quotidiano, evitando a redução a uma valoração utilitária. This paper makes a depiction of the Global Positioning System and the navigation devices that are part of it, as artifacts. It aims to develop a semiotic reading of these artifacts in articulation with systematicity. From a traditional semiotics of objects, it goes to a material one, in which it is possible to find performative trends on technology. This approach is an opportunity to understand in a detailed way the global character of mobile technologies in articulation with individualization. The thesis held here is that this is a better way to handle with the specificities of materiality, exploring, besides the traditionally symbolic elements, aspects not reducible to the latter. Nevertheless, both the material and the symbolic layers are in permanent relation. The observation of this helps to understand systems and artifacts' complexity, as well as some of the elements that are involved in the interactions between production and consumption. By doing this, the paper tries to achieve a material semiotics frame that allows an interpretation more faithful to the specificities of the functional aspects of technology, particularly those that are part of a system and artifacts so present in daily life, avoiding a reduction to a utilitarian valuation. (shrink)

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

In this 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)

El presente trabajo tiene como objetivo fundamental discutir críticamente algunas de la tesis principales del planteo hilpineano sobre los artefactos técnicos y establecer las limitaciones inherentes a su modelo de autoría. Con este propósito se reconstruyen, en primer término, los conceptos vertebradores de la posición de Hilpinen para luego indagar sus supuestos a través de un análisis de su aplicación al campo de producción contemporánea y al territorio de los bioartefactos. The principal aim of this paper is discuss Hilpinen's main (...) theses concerning technical artifacts and to indicate some limitations to his model of authorship. We first reconstruct the essential arguments of Hilpinen's perspective then we explore its assumptions through an analysis of its application to the realms of contemporary production and bio-artifacts. (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)

This paper critically examines the forays into metaphysics of The Dual Nature of Technical Artifacts Program (henceforth, DNP). I argue that the work of DNP is a valuable contribution to the epistemology of certain aspects of artifact design and use, but that it fails to advance a persuasive metaphysic. A central problem is that DNP approaches ontology from within a functionalist framework that is mainly concerned with ascriptions and justified beliefs. Thus, the materiality of artifacts emerges only as (...) the external conditions of realizability of function ascription. The work of DNP has a strong programmatic aspect and much of its foray into metaphysics is tentative, so the intent of my argument is partly synthetic: to sum up these issues as they are presented in the literature and highlight some recognized problems. But I also go beyond that, suggesting that these problems are foundational, arising from the very way in which DNP poses the question of artifact metaphysics. Although it sets out to incorporate objective aspects of technology, DNP places a strong focus on the intentional side of the purported matter-mind duality, bracketing off materiality in an irretrievable manner. Thus, some of the advantages of dualism are lost. I claim that DNP is dualistic, not merely based on “duality”, but that its version of dualism does not appropriately account for the material “nature” of artifacts. The paper ends by suggesting some correctives and alternatives to Dual Nature theory. (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)

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)

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)

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)

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)

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 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 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)

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)

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)

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)