In this paper, I explore a line of argument against one form of realism about fictional characters : abstract artifact theory, the view according to which fictional characters like Harry Potter are part of our reality, but, they are abstract objects created by humans, akin to the institution of marriage and the game of soccer. I will defend artifactualism against an objection that Mark Sainsbury considers decisive against it: the category-mistake objection. The objection has it that artifactualism (...) attributes to people who produce and process sentences and thoughts about Harry Potter massive error, indeed, a category mistake about what kind of thing Harry Potter is; for an abstract object isn’t the sort of thing that can wear glasses, ride a double-decker bus, attend school. Given problems with this objection, artifactualism, I shall conclude, remains a tenable contender. (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)

Artefacts are usually understood in contrast with natural kinds and conceived as a unitary kind. Here we propose that there is in fact a variety of artefacts: from the more concrete to the more abstract ones. Moreover, not every artefact is able to fulfil its function thanks to its physical properties: Some artefacts, particularly what we call “institutional” artefacts, are symbolic in nature and require a system of rules to exist and to fulfil their function. Adopting a standard method (...) to measure conceptual representation (the property generation task), we have experimentally explored how humans conceptualise these different kinds of artefacts. Results indicate that institutional artefacts are typically opposed to social objects, while being more similar to standard artefacts, be they abstract or concrete. (shrink)

Scott Shapiro’s theory that law is a social plan is helpful in seeing law essentially as a tool of human creation and as such is sympathetic to understanding law in terms of the social functions it performs, a method I argue for elsewhere. I focus here on two problems with the theory as presented. The planning theory does not adequately explain the persistence of law beyond the utility of those who implement it. Generally, plans can cease to exist as soon (...) as those engaged in them have no more use for them. Laws however, must usually be declared invalid or otherwise nullified for them to have no further effect. Shapiro’s use of self-certification to explain how law is differentiated from other forms of social planning is ad hoc and threatens circularity when he admits it to be a matter of degree. Both of these issues can be better solved by seeing law as an institutionalised abstract artefact, with a greater emphasis upon the nature of institutions doing much of the work done by the idea of planning. (shrink)

This volume explores the roles and uses of abstraction in scientific and artistic practice. Conceived as an interdisciplinary dialogue between experts across histories and philosophies of art and science, this collection of essays draws on the shared premise that abstraction is a rich and generative process, not reducible to the mere omission of details in a representation. When scientists attempt to make sense of complex natural phenomena, they often produce highly abstract models of them. In the history and philosophy (...) of art, there is a long tradition of debate on the function of abstraction, and - more recently - its relation with theories of depiction. Adopting a process-oriented perspective, the chapters in this volume explore the epistemic potential of a diversity of practices of abstracting. The systematic analysis of a wide range of historical cases, from early twentieth-century abstractionist painting to contemporary abstract photography, and from nineteenth-century physics to recent research in biology and neurosciences, invites the reader to reflect on the material lives of abstraction through concrete artefacts, experimental practices and theoretical and aesthetic achievements. Abstraction in Science and Art: Philosophical Perspectives will be of interest to scholars and advanced students working in aesthetics, philosophy of science, and epistemology, as well as to historians of science and art, and to practicing artists and scientists interested in exploring foundational questions at the heart of the creative practice of abstracting. (shrink)

What are the possible varieties of cognition-artifact relations, and which dimensions are relevant for exploring these varieties? This question is answered in two steps. First, three levels of functional and informational integration between human agent and cognitive artifact are distinguished. These levels are based on the degree of interactivity and direction of information flow, and range from monocausal and bicausal relations to continuous reciprocal causation. In these levels there is a hierarchy of integrative processes in which there is (...) an increasing degree of hybridization. Therefore, from a functional and informational level of abstraction, it becomes increasingly difficult to distinguish between agent and artifact in this hierarchy. Second, a multidimensional matrix for exploring cognition-artifact relations is sketched. The dimensions in the matrix include reliability, durability, trust, procedural and representational transparency, individualization, bandwidth, speed of information flow, distribution of computation, and cognitive and artifactual transformation. Together, these dimensions constitute a multidimensional space in which particular cognition-artifact relations can be located. The higher a particular cognition-artifact relation scores on these dimensions, the more integration and hybridization occurs, and the more tightly coupled the overall system is. It is then better, for explanatory reasons, to see agent and artifact as one cognitive system with a distributed informational architecture. (shrink)

I have argued that law is a genre of institutionalized abstract artifact, meaning that laws are purposive products of human creation designed to signal norms of behavior with respect to them. Its institutional nature is seen in the fact that it is a system of artificial statuses that convey deontic powers to status holders understood in their institutional roles. Following Searle in explaining institutions, however, is also to see the institution as the 'continuing possibility of a practice.' Hence (...) there is no tension in seeing law as both a practice and a genre of artifact. (shrink)

As Nelson Goodman highlighted, there are two main senses of “abstract” that can be found in discussions about abstract art. On the one hand, a representation is abstract if it leaves out certain features of its target. On the other hand, something can be abstract to the extent that it does not represent a concrete subject. The first sense of “abstract” is well-known in philosophy of science. For example, philosophers discuss mathematical models of physical, biological, (...) and economic systems as being abstract in this sense. However, it is the second sense that dominates discussions of abstract art in aesthetics. For example, abstract art was (and is) considered revolutionary precisely for being non-figurative. Through an analysis of artists including Kandinsky, Malevich, and Mondrian, we develop a reading of this second sense, which we call “generative abstraction,” as opposed to “subtractive” abstraction. Generative abstraction is a process in which a new artifact is created which does not represent the initial concrete target system that inspired it (if there was one), where the artifact’s features are explored for their own sake, and where the “language” of the new artifact is in some way more “universal.” Focusing on this sense of abstraction is helpful in revealing the complexity of the process of crafting an abstract artifact, in problematizing the notion that abstraction can always be un-done (or concretized), as well as revealing new ways for abstractions to be epistemically (un)successful. (shrink)

A hitherto neglected form of explanation is explored, especially its role in population genetics. “Statistically abstractive explanation” (SA explanation) mandates the suppression of factors probabilistically relevant to an explanandum when these factors are extraneous to the theoretical project being pursued. When these factors are suppressed, the explanandum is rendered uncertain. But this uncertainty traces to the theoretically constrained character of SA explanation, not to any real indeterminacy. Random genetic drift is an artifact of such uncertainty, and it is therefore (...) wrong to reify it as a cause of evolution or as a process in its own right. *Received July 2009. †To contact the author, please write to: Department of Philosophy, University of Toronto, 170 St. George St., Toronto, ON M5R 2M8, Canada; e‐mail: [email protected]. (shrink)

Some computational phenomena rely essentially on pragmatic considerations, and seem to undermine the independence of the specification from the implementation. These include software development, deviant uses, esoteric languages and recent data-driven applications. To account for them, the interaction between pragmatics, epistemology and ontology in computational artefacts seems essential, indicating the need to recover the role of the language metaphor. We propose a User Levels (ULs) structure as a pragmatic complement to the Levels of Abstraction (LoAs)-based structure defining the ontology and (...) epistemology of computational artefacts. ULs identify a flexible hierarchy in which users bear their own semantic and normative requirements, possibly competing with the logical specification. We formulate a notion of computational act intended in its pragmatic sense, alongside pragmatic versions of implementation and correctness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Practicing the Religious Self: Buddhist-Christian Identity as Social ArtifactDuane R. BidwellIt is somewhat paradoxical to write or speak about identity formation in two religious traditions that ultimately deny the reality of any identity that we might claim or fashion for ourselves. In the Christian traditions, a person’s true (or ultimate) identity is received through God’s action and grace in baptism; to foreground any other facet of the self, (...) or to anchor identity in anything but baptism, could be considered a form of idolatry. In the Buddhist traditions human identity is empty, woven not from an inherent or externally granted essence but through the interdependent arising of all things; 1 to cling to self and to identity as independent, enduring, immutable, or autonomous signals a mistaken understanding of reality.2 Indeed, as religious scholar Alice Keefe has written, “belief in the self as independent and self-existent is our fundamental delusion and root poison.” 3Yet day by day most of us experience our identities, including our religious, cultural, and social identities, as neither empty nor erased. On the contrary: they seem to be inscribed with enduring meaning. Knowledge has been chiseled into them through our participation in the rituals and relationships of the world. At times the very fullness of our identities can feel on the verge of overflowing. This sense of dynamic presence and fullness causes our identities to serve as important (and perhaps essential) tools for negotiating the hurly-burly of experience and relationship in the mundane, finite, material world.4 From this perspective, our religious identities are social artifacts, entities and meanings formed in between, or on the margins of, biological selves that are related to one another through communities of practice.5 These communal artifacts may then be interiorized by individuals as resources that can be employed in or offered back to the world—performed, if you will—through particular (and sometimes disciplined) practices.6The primacy of social process in creating and maintaining religious identity implies that community remains central to the process of fashioning the religious self in contemporary Buddhist and Christian practice. If this is true, it raises, of course, important questions about our understandings of ecclesiology and the nature of the sangha, theological anthropology and Buddhist understandings of the person. These questions [End Page 3] deserve to be answered, but they are too broad to be addressed here. My more modest intention is to contribute to generative conversation about religious identity formation by illustrating how my own religious identities as Buddhist and Christian have been practiced and performed as social artifacts in two particular instances. In a secondary sense, this essay serves as a reflection on pastoral work in a multifaith context, something “much needed in the Buddhist-Christian studies milieu.” 7Given the diverse academic approaches to Buddhist-Christian studies, it seems wise to begin by describing my own background and approach. By training I am a pastoral theologian, someone who seeks to understand critically the richness and complexity of human experiences and then to respond with appropriate, faithful, and effective acts of care. The psychological meta-theory of social constructionism serves as a primary conversation partner for my work; it invites me to ask “not what goes on ‘inside’ people, but what people go on inside of.” 8 For pragmatic reasons I tend to utilize David Tracy’s mutual critical (or revised) correlational method,9 and in the dialectic between understanding human experience and responding to it, I privilege liberationist theologies and religio-ethical norms of justice, love, and wisdom. My practice as a spiritual director and pastoral counselor seeks to promote practices of freedom for all people.10As a minister in the Presbyterian Church (USA) I am accountable to the Reformed tradition of Christian theology. My formal theological education occurred in the ecumenical context of a divinity school affiliated with the Christian Church (Disciples of Christ) and at a diocesan seminary affiliated with the contemplative Anglican tradition. My informal training in Buddhist philosophy and practice occurred in the Theravada traditions of Southeast Asia, primarily through five years of participation in an immigrant congregation and weekly study with Thich Phap Nhan, a Vietnamese monk... (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public (...) domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In what follows, I present only part of a program that consists in developing a version of actualism as an adequate framework for the metaphysics of intentionality. I will try to accommodate in that framework suggestions found in Kripke’s works and some positions developed by Amie Thomasson. What should we change if we accept “fictional entities” in the domain of the actual world? Actualism is the thesis that everything that exists belongs to the domain of the actual world and that (...) there are no possibilia. I shall defend that there are abstract artefacts, like fictional characters, and institutions. My argument could be seen as a version of Moore’s paradox: it is paradoxical to say: “I made it, but I do not believe it exists”. Moreover, there are true sentences about them. I will examine what it means to include abstract artefacts in the domain of the actual world. I favour a use of “exist” that includes beings with no concrete occupation of tri-dimensional space; to exist, it is enough to have been introduced at some moment in history.artefacts, like fictional characters, exist in that sense. I argue that it is important to distinguish two perspectives in order to clarify the kind of knowledge we have of fictional characters. However, their existence presupposes a relation of dependence to a material basis and the mental activities of many people. (shrink)

The aim of this paper is an ontological clarification of the concept of artefact. The following questions are addressed: 1. Do artefacts constitute an ontological category of objects in its own right, and if so, how could this category be characterized? 2. How do artefacts come into existence? 3. What kind of artefacts are there, and in which relations do they stand to each other? It is argued that artefacts are characterized essentially through their genesis and that they owe their (...) existence to mental acts of a particular kind, which I call “acts of creation”. It is maintained that there are not only concrete, material artefacts, but also abstract artefacts, that is, artefacts that cannot be perceived through the senses and are not located in space. Furthermore, it shall be claimed that in a sense those abstract artefacts are even primary to the concrete, material artefacts. (shrink)

This chapter provides an explanation of precedent as a kind of artefact, in keeping with broader accounts of law that do so, specifically the author’s account of law as a genre of institutionalized abstract artefact. The chapter develops its explanation by responding to an argument by Dan Priel against seeing the common law as an artefact when understood to be a form of custom. The chapter shows that customs can themselves be artefacts but also that the precedential elements of (...) common law are not necessarily quite as customary as sometimes considered, showing that the common law built from precedents fits within a distributed design model of artefacts and that stare decisis has a wider systemic function of upholding certain rule of law principles. It ends with some considerations about the institutional nature of precedents, specifically that judicial decisions are most often both applications and developments of legal norms, but also determinations of legal validity. (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)

In this book, a general type ontology of works is defended and developed in detail. A wide concept of “work” is used here, such that “work” roughly corresponds to “artefact”. Though the focus is on works of art, the theory is meant to be applicable, in principle, to works of science and technology and to everyday items of all sorts as well. Among others, the following questions are discussed: To what ontological category or categories do works belong? Is there a (...) principled ontological divide between linguistic and musical works, on the one hand, and works of the visual arts on the other? What is the relationship between works and such diverse things as performances, manuscripts, scores, blueprints, stagings, film screenings, printing plates, data carriers, and others? What is the relationship between works and interpretations? In what way do works come into existence? Can works, once they are finished, be changed and/or cease to exist, and if so, under what conditions? Which sorts of parts can be distinguished within a work? Is the context of origin constitutive of a work’s identity? Can a translation be identical with the original linguistic work? Who is the author of a computer-generated work? The central thesis is that works of all kinds are abstract artefacts, i. e., types that are instantiated in concrete particulars, that is, in material or mental objects and events. The relationship between works and their “realizations” is defined by means of a modes of predication distinction, as it is used in a variety of Meinongian logics. An extensive chapter is dedicated to the relation between “representing works” and their represented worlds, with a focus on fictitious worlds and their objects. The latter are modeled as parts of fictional works. (shrink)

The primary aim of this paper is to provide a plausible fictional creationist explanation of when and how a fictional object comes into existence without a successful creative intention, focusing on the problem posed by Stuart Brock’s nominalist author scenario. I first present some intuitions about parallel scenarios for fictional objects and concrete artifacts as data to be explained. Then I provide a sufficient condition for the existence of artifacts that can explain both cases. An important upshot of this is (...) that there is an overlooked way to bring artifacts into existence that should merit serious consideration, and this leads to a version of the mind-dependence, but not the intention-dependence, view of artifacts. (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 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)

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)

Artefacts do not always do what they are supposed to, due to a variety of reasons, including manufacturing problems, poor maintenance, and normal wear-and-tear. Since software is an artefact, it should be subject to malfunctioning in the same sense in which other artefacts can malfunction. Yet, whether software is on a par with other artefacts when it comes to malfunctioning crucially depends on the abstraction used in the analysis. We distinguish between “negative” and “positive” notions of malfunction. A negative malfunction, (...) or dysfunction, occurs when an artefact token either does not or cannot do what it is supposed to. A positive malfunction, or misfunction, occurs when an artefact token may do what is supposed to but, at least occasionally, it also yields some unintended and undesirable effects. We argue that software, understood as type, may misfunction in some limited sense, but cannot dysfunction. Accordingly, one should distinguish software from other technical artefacts, in view of their design that makes dysfunction impossible for the former, while possible for the latter. (shrink)

Are fictional characters such as Sherlock Holmes real? What can fiction tell us about the nature of truth and reality? In this excellent introduction to the problem of fictionalism R. M. Sainsbury covers the following key topics: what is fiction? realism about fictional objects, including the arguments that fictional objects are real but non-existent; real but non-factual; real but non-concrete the relationship between fictional characters and non-actual worlds fictional entities as abstract artefacts fiction and intentionality and the problem of (...) irrealism fictionalism about possible worlds moral fictionalism. R. M. Sainsbury makes extensive use of examples from fiction, such as Sherlock Holmes, Anna Karenina and Madame Bovary and examines the work of philosophers who have made significant contributions to the topic, including Meinong, David Lewis, and Bas Van Fraassen. Additional features include chapter summaries, annotated further reading and a glossary of technical terms, making _Fiction and Fictionalism_ ideal for those coming to the issue for the first time. (shrink)

The primary aim of this chapter is to show that several missteps made by others in in their thinking about law as an artefact are due to misconceptions about the role of intentions in understanding law as an artefact. I first briefly recap my own contention that law is a genre of institutionalized abstract artefacts (put forth in The Functions of Law (OUP 2016) and subsequent papers), mostly following Searle’s understanding of institutions and Thomasson’s understanding of public artefacts. I (...) highlight the central place that this theory affords law’s functions, without requiring the theorist to say that possession or performance of the function is either necessary or sufficient for inclusion in the class of law. Some of the most common misunderstandings are exemplified in Brian Leiter’s paper ‘Legal Positivism about the Artifact Law’. He thinks that holding an intentionalist view of artefacts commits the theorist to privileging drafters’ intentions when interpreting law. (It doesn’t.) He also has confusions about the differences between artefact tokens and artefact types leading him to a problematically broad understanding of artefacts. Another problem can be seen in thinking that functional understandings of artefacts are vulnerable to the same problems that arise in functional explanations for biological systems. I go on to consider the work of Luka Burazin and Corrado Roversi, addressing worries that making intentionality central to artefacts implies too much conscious thought is required to make one, noting that several theories of intentionality do not require conscious thought in the execution of intentional action. While those who think a central place for intentionality threatens to leave us unable to explain customary law, this can be dealt with by noting the important distinction between customary rules and customary laws (where the latter requires a decision to enlist public aid in redressing violations). I claim that authors’ intentions are communicated requests for the artefacts’ audiences to see the artefacts as members of their putative kinds. Finally, I address the question of whether or not legal systems are themselves artefacts and institutions, given that they may or may not have been intentionally created. An early lawgiver might have created a legal system by accident in the process of handing down the first laws. I raise the possibility that we might want to impute intentionality to necessary by-products of artefact creation, seeing those by-products as artefacts as well. (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 his “Naming and Necessity” lectures (1972, 156–7) 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. (shrink)

In our everyday discourse, most of us use modal statements to express possibility, necessity, or contingency. Logicians, linguists, and philosophers of language tend to use the possible world discourse to analyse the semantics of this kind of sentences. There is a disadvantage of this method: in the usual Quinean meta-ontology it commits the users to the existence of possible worlds. Even though there are many theories on metaphysics of these possible worlds, I will focus on the fictionalist approach, which aims (...) to suspend the undesired ontological commitment. Therefore it is an anti-realist theory. The fictionalist strategy is based on the idea that according to our common-sense ontology, fictions and fictional entities do not exist, and one can treat the possible world discourse as a fiction, and the possible worlds as fictional entities. However, in the last two decades, realist theories about fictions and fictional entities have arisen, especially the abstract artefact theory. In this paper I try to revise the fictionalist approach to modality by keeping the main idea that possible worlds are fictional entities, while accepting that fictional entities are abstract artefacts. The result is a new realist theory of modal fictionalism. (shrink)

I argue that law is best understood as an institutionalized abstract artifact. Using the ideas of John Searle on institutions and Amie Thomasson on artifacts, I show how the law is capable of generating new reasons for action, arguing against recent work by David Enoch who holds that legal reason-giving is ultimately a form of triggering conditional reasons.

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)

People often use expressions such as ‘Sherlock Holmes’ and ‘Pegasus’ that appear to refer to imaginary objects. In this paper, I consider the main attempts to account for apparent reference to imaginary objects available in the literature and argue that all fall short of being fully satisfactory. In particular, I consider the problems of two main options to maintain that imaginary objects are real and reference to them is genuine reference: possibilist and abstractist account. According to the former, imaginary objects (...) are possible concrete objects. According to the latter, imaginary objects are actual abstract objects. I will then propose an account, the dualist account, which, I argue, combines the respective advantages of both accounts without sharing any of their respective disadvantages. According to this account, imaginary objects are not fully reducible to either abstract objects or possible objects: they are abstract artefacts that, in some contexts, stand for possible 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 evolution of human cognitive abilities, despite intensive sociological, psychoanalytic and neurobiological investigations, is poorly understood. The basic events of this evolution: progressive language development, technologization, increased learning aptitude, remain a field of speculations without coherent and consistent explanations. In the recent manuscript, a production of artefacts as a general pre-condition of human being is highlighted, and a key role they played by reshaping of neuro-physiological functions is factually substantiated. • • • -/- German Abstract: Die Evolution menschlicher kognitiver (...) Fähigkeiten ist, trotz vielseitiger Untersuchungensmethoden, bislang kaum verstanden. Die grundsätzlichen Ereignisse dieser Evolution: fortschreitende Sprachentwicklung, Intellektualisierung, Technisierung, Bildung großer Gemeinschaften, werden spekulativ, ohne zusammenhängende und schlüssige Erklärung, diskutiert. In aktuellem Manuskript wird die allgemeine Voraussetzung menschlicher Existenz, die Artefaktenherstellung, hervorgehoben, um auf ihre Schlüsselrolle bei der Neuformung neuro-physiologischer Funktionen hinzuweisen. Im Weiteren werden die Gefahren erörtert, die entstehen, wenn der Schöpfer die Kontrolle über sich selbst verliert, und im Züge der Technisierung und Verwissenschaftlichung die Grundlagen eigener Existenz zerstört. • • • -/- Russian Abstract: Происхождение рассудочной деятельности у вида Homo sapiens, несмотря на интенсивные социологические, психологические, нейробиологические и прочие методы изучения, до сих пор мало понято. Основные события эволюции человека: прогрессивное развитие речевой деятельности, технологизация, повышенная способность к обучению, остаются областью бессвязных спекуляций. В данной работе освящается значение производства артефактов как условие возникновения человека, и доказывается роль, которую артефакты играют в процессе новообразования нейро–физиологических функций. (shrink)

L’article publié ici se propose d’emprunter une voie qui n’avait pas été empruntée dans les explorations précédentes de l’auteur. En effet, on verra qu’il s’agit ici de surmonter les difficultés auxquelles sont confrontées les théories réalistes de la fiction et en particulier la théorie artefactuelle dont Amie Thomasson est l’auteur. La question principale s’édicte en ces termes : s’il y a des personnages de fiction, comment se fait-il qu’il nous soit naturel de dire que tel ou tel personnage n’existe pas (...) ? Comment rendre compte des affirmations de non-existence des personnages de fiction, en particulier lorsqu’on est un réaliste de la fiction ? L’auteur confronte trois manières de traiter ces affirmations : l’approche par la quantification restreinte et l’approche linguistique et enfin l’approche des conditions d’application, point de vue auquel l’auteur se rallie. La première approche consiste à faire des restrictions spatiales ou catégorielles afin de cerner le champ de la référence. La seconde approche, qui est celle que les théoriciens de la référence directe emploient majoritairement, consiste à passer par le métalangage, c’est-à-dire de passer à un niveau sémantique supérieur. La dernière approche, celle par les conditions d’application, est construite sur les vertus des deux premières approches. Enfin, l’auteur élargira l’apport de cette dernière approche aux débats métaphysiques. (shrink)

Abstract: In this article I argue that the best way to understand the information turn is in terms of a fourth revolution in the long process of reassessing humanity's fundamental nature and role in the universe. We are not immobile, at the centre of the universe (Copernicus); we are not unnaturally distinct and different from the rest of the animal world (Darwin); and we are far from being entirely transparent to ourselves (Freud). We are now slowly accepting the idea (...) that we might be informational organisms among many agents (Turing), inforgs not so dramatically different from clever, engineered artefacts, but sharing with them a global environment that is ultimately made of information, the infosphere. (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)

Abstract: Stakeholder theorists have typically offered both a business case and an ethics case for business ethics. I evaluate arguments for both approaches and find them wanting. I then shift the focus from ethics to law and ask: “Why should corporations obey the law?” Contrary to what shareholder theories typically imply, neoclassical or profit maximization theories of the firm can offer answers based only on instrumental justifications. Instrumental justifications for obeying the law, however, are pragmatically and normatively incoherent. This (...) is because the modern corporation is a legal artifact. It exists because communities create the legal framework necessary for its existence. Individual corporations can therefore be said to owe their existence to a partnership (what might be called a social contract) between shareholders and governments, a partnership that is itself built on the shared though often implicit understanding that corporations have an unconditional (categorical) obligation both to obey the law and to treat their stakeholders ethically while generating wealth for their shareholders. (shrink)

ABSTRACT This paper reconstructs William of Ockham's (c. 1287–1347) account of the ontology of social groups. Across his writings, Ockham mentions kingdoms, religious orders, crowds, people, armies, and corporations. Using the political community as a case-study against the background of Ockham’s metaphysics of parts and wholes, it is argued that at least some social groups are identical to a plurality of many human beings who have decided to order themselves with respect to another in some particular way. In this (...) regard, a social group is a structured aggregate that is nothing over and above its existing and ordered parts, and, at least in the case of the political community, is like an artefact inasmuch as it is partly dependent on the volitional acts of its members to exist at all. (shrink)

Abstract. The dissertation defends the thesis that the mind-body problem arises against the background of the elimination of the manifest physical world, and that the only satisfactory response to it is to take back that elimination and thus to dissolve the problem. Various materialist and dualist responses are shown to be inadequate. They are only different forms of ontological fundamentalism – physics fundamentalism and consciousness fundamentalism – that lead to ultimately meaningless metaphysical constructions. By contrast, on the ontologically pluralist (...) view outlined here, the fact that the entire spatiotemporal world has a physical microstructure is compatible with a naive realism with regard to both the manifest physical world and to consciousness. We only need to ascribe physical microstructures to both while identifying neither with these structures. After an introduction that identifies the elimination of the manifest physical world in modernity as the metaphysical background of the mind-body problem and describes the dilemmatic situation created by the typical reactions to it, the first chapter attempts to clarify what consciousness is. The second chapter then discusses some of the standard formulations of the so-called “puzzle” or “mystery” of consciousness. It is shown that these cannot be transformed into a genuine, answerable question. The notion that other macrophenomena can be explained much better than consciousness, perhaps even in a completely transparent way, is revealed to be an illusion, an artefact of the tacit elimination of the manifest physical world. In the third chapter, the thesis that consciousness has spatial properties is defended against various forms of skepticism. The fourth chapter begins the debate with the mind-body identity theory by discussing various positions on identity statements in the philosophy of language. This discussion leads to the conclusion that the idea of informative identity statements is meaningless. On this basis, the notion of an empirically contentful so-called “scientific identification” of consciousness phenomena with their neuronal correlates is criticized in the fifth chapter. The sixth chapter argues that it is possible to dissolve the problem of mental causation if a physiological and ultimately also a microphysical structure is ascribed to consciousness. In a concluding reflection it is explained what it means that the present suggestion amounts to a dissolution rather than a solution of the traditional mind-body problem. Zusammenfassung. In dieser Arbeit wird die These vertreten, dass das Leib-Seele- Problem vor dem Hintergrund der Elimination der manifesten physischen Welt entsteht und die einzig befriedigende Reaktion darauf nur sein kann, diese Elimination wieder rückgängig zu machen und das Problem damit aufzulösen. Materialistische und dualistische Reaktionen werden als unzulänglich erwiesen. Sie sind nur verschiedene Formen eines ontologischen Fundamentalismus – Physikfundamentalismus und Bewusstseinsfundamentalismus – der zu letztlich sinnlosen metaphysischen Konstruktionen führt. Dagegen ist nach dem hier vertretenen ontologischen Pluralismus die Tatsache, dass die gesamte raumzeitliche Welt eine physikalische Mikrostruktur hat, mit einem naiven Realismus sowohl in Bezug auf die manifeste physische Welt als auch in Bezug auf das Bewusstsein vereinbar. Wir müssen nur beiden eine physikalische Mikrostruktur zuschreiben ohne sie mit dieser zu idenfizieren. Nachdem in der Einleitung die Elimination der manifesten physischen Welt in der Neuzeit als der metaphysische Hintergrund des Leib-Seele-Problems identifiziert und die durch die typischen Reaktionen darauf entstehende dilemmatische Aus- gangssituation beschrieben worden ist, klärt das erste Kapitel, was Bewusstsein ist. Im zweiten Kapitel werden dann einige gängige Formulierungen des so genannten „Bewusstseinsrätsels“ vorgestellt. Es wird gezeigt, dass diese sich nicht in eine wirklich beantwortbare Frage transformieren lassen. Die Vorstellung, dass sich andere Makrophänomene wesentlich besser erklären lassen als das Bewusstsein, oder gar in vollständig transparenter Weise, wird als Illusion, als Artefakt der stillschweigenden Elimination der manifesten Welt erwiesen. Im dritten Kapitel wird die These, dass das Bewusstsein räumliche Eigenschaften hat, gegen verschiedene Formen der Skepsis verteidigt. Im vierten Kapitel beginnt die Auseinandersetzung mit der Identitätstheorie mit einer Diskussion sprachphilosophischer Positionen zu Identitätsaussagen, die die These begründet, dass die Vorstellung informativer Identitätsaussagen sinnlos ist. Auf dieser Grundlage wird im fünften Kapitel die Vorstellung einer empirisch gehaltvollen so genannten „wissenschaftlichen Identifikation“ von Bewusstseinsphänomenen mit ihren neuronalen Korrelaten kritisiert. Im sechsten Kapitel wird gezeigt, dass sich das Problem mentaler Verursachung auflösen lässt, wenn man Bewusstseinsphänomenen eine physiologische und letztlich auch physikalische Mikrostruktur zuschreibt. In einer Schlussbetrachtung wird erläutert, warum der Vorschlag in dieser Arbeit eine Auflösung statt einer Lösung des Leib-Seele-Problems darstellt. (shrink)

Abstract Ontological holism is the thesis that social groups are best understood as composite material particulars. At a high level of taxonomic classification groups such as mobs, tribes and nations are the same kind of thing as organisms and artefacts. This holism is opposed by ontological individualism, which maintains that in our formal and folk social scientific discourse we only really refer to individuals and the relations in which they stand. The paper begins from the claim that ontological holism (...) is given prima facie plausibility by the apparently ineliminable role of groups in some descriptions and explanations of the social domain. If the individualist accepts the link between indispensabilty and realism, then individualism must show that groups cannot play the role the holist requires. Three arguments are considered which aim to show that groups are indeed unfitted for this ineliminable role: the appeal to reduction-in principle, the claim that groups cannot possess the causal powers attributed to them by holism, and the view that holism is committed to the attribution of mental properties to groups. Each is rejected as a basis for undermining holism. The paper concludes that this leaves holism in a position to be articulated within a framework that supports a broadly naturalist conception of the social sciences. (shrink)

abstract Demands for restitution of cultural artefacts and relics raise four main issues: 1) how claims to cultural property can be justified; 2) whether and under what conditions demands for restitution of cultural property are valid — especially when they are made long after the artefacts were taken away; 3) whether there are values, aesthetic, scholarly and educational, which can override restitution claims, even when these claims are legitimate; and 4) how these values bear on the question of whether (...) artefacts should be returned to their place of origin. I argue that a proper conception of cultural property emphasises the role that artefacts play in the practices and traditions of a collectivity. On the basis of this conception, some restitution claims can be defended as legitimate. However, many demands for restitution are not justified (including the Greek claim to the Parthenon Marbles). Moreover, a case for restitution can be more or less strong, and other considerations sometimes prevail over rights of cultural property. (shrink)

ABSTRACT Isaiah Berlin’s criticisms of positive liberty are often read as mere artefacts of his Cold War context. But are they good criticisms? This article evaluates Berlin’s three main worries about positive liberty—the inner-citadel worry, the moralization worry, and the tyranny worry. I find that while they may be reasonable worries to have about any concept of liberty, they are not compelling criticisms of positive liberty in particular.

Abstract A unique aspect of human communication is the utilization of sets of well- delineated entities, the morphology of which is used to encode the letters of the alphabet. In this paper, we focus on Braille as an exemplar of this phenomenon. We take a Braille cell to be a physical artifact of the human environment, into the structure of which is encoded a representation of a letter of the alphabet. The specific issue we address in this paper (...) concerns an examination of how the code that is embedded in the structure of a Braille cell is transferred with fidelity from the environment through the body and into the Braille reader’s brain. We describe four distinct encoding steps that enable this transfer to occur. (shrink)

ABSTRACT Zora Neale Hurston's Barracoon teaches us distinct lessons about African American literary studies and its relation to the memory of Africa. In this text, Kossula helps us better understand a transatlantic black identity, the tension that exist between those who remember Africa and those who have adopted a black American identity, and the failures of supposed victories and African emigration. This traversing also reminds us that there can be no agreed upon or stable method for charting literary history. (...) Instead, it encourages us to follow a model of historiography that looks for continuity and is more cross-directional than vertical. The archive, of course, requires such a model. Thus, Barracoon's publication, as an archival artifact especially, is also instructive as evidence of the primacy of the archive in relation to canon formation and literary traditions. (shrink)