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  1. A Metaphysics of Artifacts: Essence and Mind-Dependence.Tim Juvshik - 2022 - Dissertation, University of Massachusetts, Amherst
    My dissertation explores the nature of artifacts – things like chairs, tables, and pinball machines – and addresses the question of whether there is anything essential to being an artifact and a member of a particular artifact kind. My dissertation offers new arguments against both the anti-essentialist and current essentialist proposals. Roughly put, the view is that artifacts are successful products of an intention to make something with certain features constitutive of an artifact kind. The constitutive features are often functional (...)
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  • Teaching & Learning Guide for: “On the Semantics of Artifactual Kind Terms”.Irene Olivero & Massimiliano Carrara - 2022 - Philosophy Compass 17 (9):e12869.
    Philosophy Compass, Volume 17, Issue 9, September 2022.
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  • On the semantics of artifactual kind terms.Irene Olivero & Massimiliano Carrara - 2021 - Philosophy Compass 16 (11):e12778.
    What kind of reference (if any) do terms such as “pencil,” “chair,” “television,” and so on have? On the matter, a de-bate between directly referential theorists and descriptiv-ist theorists is open. It is largely acknowledged that natural kind terms (such as “water,” “gold,” “tiger,” etc.) are directly referential expressions (cf. Putnam,1975). That is, they are expressions whose reference is determined by their refer-ents' nature, independent of whether we know or will ever know what this nature is. However, it does not (...)
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  • Musical works are mind-independent artifacts.Elzė Sigutė Mikalonytė - 2023 - Synthese 203 (1):1-28.
    Realism about musical works is often tied to some type of Platonism. Nominalism, which posits that musical works exist and that they are concrete objects, goes with ontological realism much less often than Platonism: there is a long tradition which holds human-created objects (artifacts) to be mind-dependent. Musical Platonism leads to the well-known paradox of the impossibility of creating abstract objects, and so it has been suggested that only some form of nominalism becoming dominant in the ontology of art could (...)
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