Despite the applicability of assemblage theory to extreme events, the relational ontology that assemblage thinkers employ makes it hard to ground the potential of artefacts to undergo substantial change. To better understand how artefacts can be unexpectedly destroyed, and thereby catch managers by surprise, this article draws on Graham Harman’s object-oriented ontology. This approach is used to explain how artefacts, as concrete objects, have the capacity both to cause and to exacerbate calamities. By contrast, assemblage theory is shown to (...) provide insight into post-disaster organizing dilemmas. An analysis of artefact-based surprise at a disaster-prone New Zealand port illustrates the complementarity of the two approaches. Minimizing surprise was a major impetus behind attempts by port managers to make sizeable artefacts more disaster resilient. Yet there are limits to this process that stem from a gap revealed by the philosophical distinction between an artefact’s design plan and its maximum plan. Object-based surprise at the port also sparked tension between the competing imperatives of centralization and decentralization in post-disaster recovery. How this problem played out at the grassroots level is best explained, however, in assemblage-theoretic terms. (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)

It is a well-established fact in representationalist cognitive science that concrete concepts influence human perception. In radical, anti-representationalist cognitive science, however, the case is far from clear. One reason for this is that proponents of Radical Enactivism yet have to clarify whether perceptual activity involving concepts is bound to rely on mental content or if it instantiates basic, contentfree cognition. The purpose of this paper is to show that concept-involving perception instantiates REC-style basic cognition. The paper begins by considering (...) ‘cognitive projection’ as the term is introduced by Distributed Cognition research. Although being introduced as a means for exploring concept-based perception in non-representationalist terms, I argue that ‘cognitive projection’ comes with mentalist overtones and unclarities concerning its linguistic basis. With the purpose of overcoming these shortcomings, I unfold a REC-friendly reading of Wittgenstein’s writings on aspect perception, arguing that basic concept-involving perception is an instantiation of basic cognition. Concludingly, with the aim of ensuring compatibility, I make a connection between conceptual aspect perception and the REC notion of attentional anchors. The latter has been introduced to explore the role of material artefacts in the context of science, technology, engineering, and mathematics educational design but has, I submit, the potential for being extended to other practical contexts. (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 article examines how discourse participants use language, the body and the local interactional and material context in the construction of offers. The data consist of eight hours of video recordings of everyday interactions in English and Finnish, and conversation analysis is used as the method. We focus on offers that make available to the recipient some concrete referent or material object or artifact in the current situation, that is, ‘concrete offers’. The article shows that such offers (...) can be conceptualized as consisting of two interlinked actions, one identifying the referent and the other explicating the offer. The article further argues that the frequent accomplishment over time of such complex actions may contribute to the emergence of a set of social action formats for offers. This action combination is explored by discussing offers that range from fully linguistically articulated ones, to types where embodied actions take an increasingly central role. (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)

The recent discussion on scientific representation has focused on models and their relationship to the real world. It has been assumed that models give us knowledge because they represent their supposed real target systems. However, here agreement among philosophers of science has tended to end as they have presented widely different views on how representation should be understood. I will argue that the traditional representational approach is too limiting as regards the epistemic value of modelling given the focus on the (...) relationship between a single model and its supposed target system, and the neglect of the actual representational means with which scientists construct models. I therefore suggest an alternative account of models as epistemic tools. This amounts to regarding them as concrete artefacts that are built by specific representational means and are constrained by their design in such a way that they facilitate the study of certain scientific questions, and learning from them by means of construction and manipulation. (shrink)

Our concern is in explaining how and why models give us useful knowledge. We argue that if we are to understand how models function in the actual scientific practice the representational approach to models proves either misleading or too minimal. We propose turning from the representational approach to the artefactual, which implies also a new unit of analysis: the activity of modelling. Modelling, we suggest, could be approached as a specific practice in which concrete artefacts, i.e., models, are constructed (...) with the help of specific representational means and used in various ways, for example, for the purposes of scientific reasoning, theory construction and design of experiments and other artefacts. Furthermore, in this activity of modelling the model construction is intertwined with the construction of new phenomena, theoretical principles and new scientific concepts. We will illustrate these claims by studying the construction of the ideal heat engine by Sadi Carnot. (shrink)

The Double Content view is the first comprehensive theory of art that is able to satisfactorily explain the nature of all kinds of artworks in a unified way — whether paintings, novels, or musical and theatrical performances. The basic thesis is that all such representational artworks involve two levels or kinds of representation: a first stage in which a concrete artifact represents an artwork, and a second stage in which that artwork in turn represents its subject matter. "Dilworth (...) applies his theory across the arts and to a variety of issues, demonstrating that it has far-reaching implications for our philosophical understanding of the nature of art.” - Stephen Davies, Associate Professor of Philosophy, University of Auckland.. (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)

A content theory of art would identify an artwork with the meaningful or representational content of some concrete artistic vehicle, such as the intentional, expressive, stylistic, and subject matter-related content embodied in, or resulting from, acts of intentional artistic expression by artists. Perhaps surprisingly, the resultant view that an artwork is nothing but content seems to have been without theoretical defenders until very recently, leaving a significant theoretical gap in the literature. I present some basic arguments in defence of (...) such a view, including the following. Content views of linguistic communication are ubiquitous, so why should they not be applicable in artistic cases as well? Also, propositional accounts of language involve two kinds of content (the proposition expressed by a sentence, plus the worldly state of affairs it represents), both of which kinds can be used in explaining artworks. In addition, the differing modal properties of artworks and concrete artefacts can be used to show that artworks could not be, or include, such physical artefacts. (shrink)

The term “emerging technologies” is greatly used nowadays in scientific publications, but its conceptual competence is not clear. The term remains poorly studied, especially from a philosophical stance. The following text aims to bring clarity and discussion about the term. First, I critique previous usages of the term. Thereafter, I conduct a lexico-hermeneutical analysis by questioning what it means for technologies to be qualified as “emerging.” Finally, I contrast the term with the akin terms of invention, innovation, and new and (...) disruptive technologies. From the analysis, I defend the term has a conceptual value expressed through its leverage (both present and to come), ascendance, uncertainty, and materiality. “Emerging technologies” is becoming dominant because it overcomes the static and mythical term of “invention,” incorporating the social process meant by innovation; in other words, “emerging technologies” emphasizes the dynamic behaviour of technological development, while pointing towards concrete artefacts and procedures. (shrink)

The term “emerging technologies” is greatly used nowadays in scientific publications, but its conceptual competence is not clear. The term remains poorly studied, especially from a philosophical stance. The following text aims to bring clarity and discussion about the term. First, I critique previous usages of the term. Thereafter, I conduct a lexico-hermeneutical analysis by questioning what it means for technologies to be qualified as “emerging.” Finally, I contrast the term with the akin terms of invention, innovation, and new and (...) disruptive technologies. From the analysis, I defend the term has a conceptual value expressed through its leverage, ascendance, uncertainty, and materiality. “Emerging technologies” is becoming dominant because it overcomes the static and mythical term of “invention,” incorporating the social process meant by innovation; in other words, “emerging technologies” emphasizes the dynamic behaviour of technological development, while pointing towards concrete artefacts and procedures. (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 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)

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)

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)

This paper challenges “traditional measurement-accuracy realism”, according to which there are in nature quantities of which concrete systems have definite values. An accurate measurement outcome is one that is close to the value for the quantity measured. For a measurement of the temperature of some water to be accurate in this sense requires that there be this temperature. But there isn’t. Not because there are no quantities “out there in nature” but because the term ‘the temperature of this water’ (...) fails to refer owing to idealization and failure of specificity in picking out concrete cases. The problems can be seen as an artifact of vagueness, and so doing facilitates applying Eran Tal’s robustness account of measurement accuracy to suggest an attractive way of understanding vagueness in terms of the function of idealization, a way that sidesteps the problems of higher order vagueness and that shows how idealization provides a natural generalization of what it is to be vague. (shrink)

This chapter discusses the nature of software maintenance in light of software’s ontological status. A realist view of software need not commit us to the otiose position that software maintenance is impossible. Many philosophers and computer scientists have been concerned with drawing attention to software’s dual nature, its being both symbolic and physical, abstract and concrete. There are strong connections to be found between this topic and recent investigations in the philosophy of linguistics, particularly the metaphysics of words. It (...) is shown, contra Irmak, that software can be best understood through a realist type-token distinction employing an ontology of composite objects that was put forward by Katz. This approach employs both non-spatiotemporal abstract types and tokens of those types. Further developing Katz’s realist approach can help to make better sense of the dual nature of computational artefacts and their maintenance than the alternatives outlined. Young claims that a prevalent imbalanced view of maintenance as solely conservative is due to a misunderstanding of the nature of artefacts as being realisations of their producers’ intentions. This is a problem for theories of artefacts that employ intentions, such as the one involved with the realist view of software and software maintenance. Software maintenance on this view is not solely conservative but also adaptive and enhancive, constituting a source of counterexamples to Young’s claim. An alternative explanation of the imbalanced view is provided, based on observations by software engineers, especially Sommerville. (shrink)

Trees belong to humanity’s heritage, but they are more than that. Their loss, through catastrophic fires or under business-as-usual, is devastating to many forms of life. Moved by this fact, we begin with an assertion that heritage can have an active role in the design of future places. Written from within the field of architecture, this article focuses on structures that house life. Habitat features of trees and artificial replacement habitats for arboreal wildlife serve as concrete examples. Designs of (...) such habitats need to reflect behaviours, traditions and cultures of birds, bats, and other animals. Our narrative highlights the nonhuman aspect of heritage, seeking to understand how nonhuman stakeholders can act as users and consumers of heritage and not only as its constituents. Our working definition states that more-than-human heritage encompasses tangible and intangible outcomes of historical processes that are of value to human as well as nonhuman stakeholders. From this basis, the article asks how the established notions of heritage can extend to include nonhuman concerns, artefacts, behaviours and cultures. As a possible answer to this question, the hypothesis tested here is that digital information can (1) contribute to the preservation of more-than-human heritage; and (2) illuminate its characteristics for future study and use. This article assesses the potential of three imaging technologies and considers the resulting data within the conceptual framework of more-than-human heritage, illuminating some of its concrete aspects and challenges. (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)

We analyse the way in which the principle that ‘the whole is greater than the sum of its parts’ manifests itself with phenomena of visual perception. For this investigation we use insights and techniques coming from quantum cognition, and more specifically we are inspired by the correspondence of this principle with the phenomenon of the conjunction effect in human cognition. We identify entities of meaning within artefacts of visual perception and rely on how such entities are modelled for corpuses of (...) texts such as the webpages of the World-Wide Web for our study of how they appear in phenomena of visual perception. We identify concretely the conjunction effect in visual artefacts and analyse its structure in the example of a photograph. We also analyse quantum entanglement between different aspects of meaning in artefacts of visual perception. We confirm its presence by showing that well elected experiments on images retrieved accordingly by Google Images give rise to probabilities and expectation values violating the Clauser Horne Shimony Holt version of Bell’s inequalities. We point out how this approach can lead to a mathematical description of the meaning content of a visual artefact such as a photograph. (shrink)

Unlike basic sciences, scientific research in advanced technologies aims to explain, predict, and (mathematically) describe not phenomena in nature, but phenomena in technological artefacts, thereby producing knowledge that is utilized in technological design. This article first explains why the covering-law view of applying science is inadequate for characterizing this research practice. Instead, the covering-law approach and causal explanation are integrated in this practice. Ludwig Prandtl's approach to concrete fluid flows is used as an example of scientific research in the (...) engineering sciences. A methodology of distinguishing between regions in space and/or phases in time that show distinct physical behaviours is specific to this research practice. Accordingly, two types of models specific to the engineering sciences are introduced. The diagrammatic model represents the causal explanation of physical behaviour in distinct spatial regions or time phases; the nomo-mathematical model represents the phenomenon in terms of a set of mathematically formulated laws. (shrink)

In this paper, we argue that the Anthropocene is relevant for philosophy of technology because it makes us sensitive to the ontological dimension of contemporary technology. In §1, we show how the Anthropocene has ontological status insofar as the Anthropocenic world appears as managerial resource to us as managers of our planetary oikos. Next, we confront this interpretation of the Anthropocene with Heidegger’s notion of “Enframing” to suggest that the former offers a concrete experience of Heidegger’s abstract, notoriously difficult, (...) and allegedly totalitarian concept. In consequence, technology in the Anthropocene cannot be limited to the ontic domain of artefacts, but must be acknowledged to concern the whole of Being. This also indicates how the Anthropocene has a technical origin in an ontological sense, which is taken to imply that the issue of human responsibility must be primarily understood in terms of responsivity. In the final section, we show how the Anthropocene is ambiguous insofar as it both accords and discords with what Heidegger calls the “danger” of technology. In light of this ambiguity, the Earth gains ontic-ontological status, and we therefore argue that Heidegger’s unidirectional consideration concerning the relation between being and beings must be reoriented. We conclude that the Anthropocene entails that Heidegger’s consideration of the “saving power” of technology as well as the comportment of “releasement” must become Earthbound, thereby introducing us to a saving Earth. (shrink)

Fundamental questions in value sensitive design include whether and how high-tech products/artefacts could embody values and ethical ideals, and how plural and incommensurable values of ethical and social importance could be chosen rationally and objectively at a collective level. By using a humanitarian cargo drone study as a starting point, this paper tackles the challenges that VSD’s lack of commitment to a specific ethical theory generates in practical applications. Besides, it highlights how mainstream ethical approaches usually related to VSD are (...) incapable of solving main ethical dilemmas raised by technological design for well-being in democratic settings. Accordingly, it is argued that VSD’s ethical-democratic import would substantially be enhanced by the espousal of a procedural ethics stance and the deliberative approach to value and welfare entailed by Amartya Sen’s capability approach. Differently from rival ethical–political theories, its normative and meta-ethical foundations better handle human diversity, value-goal pluralism, conflicting vested interests as well as the epistemic-moral disagreements typical of contemporary complex democracies. Particularly, Sen’s capability approach procedural-deliberative tenets result in an “objective-impartial” choice procedure selecting a “hierarchy” of plural incommensurable values and rational goals thus, suitable to validate an applied science such as welfare-oriented technological design in concrete social environments. Conclusions suggest that refining VSD with a capability-based procedural approach to ethics fosters the concern for democracy and social justice while preserving vital scientific-technical standards. Major advantages are at an applied level to delivering ethically and socially justified, but yet highly functional technologies and high-tech products/artefacts. (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)

Some thinkers have claimed that expert performance with technology is characterized by a kind of disappearance of that technology from conscious experience, that is, by the transparency of the tools and equipment through which we sense and manipulate the world. This is a claim that may be traced to phenomenological philosophers such as Heidegger and Merleau-Ponty, but it has been influential in user interface design where the transparency of technology has often been adopted as a mark of good design. Moreover, (...) in the philosophy of cognitive science, such transparency has been advanced as necessary for extended cognition. By reflecting on concrete examples of our contemporary engagement with technology, I shall argue that the epistemic challenges posed by smart artefacts should prompt a reassessment of the drive for transparency in the design of some cases of technology-involving cognition. This has consequences for the place of extended minds in the contemporary technological context. (shrink)

Metaphors allow us to come to terms with abstract and complex information, by comparing it to something which is structured, familiar and concrete. Although modern science is “iconoclastic”, as Gaston Bachelard phrases it, scientists are at the same time prolific producers of metaphoric images themselves. Synthetic biology is an outstanding example of a technoscientific discourse replete with metaphors, including textual metaphors such as the “Morse code” of life, the “barcode” of life and the “book” of life. This paper focuses (...) on a different type of metaphor, however, namely on the archetypal metaphor of the mandala as a symbol of restored unity and wholeness. Notably, mandala images emerge in textual materials related to one of the new “frontiers” of contemporary technoscience, namely the building of a synthetic cell: a laboratory artefact that functions like a cell and is even able to replicate itself. The mandala symbol suggests that, after living systems have been successfully reduced to the elementary building blocks and barcodes of life, the time has now come to put these fragments together again. We can only claim to understand life, synthetic cell experts argue, if we are able to technically reproduce a fully functioning cell. This holistic turn towards the cell as a meaningful whole also requires convergence at the “subject pole”: the building of a synthetic cell as a practice of the self, representing a turn towards integration, of multiple perspectives and various forms of expertise. (shrink)

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)

Much recent discussion has focused on the nature of artifacts, particularly on whether they have essences. While it is often held that artifacts are intention-dependent and necessarily have functions, it is equally commonly held, though far less discussed, that artifacts are the result of physical modification of some material objects. This paper argues that the physical modification condition on artifacts is false. First, it formulates the physical modification condition perspicuously for the first time. Second, it offers counterexamples to this condition, (...) both concrete and abstract. Third, it considers, and rejects, two responses to these counterexamples, one which appeals to the distinction between being a K and being used as a K and another which argues that the counterexamples are merely of functional, not artifactual, kinds. Finally, it considers, and rejects, a more general objection that appropriation makes artifact creation too easy. As a consequence, artifacts can be created by appropriating pre-existing objects and it sketches some success conditions for such appropriation. (shrink)

Some thinkers have claimed that expert performance with technology is characterized by a kind of disappearance of that technology from conscious experience, that is, by the transparency of the tools and equipment through which we sense and manipulate the world. This is a claim that may be traced to phenomenological philosophers such as Heidegger and Merleau-Ponty, but it has been influential in user interface design where the transparency of technology has often been adopted as a mark of good design. Moreover, (...) in the philosophy of cognitive science, such transparency has been advanced as necessary for extended cognition. By reflecting on concrete examples of our contemporary engagement with technology, I shall argue that the epistemic challenges posed by smart artefacts should prompt a reassessment of the drive for transparency in the design of some cases of technology-involving cognition. This has consequences for the place of extended minds in the contemporary technological context. (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)

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

In lieu of an abstract, here is a brief excerpt of the content:Crafting Marks Into MeaningsJoseph S. CatalanoIn his fascinating book about the Mayan Code, Michael D. Coe writes, “I challenge any native English speaker to avoid thinking of the word ‘twelve’ when looking at ‘12,’ or an Italian to avoid the utterance ‘dodici’ when going through the same performance.” 1 I accept the challenge, and claim that I have done just that. What shall the reply be—“I should not have (...) done so?” One suspects that linguists confuse theoretical problems about writing and reading with the experience itself.The nature of reading and writing is difficult to understand because on the one hand it seems to involve a complex of conventional marks, but on the other hand these marks seem capable of being understood independently of their relationship to speech or to things. One can claim, of course, that the competent reader works under an illusion: meaning comes to a script through spoken language, through a deep-structured language, through concepts, or through the way the neurons work in the brain. Without denying that the written word enters into many relations, I want to make a case that the history of writing shows that we have crafted marks into meanings and, therefore, that a text is meaningful on the level of the script itself.Before proceeding, I want both to clarify my use of the term “script,” and to give the basic outline of this essay. Studies on writing frequently distinguish among writing systems, scripts, and orthographies. Writing system is the most general of these terms. For example, the alphabet forms one writing system, and Chinese characters another. A script is a particular form of writing system; examples are the Roman alphabetic script and the Greek alphabetic script. An orthography is the way a particular language uses a script; for example, the way the English or [End Page 47] French languages use the Roman alphabetic script. In the concrete, however, there are only orthographies, and without wishing to challenge the traditional distinction, I will frequently interchange script and orthography.The first part of the essay is a discussion of my perspective on writing. My perspective is a substantive part of my case about writing, and I will clarify it at some length. Then I will examine some of the steps that led to our ability to read and write fluently. I will be recommending that in reading histories about writing, we view speech merely as a mediation through which written marks are crafted into meanings. My claim is that every artifact, indeed, every thing, needs to be correctly “read” in order to be used, and that the invention of an elegant system of writing lifts this readability from its specific materiality. For example, to use a fork properly one must be able to read this use in the fork. Language lifts this readability from the matter of the fork, the silver or stainless steel, and makes the readability itself an object.IRecall the last time you were engrossed while reading a novel. Most likely, you were not concerned with questions about the meaning of meaning or the difference between meaning and signification. But did your engaged reading and writing involve an inner speech and, if it did, how did you recognize homonyms, for example the difference between there and their? I suspect that only a small part of our vocabulary is acquired by vocalization. But more importantly, I want to question whether writing must be related to speech to be understood.Frank Smith has persistently questioned the belief that reading must involve vocalizations, and he has criticized the notion that the best way to proceed with reading instruction is by mapping speech onto print. In Understanding Reading, he writes: “Phonics is complicated.... We now know that if we really expect to give children a mastery of phonetics, that we are not talking about a dozen or so rules. We are talking about 166 rules, which will still not account for hundreds of the words they might expect to meet in their early reading.” 2In Reading, he notes: “How is it possible to recognize written words without sounding them out? The answer is that we recognize words in... (shrink)

This paper challenges “traditional measurement-accuracy realism”, according to which there are in nature quantities of which concrete systems have definite values. An accurate measurement outcome is one that is close to the value for the quantity measured. For a measurement of the temperature of some water to be accurate in this sense requires that there be this temperature. But there isn’t. Not because there are no quantities “out there in nature” but because the term ‘the temperature of this water’ (...) fails to refer owing to idealization and failure of specificity in picking out concrete cases. The problems can be seen as an artifact of vagueness, and so doing facilitates applying Eran Tal’s robustness account of measurement accuracy to suggest an attractive way of understanding vagueness in terms of the function of idealization, a way that sidesteps the problems of higher order vagueness and that shows how idealization provides a natural generalization of what it is to be vague. (shrink)

How can liberal democracies mobilize their citizens and effect their social integration, while accommodating their tremendous heterogeneity and respecting their freedom? Neo-Kantian liberals and cosmopolitans such as Habermas reject appeals to shared ethnicity, culture, or nation, for fear that they effect the suppression of difference; communitarian critics retort that theories like Habermas's are impotent to motivate social integration. My goal is to show that this theoretical impasse is an artifact of the fact that both camps articulate their disagreements within (...) the tacitly shared parameters inherited from the long-running debate between philosophy and rhetoric. By first interrogating the posited relationship between rhetoric, passion, reason, and politics in Rousseau's oeuvre, I illustrate the reception of this ancient debate in modern political theory, a reception that has effected a series of binaries such as reason/passion and abstract/concrete---the first terms associated with impotence, the second with motivational efficacy. I then turn to contemporary cultural nationalist thought, and demonstrate how these binaries are deployed to critique doctrines such as Habermas's constitutional patriotism. The Rousseauist assumption that affect requires "concrete" sites to motivate social integration is invariably combined with the presupposition that bounded communities such as the nation instantiate the required concreteness. The implausibility of that presumption such communities are "imagined" and not concrete in any relevant sense---is masked by the category of territory, which serves as a trope for concreteness. Tracing the roots of this dubious trope to Rousseau shows how "territory" reproduces the exclusionary features that the distinction between ethnic and civic-territorial nationalism tends to attribute solely to ethnicity: concreteness often means either an exclusionary boundedness directed against the foreign other, or an ossification of collective identities that stifles difference internally. Finally, turning to the discourse-ethical theory's promise to avoid this suppression of difference, I argue that Habermas fails to shake the charge of motivational impotence precisely because he is just as beholden to the philosophy/rhetoric binaries as his critics. Drawing on an Aristotelian art of rhetoric, I show how Habermas's category of discursive rationality can be reconstructed as a mode of organizing, rather than expelling, rhetoric and the passions. (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)

Unlike basic sciences, scientific research in advanced technologies aims to explain, predict, and describe not phenomena in nature, but phenomena in technological artefacts, thereby producing knowledge that is utilized in technological design. This article first explains why the covering‐law view of applying science is inadequate for characterizing this research practice. Instead, the covering‐law approach and causal explanation are integrated in this practice. Ludwig Prandtl’s approach to concrete fluid flows is used as an example of scientific research in the engineering (...) sciences. A methodology of distinguishing between regions in space and/or phases in time that show distinct physical behaviours is specific to this research practice. Accordingly, two types of models specific to the engineering sciences are introduced. The diagrammatic model represents the causal explanation of physical behaviour in distinct spatial regions or time phases; the nomo‐mathematical model represents the phenomenon in terms of a set of mathematically formulated laws. (shrink)

In this paper, we try to establish that some mathematical theories, like K-theory, homology, cohomology, homotopy theories, spectral sequences, modern Galois theory (in its various applications), representation theory and character theory, etc., should be thought of as (abstract) machines in the same way that there are (concrete) machines in the natural sciences. If this is correct, then many epistemological and ontological issues in the philosophy of mathematics are seen in a different light. We concentrate on one problem which immediately (...) follows the recognition of the particular status of these theories: the demarcation problem between ‘natural kinds’ and ‘artefacts’. (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 this reply I further defend my claim that the transcendental should always remain a primary concern for philosophy of technology as a philosophical enterprise, contra the empirical turn’s rejection of it. Yet, instead of emphasizing the non-technological conditions of technology, as ‘classic’ thinkers of technology such as Heidegger did, it should recognize technology itself as the transcendental operator par excellence. Starting from Heidegger’s ontological understanding of transcendence I show that while technical artifacts may indeed always conform to a certain (...) horizon of understanding, they also constitute this horizon in specific ways. Following Stiegler I show that concrete technologies (technology with a small ‘t’) are not just empirical effects of an overarching movement of transcendence (Technology with a capital ‘T’) but are originally constitutive of it. In response to Romele’s critique that the social, language, images, imaginaries, symbols, etc. are also transcendentals, I argue that all these phenomena are always already conditioned by technical milieus. As for Besmer’s contention that I offer a reductive interpretation of postphenomenology’s notion of multistability, I argue that there are decisive systemic and organological limits to multistability offered by technical artefacts and that all variation in use and implementation is always constrained by inherent technical tendencies and processes of concretization. Agreeing with Besmer that the transcendental and the empirical should be understood not oppositional but compositional I argue that technology may be that which constantly ‘mediates’ between the two. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.3 (2000) 513-530 [Access article in PDF] Hans Blumenberg and Hannah Arendt on the "Unworldly Worldliness" of the Modern Age Elizabeth Brient Introduction In attempting to describe and respond to the dominant ethos of the modern age one is quickly confronted with a startling and seemingly intractable paradox: the age which has defined itself by the very intensity of its "this worldly" orientation (...) is at the same time haunted by an ever growing sense of world loss, of the Unheimlichkeit of modern reality.On the one hand the modern turn away from the transcendent contemplative and religious ideals and values of antiquity and the Middle Ages is evidenced by a profoundly new, active, and indeed constructive approach to the world. Modern science is predicated on an objective stance which demystifies the cosmos and allows for a technological mastery of nature which has improved human life in innumerable ways. The modern conception of the self is grounded in a new conception of the autonomy and dignity of the individual, and modern political theory begins with the notion that society is an artifact to be constructed in the service of the very individuals who constitute the body politic. We are made uneasy by the nagging suspicion that life in this world which we have remade for ourselves is somehow hollow, an artificial construction without depth or solidity, a merely superficial order which threatens to dissolve into meaninglessness. The technological advances made possible by modern science have also brought the atomic bomb, global warming, and acid rain. Power over nature has led to the power to destroy nature. The modern world has seen an unprecedented rise in individual freedom, and yet the autonomy of the individual has all too often given way to the anomie of the individual. Loss of community advances alongside failed experiments in social engineering, and the specter of totalitarianism haunts the modern dream of social and political emancipation. [End Page 513]Paradoxically, then, modern worldliness is attended by an uneasy sense of world alienation. It has become quite common in attempting to give an account for this perplexing state of affairs to speak of a process of secularization in the transition from the medieval to the modern world, a process in which many of the central ideas and principles of the modern age are taken to be secular variations on medieval theological themes. Thus, for example, faith in the progress of science or of history is taken to be a secularized version of belief in divine Providence, the political equality of all individuals under the law is said to be a secular reiteration of the understanding of the equality of all human beings before God, the transcendental subject is exposed as a secular version of the divine or angelic knower, and the communist state and other modern utopias marking the end of history are said to be secularizations of Christian eschatological expectations of the end of the world and the coming reign of God.This reading of the epochal transition explains the worldly character of modern reality in terms of the "immanentization" or secularization of religious attitudes and expectations. It also serves to explain the uncanny sense of worldlessness characteristic of much of modern life. This is because the new secular forms are now revealed either as distorted and impoverished versions of an originally meaningful world view (as for example in Neo-Scholasticism) or as the unfortunate perpetuation or unfolding of an inherently nihilistic tradition (as say Nietzsche, Heidegger, and many contemporary post modernists would have it). But does the secularization thesis as a tool of historical explanation really do justice either to the complex reality of the epochal transition in concrete historical terms or even, and more to the point, to the fundamental character of the supposedly secularized modern ideas?Hans Blumenberg and Hannah Arendt would both no doubt answer emphatically in the negative. Both insist on the genuine novelty of modernity, on the fundamentally unprecedented character of the modern orientation to and in the... (shrink)

English summary: What does Dada mean? The answer lies in the distinction between the perceptible and the designation and the failure to mediate discursively between the two. With the inception of Dada-Zurich - at the intersection between literary and art studies, comparative studies, image-text theory and philosophy - the relationship between modernity and avant-garde as well as between avant-garde and Dadaism was redefined. This redefinition was a consequence of the scandalous aesthetic theoretical insights of Dada Zurich, which concretized in practical (...) and poetic form an aesthetic theory that in itself is aesthetic, and developed an aesthetic-theoretical understanding in which aisthesis takes up a central position. Dada uses the avant-garde as material. The aesthetic theoretical potential of Dada Zurich in turn had an impact not only on the artefacts that were actually used and aesthetically reflected by Dada, but on all modern - including avant-garde - artefacts. German description: Was bedeutet Dada? Die Antwort liegt in der Differenz von Wahrnehmbarem und Bezeichnung und deren scheiternder diskursiven Vermittlung. Mit der Konstitution des Gegenstandes Dada-Zurich - im Schnittfeld von Literatur- und Kunstwissenschaft, Komparatistik, Bild-Text-Theorie und Philosophie - wird das Verhaltnis von Moderne und Avantgarde sowie von Avantgarde und Dada neu bestimmt. Diese Neubestimmung resultiert aus der Erkenntnis der asthetisch-theoretischen Form Dada-Zurichs, deren Konstitution das theoretische Skandalon Asthetischer Theorie (als einer Theorie, die selber asthetisch wird) in praktischer und poietischer Form konkretisiert. Sie entwickelt eine asthetisch-theoretische Erkenntnisform, in der Aisthesis eine zentrale Stellung einnimmt. Dada nutzt die Avantgarde als Material. Das asthetisch-theoretische Potential Dada-Zurichs wirkt dabei nicht nur zuruck auf die von Dada tatsachlich verwendeten (asthetisch reflektierten), sondern auf alle modernen - auch avantgardistischen - Artefakte. (shrink)

One way to compare different theoretical approaches to the study of technologies is to see what the difference is between their narratives of the construction of a particular technology. In this paper, we re-narrate the bicycle construction from the perspective of actor-network theory (ANT), comparing to SCOT’s first account of the construction. Although SCOT has moved closer to actor-network theory later by paying more attention to co-construction and materliaty, Pinch and Biker have not modified their account of the bicycle development (...) according to these theoretical changes, despite the fact that one decade later Bijker allocated one chapter, ‘king of the road’, to Safety bicycle development again. An ANT’s narrative of bicycle development can provide a basis for a concrete comparison between ANT and the classic version of SCOT. Or it could be argued that this narrative could complement the story of Pinch and Biker of bicycle development. While we present a new narrative of bicycle development in comparison with SCOT’s one, we offer a methodological framework in the ANT literature that can be considered as a methodological procedure to the study of artefacts in general; this framework has three elements: 1. Phenomenal Bracketing, 2. Collective construction, and 3. Co-construction. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Visual EmpireSusan Buck-Morss (bio)1 The Sovereign IconThe Question of SovereigntyJust when the nation-state appeared to be waning in significance, national sovereignty is back in the spotlight. The issue takes on special urgency in the United States, where sovereign right has been proclaimed persistently by the president in an attempt to justify policies of military aggression and violations of international and domestic law, executing these policies with disregard for traditional (...) judicial and constitutional procedures.1 Giorgio Agamben’s recently translated book State of Exception has touched off a small case of collective hysteria among American academics by claiming that by their intrinsic nature, democracies undermine themselves, that dictatorship is an ontological necessity of modern politics, and that the sovereign’s power to declare a state of emergency and with it a state exception to the law places potentially the whole world under the sign of the concentration camp.Agamben’s revelation, however, is not the scandal. It is a logical truism that something cannot be a member of its own set, that constituting power (pouvoir constituens) cannot be synonymous with constituted power (pouvoir constituent).Plato in the Timaeus described a self-eating, circular being as the first living thing in the universe–an immortal, perfectly constructed animal [image 1]. Agamben seems shocked to find that such an animal does not exist. If democracies could be self-constituting and self-reproducing, if they could realize the perfect closure of the Oroborus (snake consuming its tail), there would be no decay and no history—but also no hope, no escape from the magic circle of power that is capable of mystifying any political regime, no matter how democratically conceived. The historical event that ruptures the circle’s mythic repetition is also the possibility of a better future.Unlike both Walter Benjamin and Carl Schmitt, upon whom he relies, Agamben uses history ahistorically, in order to abstract from it a timeless ontology of power. In contrast, Benjamin is attentive to historical concreteness, as is Schmitt—this attention is their common bond. But when Benjamin criticizes the parliamentary democracy of the early Weimar Republic, it is not, as it is for Schmitt, out of yearning for a strong executive to cut through parliamentary legalism and compromise.2 Rather, it reminds twentieth-century [End Page 171] parliaments of their own violent origins. A present-day executive leader who, in using the emergency powers of his office, fails to be reminded of the historical origins of representative governments no longer feels It necessary to submit to democratic rule. Benjamin believed that the watered-down versions of democracy in his own time had become little more than bourgeois governing cliques, and for that reason, he might have appreciated Thomas Jefferson’s suggestion that every generation needs a new revolution. The sovereign who declares a state of exception would then be the citizens themselves.The question we need to ask is why Thomas Jefferson’s call for permanent revolution is not predictive of the history of democracies in modern times—why it is so difficult to cut off the head of the king so that it stays off, why popular sovereignty consistently resurrects an aura of quasi-mystical power around the sovereign figure—which since Hobbes’s Leviathan has been recognized as a human artifact, a merely mortal god [see image 2]. In a democracy where only the citizens have the legitimate right to declare a state of exception to the law, the real scandal occurs when an executive branch usurps that power and is allowed to get away with it.More than the sum of merely empirical individuals of which Hobbes’s Leviathan is composed, sovereignty is a transcendent category. The sovereign is an icon in the theological sense. He (or she) embodies an enigma—precisely the power of the collective to constitute itself. The sovereign figure as personification of the collective demonstrates the power of the visible image to close the circle between constituting and constituted power, explaining why even when the illegalities of an individual sovereign are exposed, the faith of the believer is still not shaken. As long as the circle appears closed, sovereign power remains intact; likewise, and... (shrink)

ArgumentThis article explores the relationship between ideology and statistical knowledge in Soviet Yiddish scholarship during the first Five-Year Plan and Cultural Revolution. Specifically, it examines the political status of Yiddish-language socioeconomic research as a tool of state building in the shtetls of the former Pale of Jewish Settlement. Historically, many Jewish inhabitants of the shtetl worked as economic middlemen between city and countryside, a function that became politically untenable after 1917. The Soviet regime sponsored Yiddish socioeconomic data collection in order (...) to monitor its efforts to transform the occupational structure of shtetl Jewry. Accordingly, this data was expected to demonstrate the steady self-disintegration of the shtetl as an obsolete artifact of the old regime. In fact, these Soviet Yiddish narratives inadvertently highlighted the endurance of the shtetl in Soviet life at both the concrete and discursive levels. A close reading of these sources provides insight into how a segment of the Soviet Jewish intelligentsia attempted to align itself within the new state's scientific establishment by fusing modern Jewish social scientific knowledge with Marxist-Leninist principles. In the polemics of the “shtetl problem” we find an example of how Soviet yidishe visnshaft registered the constantly shifting perceptions of ideological orthodoxy and deviation among Jewish Communists, and provoked international debate among Jewish demographers and economists as to the political use and abuse of statistics. (shrink)

This article introduces Designing for Care (D4C), a distinctive approach to project management and technological design informed by Care Ethics. We propose to conceptualize “care” as both the foundational value of D4C and as its guiding mid-level principle. As a value, care provides moral grounding. As a principle, it equips D4C with moral guidance to enact a caring process. The latter is made of a set of concrete, and often recursive, caring practices. One of the key assumption of D4C (...) is a relational ontology of individual and group identities, which fosters the actualization of caring practices as essentially relational and (often) reciprocal. Moreover, D4C adopts the “ecological turn” in CE and stresses the ecological situatedness and impact of concrete projects, envisioning an extension of caring from intra-species to inter-species relations. We argue that care and caring can influence directly some of the phases and practices within the management of (energy) projects and the design of sociotechnical (energy) artefacts and systems. When issues related to “value change” emerge as problematic (e.g., values trade-offs, conflicts), the mid-level guiding principle of care helps evaluate and prioritize different values at stake within specific projects. Although there may be several actors and stakeholders involved in project management and technological design, here we will focus on the professionals in charge of imagining, designing, and carrying out these processes (i.e., project managers, designers, engineers). We suggest that adopting D4C would improve their ability to capture and assess stakeholders’ values, critically reflect on and evaluate their own values, and judge which values prioritize. Although D4C may be adaptable to different fields and design contexts, we recommend its use especially within small and medium-scale (energy) projects. To show the benefits of adopting it, we envisage the application of D4C within the project management and the technological design of a community battery. The adoption of D4C can have multiple positive effects: transforming the mentality and practice of managing a project and designing technologies; enhancing caring relationships between managers, designers, and users as well as among users; achieving better communication, more inclusive participation, and more just decision-making. This is an initial attempt to articulate the structure and the procedural character of D4C. The application of D4C in a concrete project is needed to assess its actual impact, benefits, and limitations. (shrink)