Résumé David Chalmers maintient que la réalité virtuelle est une véritable réalité. Une version de ce « réalisme virtuel » affirme que les entités virtuelles dépendent ontologiquement d'entités numériques réelles. Nous explorons ici cette suggestion, en proposant un nouveau modèle pour décrire la dépendance du virtuel à l’égard du numérique. En nous appuyant sur la théorie de la constitution de Lynne Rudder Baker, nous défendons que les objets virtuels sont constitués par des objets numériques, lorsque ceux-ci se trouvent dans certaines (...) circonstances favorables. Nous explorons les motivations et les implications de cette approche, que nous considérons comme une forme prometteuse de réalisme virtuel. (shrink)

I first ask what it is to make up a story. In order to answer that question, I give existence and identity conditions for stories. I argue that a story exists whenever there is some narrative content that has intentionally been made accessible. I argue that stories are abstract types, individuated by the conditions that must be met by something in order to be a properly formed token of the type. However, I also argue that the truth of our story (...) identity attributions---sentences like, "Peter Jackson's Lord of the Rings is the same story as JRR Tolkien's Lord of the Rings''---are relative to their context of use, so that the same attribution of identity might be true in one context or false in another because of a change in what's being said about the works in the differing contexts. From those existence and identity conditions, I draw the conclusions that story is best understood to be a phase sortal of some abstract types, and that what it is to make up a story is to identify a type of narrative representation and its content, such that the content is neither based on actual events nor on the content of other stories to an objectionable degree. In chapter 2, I ask what it is for a story to be complete. I argue for the general meta-thesis I call "Completion Pluralism", viz. that there are many kinds of artwork completeness, many corresponding senses of 'complete', and no kind of artwork completeness is objectively more important than any other. I give a pair of arguments against those who would deny Completion Pluralism, endorsing Completion Monism instead. First, I show how Monistic analyses of the one (or one most important) kind of artwork completeness fail. I also show that each Monistic theory's failure is contingent on the assumption of Completion Monism: the denial of Completion Monism dissolves each argument against the extensional adequacy of extant theories of artwork completeness. I argue that this is all best explained by the idea that Completion Pluralism is true. Second, I argue that Completion Pluralism fits best with the variety of interests that we bring to questions about artwork completeness: there is no single or overriding concern we have when we want to know whether an artwork is complete. We shouldn't expect completeness to be a single sort of thing, then. I show how to put Completion Pluralism to work by identifying different kinds of artwork completeness in artworks. Finally, I introduce a new kind of completeness particular to stories, what I call "narrative completion", and show how it's distinct from other kinds of completeness discussed. In chapter 3, I argue that the distinction between fictional and non-fictional stories is the degree to which stories are made-up. In short, a fictional story is a made-up story. I first provide a couple desiderata for thinking about theories of fiction, then show how the two most popular extant theories of fiction---the prop theory and the genre theory---fall short in meeting one or more of those desiderata to some extent. I then show how the theory that fictions are made-up stories better meets the desiderata, using my account of what it is to make up a story from chapter 1. I turn to explicitly ontological matters in chapter 4. Addressing the question of what stories are, I show that both the theses that they are eternal and immutable and that they are created and historical seem plausible for independent reasons. I discuss a schema of an argument some philosophers who hold to the latter view (those I call "Creationists") attempt to give for their view. However, I show how those who hold to the view that stories are eternal and immutable ("Platonists") can account for all the same appearances as the Creationists, usually at least as well and sometimes with a better accounting. Similar, deductive arguments for Platonism will give rise to similar responses from the Creationist, however. In the end, then, the style of argument in particular is unlikely to advance the discussion much. Finally, I attempt to advance the discussion by building an abductive case for Platonism. First, I vindicate a particular metaontological methodology for the debate at hand, a methodology that allows for "revisionary" outcomes in our ontologies of art objects. Second, I build a case for Platonism by arguing that it best explains a number of features of stories discussed in the previous chapters. Moreover, I argue that Creationism is committed to an implausible account of how some abstract objects come into existence. Given the combination of those facts, I argue that we should prefer Platonism to Creationism. (shrink)

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 (...) features, but may include structural, material, aesthetic, and other features. I further explore the ways in which artifacts are mind-dependent and I argue that this dependence is disjunctive. Not only do they depend on the intentions of their makers, but they also can depend on social groups or public norms and thus artifacts have an importantly social dimension and I argue that this disjunctive account applies not to artifact kinds but to individual artifacts depending on their context of creation. (shrink)

According to natural kind essentialism, there are certain properties essential to natural kinds. A similar view, artifact kind essentialism, is commonly held for artifactual kinds. According to artifact kind essentialism, artifactual kinds have essential properties that determine their conditions of membership. In this paper, I explore and defend the possibility of a nonessentialist alternative for artifactual kind membership.

Taken at face value, a programming language is defined by a formal grammar. But, clearly, there is more to it. By themselves, the naked strings of the language do not determine when a program is correct relative to some specification. For this, the constructs of the language must be given some semantic content. Moreover, to be employed to generate physical computations, a programming language must have a physical implementation. How are we to conceptualize this complex package? Ontologically, what kind of (...) thing is it? In this paper, we shall argue that an appropriate conceptualization is furnished by the notion of a technical artifact. (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)

In this paper, I show how one might resist two influential arguments for the Likelihood Principle by appealing to the ontological significance of creative intentions. The first argument for the Likelihood Principle that I consider is the argument from intentions. After clarifying the argument, I show how the key premiss in the argument may be resisted by maintaining that creative intentions sometimes independently matter to what experiments exist. The second argument that I consider is Gandenberger’s :475–503, 2015) rehabilitation of Birnbaum’s (...) :269–306, 1962) proof of the Likelihood Principle from the more intuitively obvious principles of conditionality and sufficiency. As with the argument from intentions, I show how Gandenberger’s argument for his Experimental Conditionality Principle may be resisted by maintaining that creative intentions sometimes independently matter to what experiments exist. (shrink)

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

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)

A critically important ethical issue facing the AI research community is how AI research and AI products can be responsibly conceptualised and presented to the public. A good deal of fear and concern about uncontrollable AI is now being displayed in public discourse. Public understanding of AI is being shaped in a way that may ultimately impede AI research. The public discourse as well as discourse among AI researchers leads to at least two problems: a confusion about the notion of (...) ‘autonomy’ that induces people to attribute to machines something comparable to human autonomy, and a ‘sociotechnical blindness’ that hides the essential role played by humans at every stage of the design and deployment of an AI system. Here our purpose is to develop and use a language with the aim to reframe the discourse in AI and shed light on the real issues in the discipline. (shrink)

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

Theodore Sider in his latest book provides a defense of the substantivity of the first-order ontological debates against recent deflationary attacks. He articulates and defends several realist theses: (a) nature has an objective structure, (b) there is an objectively privileged language to describe the structure, and (c) ontological debates are substantive. Sider’s defense of metaontological realism, (c), crucially depends on his realism about fundamental languages, (b). I argue that (b) is wrong. As a result, Sider’s metaontological realism fails to establish (...) the substantivity of certain ontological disputes. Nonetheless, I will argue denying metaontological realism does not require giving up on the realism about structure, (a), that most of us would like to preserve: namely the idea that there are objective similarities and differences in the world that we try to wrap our minds around. (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)

This paper offers a review of Giuseppe Primero’s (2020) book “On the foundations of computing”_._ Mathematical, engineering, and experimental foundations of the science of computing are examined under the light of the notions of formal, physical, and experimental computational validity provided by the author. It is challenged the thesis that experimental computational validity can be defined only for the algorithmic method and not for the software development process. The notions of computational hypothesis and computational experiment provided by Primiero (2020) are (...) extended to the case of software development. Finally, it is highlighted how the hypothetical-deductive method is involved in the practice of using models to corroborate computational hypotheses in software testing. As a concluding remark, it is underlined how defining experimental computational validity in the context of software development offers a sound experimental foundation to the science of computing. (shrink)

Social ontology is the study of the nature and properties of the social world. It is concerned with analyzing the various entities in the world that arise from social interaction. -/- A prominent topic in social ontology is the analysis of social groups. Do social groups exist at all? If so, what sorts of entities are they, and how are they created? Is a social group distinct from the collection of people who are its members, and if so, how is (...) it different? What sorts of properties do social groups have? Can they have beliefs or intentions? Can they perform actions? And if so, what does it take for a group to believe, intend, or act? -/- Other entities investigated in social ontology include money, corporations, institutions, property, social classes, races, genders, artifacts, artworks, language, and law. It is difficult to delineate a precise scope for the field (see section 2.1). In general, though, the entities explored in social ontology largely overlap with those that social scientists work on. A good deal of the work in social ontology takes place within the social sciences (see sections 5.1–5.8). -/- Social ontology also addresses more basic questions about the nature of the social world. One set of questions pertains to the constituents, or building blocks, of social things in general. For instance, some theories argue that social entities are built out of the psychological states of individual people, while others argue that they are built out of actions, and yet others that they are built out of practices. Still other theories deny that a distinction can even be made between the social and the non-social. -/- A different set of questions pertains to how social categories are constructed or set up. Are social categories and kinds produced by our attitudes? By our language? Are they produced by causal patterns? And is there just one way social categories are set up, or are there many varieties of social construction? -/- The term ‘social ontology’ has only come into wide currency in recent years, but the nature of the social has been a topic of inquiry since ancient Greece. As a whole, the field can be understood as a branch of metaphysics, the general inquiry into the nature of entities. (shrink)

Conventional accounts of epistemic opacity, particularly those that stem from the definitive work of Paul Humphreys, typically point to limitations on the part of epistemic agents to account for the distinct ways in which systems, such as computational methods and devices, are opaque. They point, for example, to the lack of technical skill on the part of an agent, the failure to meet standards of best practice, or even the nature of an agent as reasons why epistemically relevant elements of (...) a process may be inaccessible. In this paper I argue that there are certain instances of epistemic opacity— particularly in computational methods such a computer simulations and machine learning processes—that do not arise from, are not responsive to, and are therefore not explained by the epistemic limitations of an agent. I call these instances agent-neutral and agent-independent instances of epistemic opacity respectively. As a result, I also argue that conventional accounts of epistemic opacity offer a limited understanding of the full spectrum of kinds and sources of epistemic opacity, particularly of the kind found in computational methods. In particular, as I will show below, the limitations of these accounts are reflected in the way they fail to provide satisfactory explanations when faced with certain instances of opacity. (shrink)