Since Saul Kripke’s and Hilary Putnam’s groundbreaking work in the Seventies, the idea has emerged that natural kind terms are semantically special among common nouns. Stephen P. Schwartz, for example, has argued that an artifactual kind term like “pencil” functions very differently from a natural kind term like “tiger.” This, however, blatantly violates a principle that I call Semantic Uniformity. In this paper, I defend the principle. In particular, I outline a picture of how natural kind terms function based on (...) Kripke’s and Putnam’s considerations, and I use it to rebut Schwartz’s arguments, showing that if it works for natural kind terms, it can work for artifactual kind terms too, or at least that Schwartz did not provide good enough reasons to the contrary. (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)

It is often noted that institutional objects and artifacts depend on human beliefs and intentions and so fail to meet the realist paradigm of mind-independent objects. In this paper I draw out exactly in what ways the thesis of mind-independence fails, and show that it has some surprising consequences. For the specific forms of mind-dependence involved entail that we have certain forms of epistemic privilege with regard to our own institutional and artifactual kinds, protecting us from certain possibilities of ignorance (...) and error; they also demonstrate that not all cases of reference to these kinds can proceed along a causal model. As a result, realist views in ontology, epistemology, and semantics that were developed with natural scientific kinds in mind cannot fully apply to the everyday world. In closing I consider some wider consequences of these results for social science and philosophy. (shrink)

Philosophy Compass, Volume 17, Issue 9, September 2022.

Putnam’s suggestion of extending the scope of his semantic theory has opened an ongoing debate. The majority seem to agree with Putnam as long as he restricts his analysis to natural kind terms, whereas many doubts have arisen about whether or not it can be applied to artifactual kind terms as well. Specifically, this disagreement originated with the thought experiment that Putnam laid out in order to prove his controversial thesis. Here I analyze it in detail in order to evaluate (...) whether it proves what it has been alleged to prove. Unlike the other authors engaged in the debate, I point out that this particular argument cannot demonstrate that artifactual words refer externalistically. I claim that, on closer inspection, Putnam’s thought experiment only shows that an artifactual term like ‘pencil’ can turn out to be a natural kind word, but, in the end, it tells us little about how our “actual” artifactual kind terms work. In order to make my point, I also bring out the two fundamental requirements that a genuine externalist argument about artifactual words ought to meet. Finally, I report, albeit briefly, the main externalist accounts in this respect, illustrating how none of them actually meet the challenge. (shrink)

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 (...) seem like-wise convincing that all artifactual kind terms (like “pen-cil,” “chair,” “television,” etc.) semantically behave the same. Terms for artifactual kinds seem more likely to be subjected to a descriptivist view, that is, definable not by links to their extensions' nature but in terms of conjunctions or clusters of properties. In his celebrated “The Meaning of ‘Meaning’” (1975), Hilary Putnam originated the mentioned debate by arguing that artifactual kind terms also refer directly. Thus, the discussion ultimately revolves around establishing whether artifactual and natural kind terms are both directly referential expressions. The authors engaged in this debate have tried to argue in favor of (or against) Putnam's proposal by highlighting the similarities (or differences) between nat-ural vis-à-vis artifactual kind words and their respective ref-erents. This paper aims to provide a thorough and reasoned overview of the debate at stake, pointing out trends and problems associated with each proposed account. (shrink)

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 (...) cause a great change in the field and open up new possibilities. This paper aims to develop a new metaontological view starting from the widely accepted claim that musical works are created. It contends that musical works must be concrete and created objects of some sort, but, nevertheless, they are mind-independent, and we should take the revisionary methodological stance. Although musical works are artifacts, what people think about them does not determine what musical works are. Musical works are similar to natural objects in the following sense: semantic externalism applies to the term ‘musical work’ because, firstly, they possess a shared nature, and, secondly, we can be mistaken about what they are. (shrink)

Externalism about artifactual words requires that (a) members of an artifactual word’s extension share a common nature, i.e. a set of necessary features, and (b) that possession of such features determines the word’s extension independently of whether the linguistic community is aware of them (ignorance) or can accurately describe them (error). However, many common artifactual words appear to be so used that features that are universally shared among members of their extensions are hard to come by, and even fewer can (...) be plausibly regarded as necessary; morevoer, it is highly doubtful that a speaker could manage to refer to kind A while being utterly ignorant of the role the As play in the A-producing community, and it is no less doubtful that an artifactual word that was used to refer to certain objects would keep referring to them (and be regarded as having referred to them) once it has been shown that the associated description is utterly false of such objects, the reason being that we could easily make things that do fit the associated description. Against generalized externalism, it is suggested that artifactual words come in (at least) three different semantic varieties: a few have an externalist semantics, others have an internalist semantics, still others have neither but rather behave as “family names” in Wittgenstein’s sense. (shrink)

The Linda paradox is a key topic in current debates on the rationality of human reasoning and its limitations. We present a novel analysis of this paradox, based on the notion of verisimilitude as studied in the philosophy of science. The comparison with an alternative analysis based on probabilistic confirmation suggests how to overcome some problems of our account by introducing an adequately defined notion of verisimilitudinarian confirmation.