In accordance with the contemporary state of the natural sciences, Wolfgang Sohst here presents an extended ontological model where the process is the first cosmological category, not objects. Her starts with very few primordial categories of becoming that even precede the fundamental concepts of physics and mathematics. Since Democritus, ie. for about 2,400 years, all cultures of European descent rest mainly on the presupposition that substances and their properties provide the inventory of our world. This, however, contradicts the formerly and (...) still today lively intuition (intellectually up to Heraclitus, again in Aristotle and only then resurgent with Hegel) that objects are not the dominating aspect of what we are living in. Rather, the basis of our cosmos is a world process as the result of the complementary relationship of particular objects and their mutual efficiencies. (shrink)

Traditionally, this puzzle has been solved in various ways. Aristotle, for example, distinguished between “accidental” and “essential” changes. Accidental changes are ones that don't result in a change in an objects' identity after the change, such as when a house is painted, or one's hair turns gray, etc. Aristotle thought of these as changes in the accidental properties of a thing. Essential changes, by contrast, are those which don't preserve the identity of the object when it changes, such as when (...) a house burns to the ground and becomes ashes, or when someone dies. Armed with these distinctions, Aristotle would then say that, in the case of accidental changes, (1) and (2) are both false—a changing thing can really change one of its “accidental properties” and yet literally remain one and the same thing before and after the change. (shrink)

In an earlier paper in Theoria, I discussed an argument based on the idea of “soul-switching” that attempted to undermine the immaterialist account of human beings. The present paper deals with a parity argument against that argument in which the idea of “body-switching” plays a pivotal role. I call these two arguments, that have been reported by Razi (d. 1210), respectively “the soul-switching argument” and “the body-switching argument”. After some introductory remarks, section 2 of the paper describes the structure of (...) the latter argument. Section 3 considers some philosophical discussions in the ancient, modern, and contemporary eras in which the idea of body-switching (or some similar conception) plays a major role. In the following section 4, some criticisms of the argument are discussed and a general response that is meant to cover a broad range of objections is considered. This paper shows that the body-switching argument reported by Razi is a methodological antecedent of several contemporary arguments in defence of substance dualism. (shrink)

This paper explores some issues concerning the ontology of photography. It would appear that photography’s ontology bears some significant specificities comparing with other art forms. First, the study of negative film and printed photograph relations shows us that photography has a multi-layered ontology, since although the latter is ontologically dependent upon the former, it stands autonomously as work of art. Second, I will consider the problem of forgery in photography. It seems that photographs are autographic and allographic, fakeable and unfakeable. (...) Third, ontological status of negative film will be explored. Apparently, current ontological categories aren’t pertinent as far as negative-photograph’s ontology is concerned. That’s why, relying on Gérard Genette ontological notions, I propose to consider the negative film as «immanence» and the printed photograph as work’s «transcendence». In this regard, printed photograph functions as a manifestation of the negative film. (shrink)