Abstract artifacts such as musical works and fictional entities are human creations; they are intentional products of our actions and activities. One line of argument against abstract artifacts is that abstract objects are not the kind of objects that can be created. This is so, it is argued, because abstract objects are causally inert. Since creation requires being caused to exist, abstract objects cannot be created. One common way to refute this argument is to reject the causal inefficacy of abstracta. (...) I argue that creationists should rather reject the principle that creation requires causation. Creation, in my view, is a non-causal relation that can be explained using an appropriate notion of ontological dependence. The existence and the creation of abstract artifacts depend on certain individuals with appropriate intentions, along with events of a certain kind that include but are not limited to creations of certain concrete objects. (shrink)

What are words? What makes two token words tokens of the same word-type? Are words abstract entities, or are they (merely) collections of tokens? The ontology of words tries to provide answers to these, and related questions. This article provides an overview of some of the most prominent views proposed in the literature, with a particular focus on the debate between type-realist, nominalist, and eliminativist ontologies of words.

Musical works change. Bruckner revised his Eighth Symphony. Ella Fitzgerald and many other artists have made it acceptable to sing the jazz standard “All the Things You Are” without its original verse. If we accept that musical works genuinely change in these ways, a puzzle arises: why can’t I change Bruckner’s Eighth Symphony? More generally, why are some individuals in a privileged position when it comes to changing musical works and other artifacts, such as novels, films, and games? I give (...) a view of musical works that helps to answer these questions. Musical works, on this view, are created abstract objects with no parts. The paradigmatic changes that musical works undergo are socially determined normative changes in how they should be performed. Due to contingent social practices, Bruckner, but not I, can change how his symphony should be performed. Were social practices radically different, I would be able to change his symphony. This view extends to abstract artifacts beyond music, including novels, films, words, games, and corporations. (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)

Much recent discussion has focused on the nature of artifacts, particularly on whether artifacts have essences. While the general consensus is that artifacts are at least intention-dependent, an equally common view is function essentialism about artifacts, the view that artifacts are essentially functional objects and that membership in an artifact kind is determined by a particular, shared function. This paper argues that function essentialism about artifacts is false. First, the two component conditions of function essentialism are given a clear and (...) precise formulation, after which counterexamples are offered to each. Second, ways to handle the counterexamples suggested by Randall Dipert and Simon Evnine are considered and rejected. Third, I then consider the prospects for restricting function essentialism to so-called technical artifacts, as Lynne Baker does, and argue that this, too, fails. This paper thereby consolidates the scattered literature on function essentialism and shows that, despite the seeming plausibility of the thesis, it should be rejected as an account of artifact essences. (shrink)

I defend the intention-dependence of artifacts, which says that something is an artifact of kind K only if it is the successful product of an intention to make an artifact of kind K. I consider objections from two directions. First, that artifacts are often mind- and intention-dependent, but that this isn’t necessary, as shown by swamp cases. I offer various error theories for why someone would have artifact intuitions in such cases. Second, that while artifacts are necessarily mind-dependent, they aren’t (...) necessarily intention-dependent. I consider and reject three kinds of cases which purport to show this: accidental creation, automated production, and mass production. I argue that intentions are present in all of these cases, but not where we would normally expect. (shrink)

An encyclopedia entry which covers various revisionary conceptions of which macroscopic objects there are, and the puzzles and arguments that motivate these conceptions: sorites arguments, the argument from vagueness, the puzzles of material constitution, arguments against indeterminate identity, arguments from arbitrariness, debunking arguments, the overdetermination argument, and the problem of the many.

The main goal of this paper is to investigate whether humans are unique in using tools and artifacts. Non-human animals exhibit some impressive instances of tool and artifact-use. Chimpanzees use sticks to get termites out of a mound, beavers build dams, birds make nests, spiders create webs, bowerbirds make bowers to impress potential mates, etc. There is no doubt that some animals modify and use objects in clever and sophisticated ways. But how does this relate to the way in which (...) humans make and use objects to achieve their goals? To answer this question, this paper first presents a taxonomy of artifacts, identifying four overlapping categories, namely embodied, perceptual, cognitive, and affective artifacts. It then discusses definitions of animal tool-use, arguing that we need a more liberal approach, one that goes beyond the use of tools that are embedded in occurrent perception-action cycles. This paper ends by analysing how instances of animal tool and artifact-use can be classified according to the four identified categories, concluding that some animals use embodied, perceptual, cognitive, and affective artifacts. In this sense, humans are thus not unique in the kinds of tools and artifacts we use. What is unique, however, is our unprecedented flexibility and openness to deeply incorporate a large variety of complex tools and artifacts into our embodied, perceptual, cognitive, and affective systems. (shrink)

A widely debated issue in contemporary metaphysics is whether the modal profile of ordinary objects has to be explained in non-modal terms (that is, Thesis 1). However, how to solve such an issue with respect to occurrences – namely, processes and events – is a question that has been largely neglected in the current metaphysical debate. The general goal of this article is to start filling this gap. As a first result of the article, we make it plausible that, if (...) Thesis 1 holds for objects, then it also holds for processes and events. Then, we develop a metaphysical account of processes derived from Fine’s (1999, 2022) suggestions, according to which a process is a variable embodiment that is manifested by different events at the different times it goes on – namely, Thesis 2. We raised the challenge from the completion of a process that asks the Finean account of processes to explain relevant modal features of processes in non-modal terms. As a second result, we argue that four initially plausible strategies for solving such a challenge fall short of solving it. As a third result, we show that the theory of variable embodiments Fine formulates for objects must differ from the theory of variable embodiments that aims to model processes. We conclude by investigating some revisions to a theory of variable embodiments that aims to model processes. (shrink)

This paper explores the prospects of combining two views. The first view is metaphysical rationalism : all things have an explanation. The second view is metaphysical essentialism: there are real essences. The exploration is motivated by a conflict between the views. Metaphysical essentialism posits facts about essences. Metaphysical rationalism demands explanations for all facts. But facts about essences appear to resist explanation. I consider two solutions to the conflict. Exemption solutions attempt to exempt facts about essences from the demand for (...) explanation. Explanation solutions attempt to explain facts about essences. I argue that exemption solutions are less promising than explanation solutions. I then consider how explanation solutions might be developed. I suggest that a “generative” approach is most promising. I tentatively conclude that the prospects for combining metaphysical rationalism and metaphysical essentialism turn on the viability of a generative approach. This sets the agenda for defending the combination as well as the more general project of explaining essences. (shrink)

Abstract creationism about fictional characters is the view that fictional characters are abstract objects that authors create. I defend this view against criticisms from Stuart Brock that hitherto have not been adequately countered. The discussion sheds light on how the number of fictional characters depends on authorial intention. I conclude also that we should change how we think intentions are connected to artifacts more generally, both abstract and concrete.

The phasalist solution to the classic puzzle of the statue and the piece of clay only works for some coincidence puzzles and not others. To address this limitation of phasalism, I develop a novel approach to coincidence puzzles that permits different kinds of coincidence puzzles to be solved in different ways, provided that each solution satisfies certain constraints inspired by the phasalist solution to the statue puzzle. I apply my approach to four different kinds of coincidence puzzles, and I argue (...) that it is no less plausible than rival approaches in the literature. (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)

Recent work in metaphysics has focused on the nature of artefacts, most accounts of which assume that artefacts depend on the intentions of their individual makers. Artefacts are thus importantly different from institutional kinds, which involve collective intentions. However, recent work in social ontology has yielded renewed focus on the social dimensions of various kinds, including artefacts. As a result, some philosophers have suggested that artefacts have a distinctly social dimension that goes beyond their makers' individual intentions but which stops (...) short of the collective intentionality of institutional kinds. I aim to combine these insights into an account of artefacts that involves disjunctive conditions of mind-dependence: Artefacts can either depend on the singular intentions of their makers or they can depend on the collective acceptance of particular social groups. Whether the first or second disjunct is satisfied depends on the artefact's context of creation. I'll argue that this applies not to artefact kinds but to individual artefacts. I then consider two objections to my view based on Robinson Crusoe cases and show how my account allows us to fit artefacts into a taxonomy of social kinds. (shrink)

Aristotle’s typical procedure is to identify something's four causes. Intentional action has typically been treated as an exception: most think that Aristotle has the standard causalist account, according to which an intentional action is a bodily movement efficiently caused by an attitude of the appropriate sort. I show that action is not an exception to Aristotle’s typical procedure: he has the resources to specify four causes of action, and thus to articulate a powerful theory of action unlike any other on (...) offer. (shrink)

This paper is an investigation into the metaphysics of social objects such as political borders, states, and organizations. I articulate a metaphysical puzzle concerning such objects and then propose a novel account of social objects that provides a solution to the puzzle. The basic idea behind the puzzle is that under appropriate circumstances, seemingly concrete social objects can apparently be created by acts of agreement, decree, declaration, or the like. Yet there is reason to believe that no concrete object can (...) be created in this way. The central idea of my positive account is that social objects have a normative component to them, and seemingly concrete social objects have both normative and material components. I develop this idea more rigorously using resources from the Aristotelian hylomorphic tradition. The resulting normative hylomorphic account, I argue, solves the puzzle by providing a satisfying explanation of creation-by-agreement and the like, while also avoiding the difficulties facing extant accounts of social objects. (shrink)

I explain a tension between musical creationism (the view that musical works are abstract artifacts) and the view that there is no vague existence. I then suggest ways to reconcile these views. My central conclusion is that, although some versions of musical creationism imply vague existence, others do not. I discuss versions of musical creationism held by Jerrold Levinson, Simon Evnine, and Kit Fine. I also present two new versions. I close by considering whether the tension is merely an instance (...) of a general problem raised by artifacts, both abstract and concrete. I argue that on at least one defensible account of music the tension is especially problematic for abstracta. I focus on musical works, but much of the paper straightforwardly applies to other kinds of abstract artifacts. (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)

In a series of papers, 137–158; 1994, Midwest Studies in Philosophy, 23, 61–74, 1999) Fine develops his hylomorphic theory of embodiments. In this article, we supply a formal semantics for this theory that is adequate to the principles laid down for it in. In Section 1, we lay out the theory of embodiments as Fine presents it. In Section 2, we argue on Cantorian grounds that the theory needs to be stabilized, and sketch some ways forward, discussing various choice points (...) in modeling the view. In Section 3, we develop a formal semantics for the theory of embodiments by constructing embodiments in stages and restricting the domain of the second-order quantifiers. In Section 4 we give a few illustrative examples to show how the models deliver Finean hylomorphic consequences. In Section 5, we prove that Fine’s principles are sound with respect to this semantics. In Section 6 we present some inexpressibility results concerning Fine’s various notions of parthood and show that in our formal semantics these notions are all expressible using a single mereological primitive. In Section 7, we prove several mereological results stemming from the model theory, showing that the mereology is surprisingly robust. In Section 8, we draw some philosophical lessons from the formal semantics, and in particular respond to Koslicki’s main objection to Fine’s theory. In the appendix we present proofs of the inexpressibility results of Section 6. (shrink)

Many contemporary proponents of hylomorphism endorse a version of hylomorphism according to which the form of a material object is a certain kind of complex relation or structure. Structural approaches to form, however, seem not to capture form’s traditional role as the guarantor of diachronic identity, since more “dynamically complex” material objects, such as living organisms, seem to undergo, and survive, various structural changes over the course of their existence. As a result, some contemporary hylomorphists have looked to alternative, non-structural (...) approaches to form. One of the leading non-structural approaches is the powers approach, according to which the form of a material object is a certain kind of power continuously activated in the object or in its material parts. In this paper, I begin by offering an overview and assessment of this powers approach to form. I argue that while the powers approach captures some crucial elements for understanding the nature of more dynamically complex material objects, when we press on the details of the view we find that it actually points to a related, but importantly distinct, third approach to understanding form, according to which the form of a material object is a certain kind of activity or process in which the material object or its parts are continuously engaged. I call this third approach “Hyloenergeism”. In the second half of the paper, I consider what such a view of material objects might look like and what its principal virtues might be. (shrink)

Beach's Gaelic Symphony is plausibly an abstract object that Beach created. The view that people create some abstract objects is called abstract creationism. There are abstract creationists about many kinds of objects, including musical works, fictional characters, arguments, words, internet memes, installation artworks, bitcoins, and restaurants. Alternative theories include materialism and Platonism. This paper discusses some of the most serious objections against abstract creationism. Arguably, these objections have ramifications for questions in metaphysics pertaining to the abstract/concrete distinction, time, causation, vague (...) existence, vague identity, and inadvertent creation. (shrink)

We have a rough idea of what artifacts are: artifacts are objects made to serve a certain purpose. However, there is no consensus on how to specify this definition. Essentialists argue that objects are grouped into artifact kinds by sharing non-trivial artifact essences, while anti-essentialists argue that there is no such essence to be found. However, the prominent essentialist and anti-essentialist accounts suffer from extensional and definitional problems. I argue that the problems current essentialist and anti-essentialist accounts face mainly stem (...) from the assumption of artifact concept monism. According to artifact concept monism, there is only a single way to group objects into artifact kinds. To remedy the problems that stem from artifact concept monism, this paper offers an alternative framework by drawing parallels from the debates on species concept pluralism and art concept pluralism. (shrink)

The theory of variable embodiments has been primarily formulated to model ordinary objects as things that change their parts over time. A variable embodiment /f/ is a sui generis whole constructed from a principle f, the principle of a variable embodiment, and it is manifested at different times by different things picked out by such a principle f. This principle is usually clarified as a function that picks out, at any given time the variable embodiment exists, its corresponding manifestation at (...) that time, and it fails to pick out anything at any other time. The first purpose of this article is to examine and refute three natural understandings of such a principle. Specifically, first, we argue against the view that it should be understood extensionally as either a partial function or total function. Next, we provide some motivations to reject the understanding of the principle as a function in intensional terms, where the notion of intension is analyzed in terms of a specific version of a possible world semantics. The second goal of the article is to make it plausible that the principle has an intensional character and, on the basis of the results achieved, to formulate some constraints that an account of such a principle should meet. (shrink)

Creators offload the construction of their artifact in that the world helps to determine the nature of their imposition in ways that can go beyond the content of their imposing activities. Extant theories of imposition fail to account for offloading by requiring match between content and product. Therefore, I develop an externalist theory that accommodates offloading by taking the imposition of mind onto world to be objectively constrained. An important kind of imposition is normativity. Focusing on personal value, what’s valuable (...) for someone is determined by what they value as good or bad for themselves. Such a subjectivist view faces the same problem as extant theories of imposition in seeming to preclude the possibility of making mistakes about value. Applying imposition externalism, I defend an artifactual approach to subjectivism such that mistakes are captured in terms of offloading. A subject’s valuing can fail to match the very value it creates. (shrink)

Amie Thomasson’s Easy Ontology program is influential and attractive, but faces criticism for being too easy in a way that undercuts its realism by failing to recognize objects which don’t fall under known kinds and generating spurious and duplicative objects by mere conceptual engineering. We suggest that restricting the Easy Ontology program to artifacts avoids these difficulties. We also propose an Easy Ontology-inspired analysis of artifact which cuts through the major extant objections to existing analyses. As Thomasson suggests, our special (...) authorial role with regard to artifacts grants us privileged knowledge of them, which both disarms objections to Easy Ontology and allows a very easy ontology for artifacts. Easy Ontology and artifacts are made for each other. (shrink)

Monists and pluralists disagree concerning how many ordinary objects there are in a single situation. For instance, pluralists argue that a statue and the clay it is made of have different properties, and thereby are different. The standard monist’s response is to hold that there is just a single object, and that, under the description “being a statue”, this object is, e.g., aesthetically valuable, and that, under the description “being a piece of clay”, it is not aesthetically valuable. However, Fine (...) provided an ontological reading of the expression “an object under a description”: the theory of rigid embodiments. The debate between monists and pluralists reduplicates in the domain of ordinary occurrences, like walks and conferences. Specifically, they disagree whether an occurrence in progress (also called “process”) like John’s walk that is happening at tn is identical to some completed occurrence (also called “event”) like John’s walk that happened between, e.g., t1 and tn. Under the adoption of the pluralist’s position, the article aims to provide a novel theory of ordinary occurrences that develops the ontological reading of “under a description” to account for occurrences in progress and completed occurrences. As a first result, we formulate a theory according to which both occurrences in progress and completed occurrences are rigid embodiments. As a second result, we argue that the suggested theory is explanatorily powerful to the extent it solves two puzzles that we call “the Puzzle from the Completion of a Process” and “the Metaphysical-cum-Semantical Puzzle”. (shrink)

A widespread intuition is that words, musical works, and flags are intentionally produced and that they’re abstract types that can have incorrect tokens. But some philosophers, notably Julian Dodd and Nicholas Wolterstorff, think intention-dependence isn’t necessary; tokens just need to have certain relevant intrinsic features to be tokens of a given type. I show how there’s an unappreciated puzzle that arises from these two views: if tokens aren’t intention-dependent and types can admit of correct and incorrect tokens, then some driftwood (...) that washes up and forms what seems like the word ‘cat’ may simultaneously be a misspelling of ‘act’ and innumerable other misspelt words. I consider various ways Dodd and Wolterstorff can respond to this counterintuitive result and argue that biting the bullet, as well as nearby views, are implausible. Thus, they need to give up one of the two commitments, and I argue that requiring the intention-dependence of tokens, rather than the mere possession of certain intrinsic properties, is the best option. (shrink)

I introduce and explicate a new functionalist account of art, namely that something is an artwork iff the fulfillment of its function by a subject requires that the subject aesthetically engage it. This is the Aesthetic Engagement Theory of art. I show how the Aesthetic Engagement Theory outperforms salient rival theories in terms of extensional adequacy, non-arbitrariness, and ability to account for the distinctive value of art. I also give an account of what it is to aesthetically engage a work (...) that relies on our agential capacity to treat an object as having non-instrumental value, even while the ultimate purpose for our engaging the object is to get something from it. (shrink)

Neo-Aristotelian hylomorphism has struggled to arrive at anything approaching a consensus regarding the notion of form. Contending that no ‘right-minded modern’ could embrace anything akin to Arist...

The paper argues -- against the standard view in metaphysics -- that the existence of ordinary objects like tomatoes is (near-enough) established by the fact that such things are apparently encountered in perception.

This chapter will discuss the relation of physicalism to social ontology, and explores problems that social ontology raises for physicalism. Physicalism is often understood to be the view that all facts—the social ones included—are physical facts, or at least are exhaustively determined by physical facts. While this view is widely endorsed, social phenomena challenge physicalism in several ways, both challenging the coherence of claims of physicalism and raising potential counterexamples.

A new puzzle about material constitution is presented and its implications are discussed. The moral of the story is that familiar intuitions supporting a neo-Aristotelian view of the material world are contradictory. To accommodate these intuitions is to embrace inconsistency. Therefore, neo-Aristotelianism is worse off for its intuitive appeal. Furthermore, the puzzle is used to argue for an account of ordinary modal thought and language that’s reconstructive, or ameliorative.

In ‘Against fictional realism’ Anthony Everett argues that fictional realism leads to indeterminate identity. He concludes that we should reject fictional realism. Everett’s paper and much of the ensuing literature does not discuss what exactly fictional characters are. This is a mistake. I argue that some versions of abstract creationism about fictional characters lead to indeterminate identity, and that some versions of Platonism about fictional characters lead only to indeterminate reference. In doing so I show that Everett’s argument poses a (...) more pressing problem for abstract creationism than for Platonism. The general lesson is that fictional realists should think more about the ontology of fictional characters in order to discern whether they are committed to indeterminate identity. (shrink)

Hylomorphism is the Aristotelian theory according to which objects are composites of form and matter. Form is what unifies the various parts of an object – the matter – into a cohesive whole. Some contemporary hylomorphists argue their theory applies beyond the realm of concreta, and that it explains the unity of various abstract entities. Not everyone agrees. Recent criticism alleges that hylomorphism fails to explain the unity of certain abstract entities, namely, complex properties – properties with other properties as (...) proper parts. Here, I both respond to this criticism and show that and how hylomorphism extends to the domain of complex properties. By discussing hylomorphism’s applicability to the hitherto unchartered domain of complex properties, I hope to defend its credentials as a general mereological theory. (shrink)

Kurt Gödel’s version of the Ontological Proof derives rather than assumes the crucial Possibility Claim: the claim that it is possible that something God-like exists. Gödel’s derivation starts off with a proof of the Possible Instantiation of the Positive: the principle that, if a property is positive, it is possible that there exists something that has that property. I argue that Gödel’s proof of this principle relies on some implausible axiological assumptions but it can be patched so that it only (...) relies on plausible principles. But Gödel’s derivation of the Possibility Claim also needs a substantial axiological assumption, which is still open to doubt. (shrink)

The paper comprises an attempt on the part of the author to understand what hylomorphism is, both in its original Aristotelian guise, and in recent work by philosophers who defend what they call hylomorphism. Two species or strands of hylomorphism are identified and discussed. Universals, essences, and substantial and accidental forms make cameo appearances, and the implications of an Aristotelian ontology of stuffs are explored.

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)

In a number of papers, Kit Fine introduced a theory of embodiment which distinguishes between rigid and variable embodiments, and has been successfully applied to clarify the ontological nature of entities whose parts may or may not vary in time. In particular, he has applied this theory to describe a process such as the erosion of a cliff, which would be a variable embodiment whose manifestations are the different states of erosion of the cliff. We find this theory very powerful, (...) and especially appropriate to capture the intuition that the same process may go on at different times. However, its formal principles have been subject to some criticisms, mainly concerning the mereological structure of a variable embodiment. Moreover, since the notion of variable embodiment is very general, simply saying that processes are variable embodiments is not enough to understand their ontological nature. To address these concerns, in this paper we proceed in two phases: first, we propose a revised version of Fine’s original theory adapted to the case of processes, which adopts a classical mereology instead of Fine’s hylomorphic mereology, and a temporalized constitution relation in place of Fine’s function of variable embodiment; second, we go deeper into the ontological nature of processes by revisiting the notions of homogeneity, intentionality, and telicity discussed in the literature, and propose an account based on ontological principles and not on semantic properties of predicates. This allows us to organize processes into a novel taxonomy based exclusively on their unity and individuation principles. (shrink)

We summarize in this introduction the contents of all the contributions included in Synthese special issue on form, structure and hylomorphism. Moreover, we provide an exhaustive bibliography of recent research on these topics.

Simon Evnine’s Making Objects and Events: A Hylomorphic Theory of Artifacts develops amorphic hylomorphism. I critically discuss three of its main themes. One theme is its attempt to do the work of form without forms. A second theme is the requirement that hylomorphs have ‘metabolisms at work’. A third theme is the use of artifacts as the paradigms for hylomorphs. I will raise some criticisms of each of these themes. Although the themes might at first appear disconnected, I believe the (...) third underwrites the first two. So the criticisms of the third theme also bear on the rest. (shrink)

In this paper, it is argued that Aristotelian hylomorphism can supply a useful and informative account of composite entities as these are described by physical theory. In particular, a hylomorphic account of quantum entangled systems is defined in detail, and compared to other alternatives currently on offer—in particular, ontic structural realism. In closing, it is suggested that the view of entanglement outlined here meshes well with a recently proposed ‘coherentist’ conception.

Composition as Identity is the view that an object is identical to its parts taken collectively. I elaborate and defend a theory based on this idea: composition is a kind of identity. Since this claim is best presented within a plural logic, I develop a formal system of plural logic. The principles of this system differ from the standard views on plural logic because one of my central claims is that identity is a relation which comes in a variety of (...) forms and only one of them obeys substitution unrestrictedly. I justify this departure from orthodoxy by showing some problems which result from attempts to avoid inconsistencies within plural logic by means of postulating other non-singular terms besides plural terms. Thereby, some of the main criticisms raised against Composition as Identity can be addressed. Further, I argue that the way objects are arranged is relevant with respect to the question which object they compose, i.e. to which object they are identical to. This helps to meet a second group of arguments against Composition as Identity. These arguments aim to show that identifying composite objects on the basis of the identity of their parts entails, contrary to our common sense view, that rearranging the parts of a composite object does not leave us with a different object. Moreover, it allows us to carve out the intensional aspects of Composition as Identity and to defend mereological universalism, the claim that any objects compose some object. Much of the pressure put on the latter view can be avoided by distinguishing the question whether some objects compose an object from the question what object they compose. Eventually, I conclude that Composition as Identity is a coherent and plausible position, as long as we take identity to be a more complex relation than commonly assumed. (shrink)

Ancient Philosophy Today, Volume 4, Issue 1, Page 96-127, April, 2022.

Repeatable artworks like musical works have presented theorists in the ontology of art with a puzzle. They seem in some respects like eternal, immutable objects and in others like created, historical objects. Creationists have embraced the latter appearances and attempted to compel Platonists to follow them. I examine in detail each argument in a cumulative case for Creationism, showing how the Platonist can respond. The conclusion is that the debate between Platonists and Creationists is a stalemate. In order for progress (...) to be made in the first-order debate, second-order progress on the metaontology of art needs to come first. (shrink)

The question of how people change artworks is important for the metaphysics of art. It’s relatively easy for anyone to change a painting or sculpture, but who may change a literary or musical work is restricted and varies with context. Authors of novels and composers of symphonies often have a special power to change their artworks. Mary Shelley revised Frankenstein, and Tchaikovsky revised his Second Symphony. I cannot change these artworks. In other cases, such as those involving jazz standards and (...) folk songs, performers and ordinary folks have more power to change artworks. My preferred explanation of these facts is the created-abstract-simples view, according to which literary and musical works, unlike paintings and sculptures, are created abstract objects that have no parts. On this view, the way to change a literary or musical work is for an individual, empowered by social practices, to change rules about how a literary work should be published or a musical work should be performed. A. R. J. Fisher and Caterina Moruzzi object that the created-abstract-simples view doesn’t allow for literary and musical works to genuinely change, and Nemesio Garcia-Carríl Puy objects that the view doesn’t allow for these artworks to be repeatable. This paper clarifies the created-abstract-simples view and defends the view against these objections. -/- . (shrink)

The debate between relational versus constituent substance ontology is longstanding and ongoing. In the contemporary literature it is mostly taken for granted that any version of hylomorphism must count as a constituent substance ontology. Here I argue that a certain sort of relational substance ontology could also legitimately be labeled hylomorphic, and in fact that relational substance ontologists have some good reasons to affirm this version of hylomorphism.

Amongst the entities that have been created by human agents, and can be changed by human agents, besides concrete particulars, such as tables and chairs, our intuitions suggest that there are repeatables—entities that can each have multiple concrete instances. And since there is reason to think that repeatables are acausal, there is reason to think that that there are entities that are created, changeable, repeatable and acausal. Then again, it might be supposed that if an entity is created then it (...) is causal, and that if an entity is changed then it is causal. It is argued here that these suppositions are insufficiently motivated to undermine the case for the existence of entities that are created, changeable, repeatable and acausal. (shrink)