Synthetic biology has a strong modal dimension that is part and parcel of its engineering agenda. In turning hypothetical biological designs into actual synthetic constructs, synthetic biologists reach towards potential biology instead of concentrating on naturally evolved organisms. We analyze synthetic biology’s goal of making biology easier to engineer through the combinatorial theory of possibility, which reduces possibility to combinations of individuals and their attributes in the actual world. While the last decades of synthetic biology explorations have shown biology to (...) be much more difficult to engineer than originally conceived, synthetic biology has not given up its combinatorial approach. (shrink)

Moral realists often disagree about the nature of moral properties. These properties can be natural (as per naturalistic moral realism) or non-natural. But it is unclear how we should understand the notion of naturalness employed in these discussions. In this paper I propose a novel account of moral naturalness. I suggest that a property F is natural iff F falls within the scope of a natural law. In turn, a law is natural when it figures in a nomic nexus involving (...) the laws of physics. (shrink)

2020 update of the entry "Properties".

David Lewis is typically interpreted as a class nominalist. One consequence of class nominalism, which he embraced, is that the reduction of ordered pairs, triples, etc to unordered sets of sets is conventional. The reaction by his Australian counterparts D.M. Armstrong and Peter Forrest was that Lewis was not being ontologically serious. This chapter evaluates this debate over serious ontology. It is argued that in one sense Lewis is ontologically serious, but that his additional commitment to structuralism about classes should (...) push him to adopt a trope-theoretic account of naturalness, which opens up another way to respond to the charge of not doing serious ontology. This conclusion is supported by certain remarks he makes in his correspondence, thus revealing how his thinking about properties appears to have evolved from property-egalitarianism to a sparse theory of tropes. (shrink)

A well-known difficulty that affects all accounts of laws of nature according to which the latter are higher-order facts involving relations between universals (the so-called DTA accounts, from Dretske in Philosophy of Science 44:248–268, 1977; Tooley in Canadian Journal of Philosophy 7:667–698, 1977 and Armstrong (What is a Law of Nature?, Cambridge University Press, Cambridge, 1983)) is the Inference Problem: how can laws construed in that way determine the first-order regularities that we find in the actual world? Bird (Analysis 65:147–55, (...) 2005) has argued that there is no solution to the Inference Problem which is consistent with both categorical monism (that is, the view that all natural properties are categorical) and basic tenets of Armstrong’s account of the laws of nature. This paper shows that, given Armstrong’s view about laws as first-order structural universals whose instantiation ‘produce’ nomic regularities and under specific plausible metaphysical assumptions concerning nomic relations which are consistent with a broadly construed DTA approach to laws, there is no extra difficulty regarding the Inference Problem in a categorical monistic context besides the ones that beset structural universals in general. (shrink)

In the ontology of music the Aristotelian theory of musical works is the view that musical works are immanent universals. The Aristotelian theory (hereafter Musical Aristotelianism) is an attractive and serviceable hypothesis. However, it is overlooked as a genuine competitor to the more well-known theories of Musical Platonism and nominalism. Worse still, there is no detailed account in the literature of the nature of the universals that the Aristotelian identifies musical works with. In this paper, I argue that the best (...) version of Musical Aristotelianism identifies musical works with structural universals. I first motivate the view by outlining its explanatory benefits. I then argue that Musical Aristotelianism is preferable to Musical Platonism and present a novel account of musical works as structural universals by developing D. M. Armstrong’s theory of structural universals. I discuss the consequences of Musical Aristotelianism with respect to on-going issues in debates about musical works and defend the view against an influential objection, concluding that Musical Aristotelianism is a genuine competitor in debates about the nature of musical works. (shrink)

I present in this article a new theory of structural properties or, more precisely, of structural kinds, such as being methane. According to this theory, structural kinds are kinds that are both emergent and sustained in their existence. In the first section, I introduce structural properties and four problems that affect the most widely held conception of them, namely, the pictorial conception. In the second section, I introduce some theses about emergence, powers, emergent powers, relations and structures that I have (...) defended in other works and that constitute the basis on which my theory of structural kinds is built up. In the third section, I eventually develop my theory in full detail and show how it can solve the problems mentioned in the second section. Finally, in the fourth section, I face five objections and briefly compare my account with some other accounts of structural properties. (shrink)

The property theory of musical works is the view that identifies works of music with properties as universals. The purpose of this article is to distinguish different versions of the property theory and argue that none of them can satisfy certain demands we expect from a successful theory of musical works. I conclude that although properties as universals are familiar and useful in other domains, we cannot rely on them to explain the ontological nature of musical works.