This paper introduces a persistence puzzle involving two sports clubs with a somewhat intertwined history. As one might assume, the implications of the puzzle go far beyond a mere plea for a precise metaphysical analysis of certain perplexing quandaries regarding sports clubs and represents a challenge for our everyday understanding of social groups. To overcome the supposed impediment to the puzzle, as a starting point, I will accept the assumption that these entities are both social groups and abstract artifacts and (...) will further argue that they are _temporal abstract objects_. Since temporal objects are in time, it will be determined that the cause of the conundrum is the seeming inability to correctly account for the I-relation between the temporal parts, and I will elaborate on why such an explanation is required. Ultimately, I’ll introduce the notion of _I-shifting_, which will explain how temporal abstract objects persist through time and consequently solve the puzzle. (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 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)

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)

In this paper, I argue that all expressions for abstract objects are meaningless. My argument closely follows David Lewis’ argument against the intelligibility of certain theories of possible worlds, but modifies it in order to yield a general conclusion about language pertaining to abstract objects. If my Lewisian argument is sound, not only can we not know that abstract objects exist, we cannot even refer to or think about them. However, while the Lewisian argument strongly motivates nominalism, it also undermines (...) certain nominalist theories. (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)

In Fredericks (2018b), I argued that we can be morally responsible for our concepts if they are mental representations. Here, I make a complementary argument for the claim that even if concepts are abstract objects, we can be morally responsible for coming to grasp and for thinking (or not thinking) in terms of them. As before, I take for granted Angela Smith's (2005) rational relations account of moral responsibility, though I think the same conclusion follows from various other accounts. My (...) strategy is to focus on the relations that can obtain between concepts (understood as abstract objects) and morally responsible agents. I conclude by discussing some of the reasons why my arguments matter, which have to do with consequential choices between conceptual options, purposefully seeking out concepts that are new to us, and moral education. (shrink)

Nathan Salmon has defended what might be called “weak modal anti-realism”—the view that possible-object names can refer to possible objects that neither exist nor are otherwise real. But rather than adopting a similar view in the fictional case, he instead defends fictional creationism—the view that fictional characters are existent but abstract entities created by authors of fiction. In this paper, I first argue that if weak modal antirealism is defensible then weak fictional antirealism is defensible as well. Second, I argue (...) that there is no reason to prefer fictional creationism over weak fictional antirealism but there is very good reason to prefer the latter over the former. And third, I defend weak fictional antirealism against the charge that it cannot provide a satisfactory account of statements that prima facie involve reference to or quantification over fictional characters. (shrink)

The view that abstracta cannot exert causal power is pretty common in metaphysics. According to Friedell (2020), however, this view is mistaken. In a recent paper in this journal, he has argued that at least some abstracta are causally efficacious. My goal in what follows is to demonstrate that, given certain plausible methodological assumptions, Friedell 2020’s argument is not as strong as it might at first seem.

A considerable number of philosophers are attracted to what might be called ‘causal type-abstractionism’ – the view that photographs, symphonies, models of cars, novels, flags, and other multiply i...

Some are attracted to the view that repeatable artworks, such as films, novels, plays, symphonies, photographs, and the like, are a particular kind of abstracta—namely, types. This view, however, is not unproblematic. One of the most serious problems it faces is the so-called "creation problem." The core idea behind this problem is that, on the one hand, it seems reasonable to accept the claims that (1) repeatable artworks are types, (2) types cannot be created, and (3) repeatable artworks are created, (...) but, on the other hand, these claims form an inconsistent triad. A popular solution to the creation problem is that (2) can be rejected because the justification for (2) is based on a false assumption—that no type can stand in causal relations. Although this solution looks promising, it can be accepted only if its proponent can refute what might be called the "paraphrasability argument." On this argument, types are not to be regarded as capable of standing in causal relations because any discourse implying the causality of types should be paraphrased into discourse that does not imply this. My aim in this essay is to show that there is good reason to consider the paraphrasability argument sound and, hence, that the foregoing solution to the creation problem fails. (shrink)