Abstract objects are standardly taken to be causally inert, however principled arguments for this claim are rarely given. As a result, a number of recent authors have claimed that abstract objects are causally efficacious. These authors take abstracta to be temporally located in order to enter into causal relations but lack a spatial location. In this paper, I argue that such a position is untenable by showing first that causation requires its relata to have a temporal location, but second, that (...) if an entity is temporally located then it is spatiotemporally located since this follows from the theory of Relativity. Since abstract objects lack a spatiotemporal location, then if something is causally efficacious, it is not abstract. (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)

Presenting the first comprehensive, in-depth study of hyperintensionality, this book equips readers with the basic tools needed to appreciate some of current and future debates in the philosophy of language, semantics, and metaphysics. After introducing and explaining the major approaches to hyperintensionality found in the literature, the book tackles its systematic connections to normativity and offers some contributions to the current debates. The book offers undergraduate and graduate students an essential introduction to the topic, while also helping professionals in related (...) fields get up to speed on open research-level problems. (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)

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)

Platonism is the view that there exist such things as abstract objects — where an abstract object is an object that does not exist in space or time and which is therefore entirely non-physical and nonmental. Platonism in this sense is a contemporary view. It is obviously related to the views of Plato in important ways, but it is not entirely clear that Plato endorsed this view, as it is defined here. In order to remain neutral on this question, the (...) term ‘platonism’ is spelled with a lower-case ‘p’. (See entry on Plato.) The most important figure in the development of modern platonism is Gottlob Frege (1884, 1892, 1893-1903, 1919). The view has also been endorsed by many others, including Kurt Gödel (1964), Bertrand Russell (1912), and W.V.O. Quine (1948, 1951). (shrink)

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)

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)

There are compelling reasons to believe that musical works are abstract. However, this hypothesis conflicts with the platitude that musical works are appreciated by means of audition: the things that enter our ear canals and make our eardrums vibrate must be concrete, so how can musical works be listened to if they are abstract? This question constitutes the audibility problem. In this paper, I assess Julian Dodd’s elaborate attempt to solve it, and contend that Dodd’s attempt is unsuccessful. Then I (...) discuss what I take to be the ideal response to the audibility problem, and show that it ultimately fails. I contend, consequently, that the project of construing musical works as audible is disheartening. Accordingly, in my last section, I will argue the audibility problem may be satisfactorily resolved without ascribing audibility to musical works. (shrink)

I first show that a growing body of literature about the phenomenological and epistemic role of the structural features of experience can be recruited in favour of the view that absence experience is non‐veridical. Then I argue that such literature is in fact amenable to the view that absence experience is veridical if we rethink our conception of absence, and presence, itself.

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)

According to nihilism, musical works do not exist. Platonism, on the other hand, states that they do exist—qua abstract objects of some sort. Given that denying the existence of musical works is rather counterintuitive, it does not come as a surprise that nihilism is considerably less popular than platonism. This is not to say that among ontologists, no one prefers nihilism. But an overwhelming majority of them are on the platonist side. Is this situation justified? Presumably, the answer is “yes” (...) only if platonism is more theoretically virtuous than nihilism. My goal in this paper is to show that under certain widely held methodological assumptions, the given condition is not satisfied: The theoretical merits of nihilism are, on balance, at least comparable to those of platonism. This result, if true, provides a powerful motivation to call into question the dominance of platonism, while adopting a more favorable attitude to nihilism. (shrink)

The consensus is that repeatable artworks cannot be identified with particular material individuals. A perennial temptation is to identify them with types, broadly construed. Such identification, however, faces the so-called “Creation Problem.” This problem stems from the fact 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 are mutually inconsistent. A possible solution to (...) the Creation Problem is to argue that claim (2) can be rejected because (a) the only motivation for it is that a type, being abstract, cannot stand in causal relations, but (b) this motivation is ungrounded, since types can, in fact, stand in such relations. Clearly, in order for this solution to be successful, it is necessary to substantiate the possibility of types to be causally efficacious. In this essay, I examine an attempt to do this with the help of Yablo’s principle of proportionality, which has been undertaken by Walters (2013) and, more recently, Juvshik (2018). Although the argument they advance may seem to provide strong support for the causal efficacy of types, I think it actually fails to do this. To explain why this is so, I first show that this argument commits us to the existence of widespread causal overdetermination involving types and then argue that this commitment is both epistemically and ontologically problematic. (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.

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)

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...