It’s widely accepted that we have most reason to accept theories that best fulfill the following naturalistically respectable criteria: internal consistency, consistency with the facts, and exemplification of the theoretical virtues. It’s also widely accepted that metaphysical theories are necessarily true. I argue that if you accept the aforementioned criteria, you have most reason to reject that metaphysical theories are necessarily true. By applying the criteria to worlds that are all prima facie possible, I show that contingent local matters of (...) particular fact partly determine which theory of composition we should accept at a world. For instance, I argue that when we apply the criteria to our world, we should accept Mereological Nihilism. Furthermore, even if you think that the worlds I mention, such as gunky worlds, are impossible, you should still reject the brute principle that metaphysical theories are necessarily true. Instead, you should only accept that a theory of composition is necessarily true if contingent local matters of particular fact at possible worlds cannot tell in favor of one theory of composition over another. (shrink)

It’s widely accepted that we have most reason to accept theories that best fulfill the following naturalistically respectable criteria: (1) internal consistency, (2) consistency with the facts, and (3) exemplification of the theoretical virtues. It’s also widely accepted that metaphysical theories are necessarily true. I argue that if you accept the aforementioned criteria, you have most reason to reject that metaphysical theories are necessarily true. By applying the criteria to worlds that are all prima facie possible, I show that contingent (...) local matters of particular fact partly determine which theory of composition we should accept at a world. For instance, I argue that when we apply the criteria to our world, we should accept Mereological Nihilism. Furthermore, even if you think that the worlds I mention, such as gunky worlds, are impossible, you should still reject the brute principle that metaphysical theories are necessarily true. Instead, you should only accept that a theory of composition is necessarily true if contingent local matters of particular fact at possible worlds cannot tell in favor of one theory of composition over another. (shrink)

According to Johansson (2009: 22) an infinite regress is vicious just in case “what comes first [in the regress-order] is for its definition dependent on what comes afterwards.” Given a few qualifications (to be spelled out below (section 3)), I agree. Again according to Johansson (ibid.), one of the consequences of accepting this way of distinguishing vicious from benign regresses is that the so-called Russellian Resemblance Regress (RRR), if generated in a one-category trope-theoretical framework, is vicious and that, therefore, the (...) existence of tropes only makes sense if trope-theory is understood (minimally) as a two-category theory which accepts, besides the existence of tropes, also the existence of at least one universal: resemblance.1 I disagree. But how can that be? How can Johansson and I agree about what distinguishes a vicious from a benign regress, yet disagree about which regresses are vicious and which are benign? In this paper I attempt to answer that question by first setting out and defending the sense of viciousness which both Johansson and I accept, only to then argue that to be able to determine if a particular regress is vicious in this sense, more than features intrinsic to the regress itself must be taken into account. This is why, although the RRR as originally set out by Russell is vicious, the seemingly identical resemblance regress which ensues in a one-category (standard) trope-theoretical context is not (provided, that is, that we accept certain views about how the nature of tropes relates to the resemblance between tropes, and given that we set our theory in a truthmaker theoretical framework – all of which are standard assumptions for proponents of (the standard-version of) the trope-theory).2. (shrink)

Leibniz’s account of perception for understanding of German rationalistic aesthetic tradition in 18 century is very crucial and important. His account of sense qualities has a Cartesian framework and it is so central to his views on aesthetic experience. He explains the concept of perfection and pleasure based on the clear but confused nature of perception. Accordingly, he defines beauty as follows: perfection is the ability or power to unite multiple properties into one; pleasure is feeling perfection in things. Beauty, (...) for him, is the contemplation or reflection upon the pleasurable, or perfection of things. Having investigated the importance of Leibniz in German aesthetics, we intend to figure out the nature of perfection and its relationship to aesthetic experience, perfection, and beauty in his aesthetics. (shrink)