A bewildering array of accounts of the ontology of musical works is available. Philosophers have held that works of music are sets of performances, abstract, eternal sound-event types, initiated types, compositional action types, compositional action tokens, ideas in a composer’s mind and continuants that perdure. This paper maintains that questions in the ontology of music are, in Rudolf Carnap’s sense of the term, pseudo-problems. That is, there is no alethic basis for choosing between rival musical ontologies. While we have no (...) alethic basis for choosing any ontology of music, pragmatic reasons can be given for favoring certain ontologies of musical works over others. (shrink)

Julian Dodd has characterized the default position in metaphysics as meta-ontologically realist: the answers to first-order ontological questions are thought to be entirely independent of the things we say and think about the entities at issue. Consequently, folk ontologies are liable to substantial error. But while this epistemic humility is commendable where the ontology of natural kinds is concerned, it seems misplaced with respect to social kinds since their ontology is dependent upon the human social world. Using art and art-kinds (...) as paradigmatic examples of social kinds, I argue that meta-ontological realism sets conditions that are too strict to apply to social kinds. Nevertheless, I argue that we should not be too quick to embrace the conclusion that our folk theories of social kinds cannot err substantially. By modelling the reference of social kind-terms on that of natural kind-terms, it becomes clear that in both cases, our sole epistemic privilege lies in our ability to pinpoint the subject of our inquiries. (shrink)

The premise that every work belongs to an art-kind has recently inspired a kind-centred approach to theories of art. Kind-centred analyses posit that we should abandon the project of giving a general theory of art and focus instead on giving theories of the arts. The main difficulty, however, is to explain what makes a given kind an art-kind in the first place. Kind-centred theorists have passed this buck on to appreciative practices, but this move proves unsatisfactory. I argue that the (...) root of this dissatisfaction stems not from the act of kicking the can down the road, but from not kicking it far enough. The missing ingredient, I argue, is a notion of convention which does the work of marking the difference between art and non-art for a given physical medium. (shrink)

We offer an original argument for the existence of universal fictions—that is, fictions within which every possible proposition is true. Specifically, we detail a trio of such fictions, along with an easy-to-follow recipe for generating more. After exploring several consequences and dismissing some objections, we conclude that fiction, unlike reality, is unlimited when it comes to truth.

Are a material object, such as a statue, and its constituting matter, the clay, parts of one another? One wouldn't have thought so, and yet a number of philosophers have argued that they are. I review the arguments for this surprising claim showing how they all fail. I then consider two arguments against the view concluding that there are both pre-theoretical and theoretical considerations for denying that the statue and the clay are mutual parts.

Recent work on the problem of truth in serial fiction has focused on the semantics of certain sentences used to talk about serial fictions, as in Ross Cameron’s (2012) “How to Be a Nominalist and a Fictional Realist” and Andrew McGonigal’s (2013) “Truth, Relativism, and Serial Fiction,” or semantic properties of works themselves, as in Ben Caplan’s (2014) “Serial Fiction, Continued.” Here I argue that these proposed solutions are mistaken, and, more importantly, that the general approach to the problem is (...) mistaken: the problem of truth in serial fiction is an instance of the problem of change. Fictions can undergo change, much like you and me in certain respects. As a result, what is true in or according to them changes as well. (shrink)

Music, as sung and listened to, has been described in many a tale as powerful and transformative. Yet, the important question is not so much if that claim is true or whether it may be verified, but what kind of power and transformation are alluded to in those mythical and literary sources? Taking these symbolic claims and elaborating on their possible meaning, alongside thinkers such as Carolyne Abbate or Roland Barthes, proceeds to find ways in which these claims may suggest (...) different roles that music and singing play in human lives. As much as current musicological and anthropological academic narratives point to the power and its negotiation in society, there is more to singing voices’ charms than this. The author points to an important transformation that happens when the human existential qualities found in the voice’s imperfections (its materiality) are matched with the music’s aesthetic qualities (its beauty, sublimity, its symmetry, its impression) to transform the listener and make her listen. (shrink)

In Art as Performance , David Davies identifies certain properties relevant to artistic appreciation of artworks that, he suggests, are naturally construed as belonging to the artist’s creative performance rather than to any product of that performance (the “work-product”). He further argues, against an anticipated opponent, that such properties cannot be excluded as irrelevant to artistic appreciation in any principled way. I argue that the cited properties can be intelligibly construed as properties of the associated work-product, whether or not they (...) are relevant to artistic appreciation; but that some are not relevant to artistic appreciation. In doing so, I offer a principle determining when a property of an artwork is relevant to artistic appreciation. I conclude that, on its own, Davies’s argument offers no good grounds to abandon our practice of thinking of the artwork as the product of an artist’s activity, rather than the activity itself. (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)

Making an adequate aesthetic judgment about an object or an aesthetic property requires first-hand experience of that object or property. Many have suggested that this principle is a valid epistemic norm in the epistemology of the aesthetic. However, some recent philosophers have argued that certain works of conceptual art and other counterexamples disprove the principle in question, even suitably modified. In this paper, I argue that these philosophers are mistaken and that, when properly qualified, the acquaintance principle (in some of (...) its versions) is not threatened by their examples and arguments. (shrink)

This article outlines a realist theory of aesthetic properties as higher-order manifest properties and defends it from several objections, including a possible conflict with contextualist approaches to the aesthetic properties of works of art.

Information entities are used in ontologies to represent engineering technical specifications, health records, pictures or librarian data about, e.g., narrative fictions, among others. The literature in applied ontology lacks a comparison of the state of the art, and foundational questions on the nature of information entities remain open for research. The purpose of the paper is twofold. First, to compare existing ontologies with both each other and theories proposed in philosophy, semiotics, librarianship, and literary studies in order to understand how (...) the ontologies conceive and model information entities. Second, to discuss some open research challenges that can lead to principled approaches for the treatment of information entities, possibly by getting into account the variety of information entity types found in the literature. (shrink)

We demonstrate that many philosophers accept the following claim: When an aesthetic object is apprehended correctly, taking pleasure in said object is a reliable sign that the object is aesthetically successful. We undermine this position by showing that what grounds our pleasurable experience is opaque: In many cases, the experienced pleasure is attributable to factors that have little to do with the aesthetic object. The evidence appealed to is a form of Higher-Order Evidence (HOE) and we consider attempts to overcome (...) said evidence. We argue they are unsuccessful. We conclude by considering what this means for our practice of making aesthetic judgements. (shrink)

While all agree that score compliance in performance is valuable, the source of this value is unclear. Questions about what authenticity requires crowd out questions about our reasons to be compliant in the first place, perhaps because they seem trivial or uninteresting. I argue that such reasons cannot be understood as ordinary aesthetic, instrumental, epistemic, or moral reasons. Instead, we treat considerations of score compliance as having a kind of final value, one which requires further explanation. Taking as a model (...) the Humean account of fidelity as an artificial virtue, I sketch a practice-theoretic account of the nature and source of such reasons, one on which we can say that they are, after all, aesthetic, but only indirectly so. (shrink)

On offer here is a tradition-neutral way of understanding the distinction between analytic and continental philosophy of music. The distinction is drawn in terms of methodology, rather than content, by identifying contrasting methodological tendencies of each tradition—initial maneuvers that frame an investigation, which are related to one another insofar as they involve, or do not involve, two kinds of methodological detachment. These maneuvers are extracted through a consideration of contrasting pairs of examples. The pairs consist of an analytic and a (...) continental account of a core issue in the philosophy of music. The issues considered are musical experience, musical ontology, and the relationship between music and the emotions. The philosophers considered are Roger Scruton and Pierre Bourdieu, Jerrold Levinson and Lydia Goehr, Peter Kivy, and Andrew Bowie. (shrink)

Could a work of art actually authored by one artist have been authored, instead, by another? This is the question of the necessity of authorship. After distinguishing this question from another, regarding individuation, with which it is often confused, this paper offers an argument that authorship is indeed a necessary feature of most artworks. The argument proceeds from ‘independence principles’, which govern the processes by which artworks are produced. Independence principles are motivated, in turn, by metaphysical reflections on what it (...) takes to prevent an artist from producing a particular work of art. (shrink)

Clanak nastoji da utvrdi identitet umetnickog dela u slikarstvu, muzici i knjizevnosti. Rasprava je po svom karakteru ontoloska. Posebna paznja posvecena je problemu falsifikata umetnickog dela u razlicitim umetnostima. Tu razlikujem dve vrste falsifikata: fake i forgery. Prva vrsta falsifikata postoji iskljucivo u umetnostima u kojima je umetnicko delo singularan fizicki objekat, takozvanim autografskim umetnostima, dok se druga vrsta falsifikata moze pojaviti i u drugim, alografskim, umetnostima, iako mnogo redje. Sa problemom falsifikovanja umetnickog dela usko je povezano pitanje mogucnosti redukovanja (...) umetnickog dela na formalni simbolicki sistem, koji bi predstavljao svojevrsnu definiciju umetnickog dela. Rasprava pokazuje da konzistentna analiza ontoloskog statusa umetnickog dela u razlicitim formama umetnosti, daje naizgled neintuitivne i iznenadjujuce rezultate. (shrink)

Kendall Walton’s project in ‘Categories of Art’ (1970) is to answer two questions. First, does the history of an artwork’s production determine its aesthetic properties? Second, how – if at all – should knowledge of the history of a work’s production influence our aesthetic judgments of its properties? While his answer to the first has been clearly understood, his answer to the second less so. Contrary to how many have interpreted Walton, such knowledge is not necessary for making aesthetic judgments; (...) perceiving an artwork as belonging to a (correct) category of art requires no art-historical knowledge whatsoever. Moreover, contextualist attempts to incorporate art-historical knowledge via the mechanism of cognitive penetration are incompatible with Walton’s claim that categories of art must be perceptually distinguishable. Here I propose a way of elaborating Walton’s view that avoids this difficulty and reconciles contextualism with aesthetic perception, the view that we perceive aesthetic properties. (shrink)

This paper discusses methodological issues of two recent experiments conducted by Christopher Bartel, and Elzė S. Mikalonytė and Vilius Dranseika, respectively, about the repeatability and individuation of musical works. I argue, first, that the reliability of their results about people’s intuitions in our everyday musical practices can be questioned due to the use of descriptions instead of musical stimuli of the works and performances involved in the cases tested. This procedure is prone to place participants in an epistemic situation in (...) which their mental capacities for their everyday judgments are not deployed and makes their judgments more vulnerable to the problem of “filling in”. I provide empirical data of an experiment that implements musical stimuli, obtaining large effect sizes regarding the results obtained by Bartel, Mikalonytė and Dranseika. In addition, I argue that the results of three scenarios of the experiment conducted by Mikalonytė and Dranseika are suspicious of being influenced by presentation effects that favor the contextualist intuition that the composer is a relevant parameter in work-individuation. Formal and superficial aspects of the description of their cases would cause these effects. I supply empirical data of an experiment that neutralizes those effects, obtaining moderate and large effect sizes regarding the results of Mikalonytė and Dranseika. (shrink)

Guy Rohrbaugh and Allan Hazlett have provided two arguments against the thesis that musical works are types. In short, they assume that, according to our modal talk and intuitions, musical works are modally flexible entities; since types are modally inflexible entities, musical works are not types. I argue that Rohrbaugh’s and Hazlett’s arguments fail and that the type/token theorist can preserve the truth of our modal claims and intuitions even if types are modally inflexible entities. First, I consider two alternatives (...) for the type/token theorist proposed in recent literature about the topic: the created types’ solution and the created abstract objects’ solution. I argue that none of them is attractive for the type/token theorist because they do not preserve the theoretical advantages of type/token theories to explain musical works’ repeatable nature. Then, I focus on the arguments’ common premise that musical works are modally flexible entities. A deeper analysis of musical practice will show that this premise is not true: our modal claims do not imply that musical works could have had different intrinsic but, instead, extrinsic properties. Finally, I show how the nested types theory may offer a satisfactory explanation of this fact and how it captures the truth of our modal talk about musical works. (shrink)

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)

This paper defends Musical Stage Theory as a novel account of the ontology of musical works. Its main claim is that a musical work is a performance. The significance of this argument is twofold. First, it demonstrates the availability of an alternative, and ontologically tenable, view to well-established positions in the current debate on musical metaphysics. Second, it shows how the revisionary approach of Musical Stage Theory actually provides a better account of the ontological status of musical works.

In this paper I defend a contextualist interpretation of authenticity in musical performance: we judge a performance as authentic not in respect of a stable set of requirements but according to contextually determined factors. This solution is the natural outcome of an independently supported ontological account of musical works: Musical Stage Theory. The aim of the paper is to give new momentum to the debate concerning the notion of authenticity and to challenge a monistic interpretation of authenticity: there is not (...) one authenticity but many. (shrink)

Realism about musical works is often tied to some type of Platonism. Nominalism, which posits that musical works exist and that they are concrete objects, goes with ontological realism much less often than Platonism: there is a long tradition which holds human-created objects (artifacts) to be mind-dependent. Musical Platonism leads to the well-known paradox of the impossibility of creating abstract objects, and so it has been suggested that only some form of nominalism becoming dominant in the ontology of art could (...) cause a great change in the field and open up new possibilities. This paper aims to develop a new metaontological view starting from the widely accepted claim that musical works are created. It contends that musical works must be concrete and created objects of some sort, but, nevertheless, they are mind-independent, and we should take the revisionary methodological stance. Although musical works are artifacts, what people think about them does not determine what musical works are. Musical works are similar to natural objects in the following sense: semantic externalism applies to the term ‘musical work’ because, firstly, they possess a shared nature, and, secondly, we can be mistaken about what they are. (shrink)

An impressive variety of theories of ontology of musical works has been offered in the last fifty years. Recently, the ontologists have been paying more attention to methodological issues, in particular, the problem of determining criteria of a good theory. Although different methodological approaches involve different views on the importance and exact role of intuitiveness of a theory, most philosophers writing on the ontology of music agree that intuitiveness and compliance with musical practice play an important part when judging theories. (...) A multitude of diverse claims exist regarding folk intuitions and matters of musical practice in the literature on the ontology of musical works. In this review paper, a systematized collection of about one hundred empirical claims extracted from the theoretical literature is presented. All of the empirical claims are categorized thematically. The paper also includes a short discussion on the role of appeals to common intuitions in methodological literature, as well as some suggestions for future research. (shrink)

Philosophers often consider better compliance with prevalent pre-theoretical intuitions to be an advantage of a theory of ontology of musical works. However, despite many predictions of what these intuitions on relevant questions might be, so far there is only one experimental philosophy study on the repeatability of musical works by Christopher Bartel. We decided to examine the intuitions concerning the individuation of musical works by creating scenarios reflecting the differences in the positions of musical ontologists: pure and timbral sonicism, instrumentalism, (...) and contextualism. The results show that emotional expressivity, instrument, timbre, and images evoked in the listeners were not considered as properties individuating musical works. However, the musical works were held to be different if the composers were different. In most cases, the participants had clear intuitions. Pure sonicism, complemented with additional stress on significance of the composer’s creativity, seems to be the most intuitive position. (shrink)

In this paper, I show how one might resist two influential arguments for the Likelihood Principle by appealing to the ontological significance of creative intentions. The first argument for the Likelihood Principle that I consider is the argument from intentions. After clarifying the argument, I show how the key premiss in the argument may be resisted by maintaining that creative intentions sometimes independently matter to what experiments exist. The second argument that I consider is Gandenberger’s :475–503, 2015) rehabilitation of Birnbaum’s (...) :269–306, 1962) proof of the Likelihood Principle from the more intuitively obvious principles of conditionality and sufficiency. As with the argument from intentions, I show how Gandenberger’s argument for his Experimental Conditionality Principle may be resisted by maintaining that creative intentions sometimes independently matter to what experiments exist. (shrink)

Paintings of music are a significant presence in modern art. They are cross-modal representations, aimed at representing music, say, musical works or forms, using colors, lines, and shapes in the visual modality. This article aims to provide a conceptual framework for understanding paintings of music. Using examples from modern art, the article addresses the question of what a painting of music is. Implications for the aesthetic appreciation of paintings of music are also drawn.

Ontological approaches to the arts have neglected art forms such as dance. This hinders analysis of the metaphysical similarities and differences between different art forms. In this paper, I develop a metaphysical realist ontological approach to dance and sport that is grounded in embodiment. I first examine the debate between descriptivism and metaontological realism in the philosophy of arts in the context of Thomasson’s descriptive approach and Dodd’s metaontological approach of folk-theoretic modesty. Following Dodd, I adopt a realist metaontological approach (...) to dance as an art form, drawing on philosophical debates within dance. I then review metaphysical approaches to sport and argue that most such approaches are based on abstract, top-down models. I therefore propose an ontological account of sport and dance based on metaontological realism and grounded in embodied movement knowledge. Drawing on Schaffer’s concept of ground functionalism, I use this approach to compare the aesthetic and bodily aspects of sport and dance in terms of elite-level movement knowledge. I describe how the embodiment of such movement knowledge through practice permits dancers and athletes to create expert movements. Drawing on findings from neuroscientific research, I argue that dancers and athletes, through the process of physiological plasticity, acquire embodied memories that are transformed into new bodily and behavioral dispositions. I believe that the metaphysical realist ontological approach presented here could help to broaden the focus in arts ontology to encompass movement disciplines such as sport and dance. This account may also engender cross-disciplinary research and encourage philosophers to explore the role of movement in arts such as music. (shrink)

Kendall Walton's Mimesis as Make-Believe is the most significant event in Anglo-American aesthetics in many a year, and joins a small pantheon of landmark books such as Nelson Goodman's Languages of Art, Richard Wollheim's Art and Its Objects and Arthur Danto's Transfiguration of the Commonplace. Walton's aim is to provide a comprehensive account of the representational arts—literature, drama, cinema, painting, drawing, sculpture—from both the generative and the receptive points of view. That is to say, he attempts to explain how representations (...) are fashioned, what their representational status consists in, how representations are apprehended and what the experience of them characteristically involves. Inthese aims he is to my mind enormously, if not completely, successful. (shrink)

Recently, a debate has developed between those who claim that essence can be explained in terms of de re modality (modalists), and those who claim that de re modality can be explained in terms of essence (essentialists). The aim of this paper is to suggest that we should reassess. It is assumed that either necessity is to be accounted for in terms of essence, or that essence is to be accounted for in terms of necessity. I will argue that we (...) should assume neither. I discuss what role these key notions – essence and necessity – can reasonably be thought to contribute to our understanding of the world, and argue that, given these roles, there is no good reason to think that we should give an account of one in terms of the other. I conclude: if we can adequately explain de re modality and essence at all, we should aim to do so separately. (shrink)

Words, languages, symphonies, fictional characters, games, and recipes are plausibly abstract artifacts— entities that have no spatial location and that are deliberately brought into existence as a result of creative acts. Many accept that composition is unrestricted: for every plurality of material objects, there is a material object that is the sum of those objects. These two views may seem entirely unrelated. I will argue that the most influential argument against restricted composition—the vagueness argument—doubles as an argument that there can (...) be no abstract artifacts. There is no way to resist the vagueness argument against abstract artifacts that does not also undermine the vagueness argument against restricted composition. (shrink)

I present two puzzles about the metaphysics of stores, restaurants, and other such establishments. I defend a solution to the puzzles, according to which establishments are not material objects and are not constituted by the buildings that they occupy.

Philosophers since Plato, at least some philosophers, have, from time to time, seen music as an appropriate object of philosophical scrutiny. And, of course, in the nineteenth century, Schopenhauer and Nietzsche elevated music to a level of philosophical importance never reached before that time. But the marriage of music to philosophy ended in divorce at the close of the nineteenth century, and, as well, there occurred a sharp decline in the philosophical study of the arts tout court. However, with the (...) rise of interest in aesthetics and the philosophy of art, in the late 1960s, it was inevitable that philosophy and music should again enter into matrimony. And it is that remarriage, during the past thirty-five or so years, that I explore in the present article. (shrink)

The debate concerning the ontological status of musical works is perhaps the most animated debate in contemporary analytic philosophy of music. In my view, progress requires a piecemeal approach. So in this article I hone in on one particular musical work concept – that of the classical Western art musical work; that is, the work concept that regulates classical art-musical practice. I defend a fictionalist analysis – a strategy recently suggested by Andrew Kania as potentially fruitful – and I develop (...) a version of such an analysis in line with a broad commitment to philosophical naturalism. (shrink)

In this critical study of Julian Dodd’s Being True to Works of Music, I argue that the three-tier normative profile of the work-performance tradition in classical music that Dodd defends should be rejected in favour of a two-tier version. I also argue that the theory of work-performance defended in the book fits much more naturally with a contextualist ontology of musical works than with the Platonist ontology Dodd defends in Works of Music, despite his arguments to the contrary in the (...) afterword of the new book. Finally, I argue that the reasons he gives for preferring a ‘tradition-based’ over a ‘historicized’ theory of the understanding of classical scores are not convincing. (shrink)

Aaron Ridley has recently attacked the study of musical ontology—an apparently fertile area in the philosophy of music. I argue here that Ridley's arguments are unsound. There are genuinely puzzling ontological questions about music, many of which are closely related to questions of musical value. While it is true that musical ontology must be descriptive of pre-existing musical practices and that some debates, such as that over the creatability of musical works, have little consequence for questions of musical value, none (...) of this implies that these debates themselves are without value. (shrink)

I argue that the work of art in rock music is a track constructed in the studio, that tracks usually manifest songs, which can be performed live, and that a cover version is a track (successfully) intended to manifest the same song as some other track. This ontology reflects the way informed audiences talk about rock. It recognizes not only the centrality of recorded tracks to the tradition, as discussed by Theodore Gracyk, but also the value accorded to live performance (...) skills, emphasized by Stephen Davies. (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)

We discuss how analysis of contemporary artworks has shaped philosophical theories about the concept of art, the ontology of art, and artistic media. The rapid expansion, during the contemporary period, of the kinds of things that can count as artworks has prompted a shift toward procedural definitions, which focus on how artworks are selected, and away from definitions that focus exclusively on artworks’ features or effects. Some contemporary artworks challenge the traditional art–ontological dichotomy between physical particulars and repeatable entities whose (...) occurrences are physical particulars. And nontraditional techniques and materials employed in contemporary art violate the boundaries of conventional media, prompting a rethinking of what artistic medium might be. (shrink)

Software is a ubiquitous artifact, yet not much has been done to understand its ontological nature. There are a few accounts offered so far about the nature of software. I argue that none of those accounts give a plausible picture of the nature of software. I draw attention to the striking similarities between software and musical works. These similarities motivate to look more closely on the discussions regarding the nature of the musical works. With the lessons drawn from the ontology (...) of musical works I offer a novel account of the nature of software. In this account, software is an abstract artifact. I elaborate the conditions under which software comes into existence; how it persists; how and on which entities its existence depends. (shrink)

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)