According to Essentialism, an object’s properties divide into those that are essential and those that are accidental. While being human is commonly thought to be essential to Socrates, being a philosopher plausibly is not. We can motivate the distinction by appealing—as we just did—to examples. However, it is not obvious how best to characterize the notion of essential property, nor is it easy to give conclusive arguments for the essentiality of a given property. In this paper, I elaborate on these (...) issues and explore the way in which essential properties behave in relation to other related properties, like sufficient-for-existence properties and individual essences. (shrink)

The starting point of this paper is an argument to the conclusion that the definition of metaphysical possibility in terms of correct conceivability, conceivability informed by knowledge of relevant essences, found in Rosen (2006) is equivalent to a version of the essentialist definition of metaphysical necessity. This argument appears to show that correct conceivability is a notion of conceivability by name only and is therefore of no interest to epistemologists of modality. In this paper, I present the equivalence argument, explain (...) the idealizing assumptions involved in it and sketch a version of the conceivability approach which weakens these assumptions in order to show that the notion of correct conceivability can still play a specific limited role in the epistemology of modality. (shrink)

ABSTRACTThe Necessity of Origins is the thesis that, necessarily, if a material object wholly originates from some particular material, then it could not have wholly originated from any significantly non-overlapping material. Several philosophers have argued for this thesis using as a premise a principle that we call ‘Single Origin Necessity’. However, we argue that Single Origin Necessity is false. So any arguments for The Necessity of Origins that rely on Single Origin Necessity are unsound. We also argue that the Necessity (...) of Origins itself is false. Our arguments rely on a thesis in the ontology of art that we find plausible: Multi-Work Materialism. It is the thesis that works of art that have multiple concrete manifestations are co-located with those manifestations. (shrink)

In the last 30 years much philosophical discussion has been generated by Kripke’s proof of the necessity of origin for material objects presented in footnote 56 of ‘Naming and Necessity’. I consider the two most popular reconstructions of Kripke’s argument: one appealing to the necessary sufficiency of origin, and the other employing a strong independence principle allegedly derived from the necessary local nature of prevention. I argue that, to achieve a general result, both reconstructions presuppose an implicit Humean atomistic thesis (...) of recombination, according to which any two (non-overlapping) possible objects can simultaneously coexist in one and the same world. Yet recombination ill accords with the other assumptions of the proofs. I also argue that the locality of prevention does not entail strong independence. (shrink)

In 1988, Michael Nyman composed the score for Peter Greenaway’s film Drowning by Numbers (or did something that we would ordinarily think of as composing that score). We can think of Nyman’s compositional activity as a “generative performance” and of the sound structure that Nyman indicated (or of some other abstract object that is appropriately related to that sound structure) as the product generated by that performance (ix).1 According to one view, Nyman’s score for Drowning by the Numbers—the musical work—is (...) the product generated by Nyman’s compositional activity (namely, an abstract object) and, more generally, artworks are identified with the products generated by compositional or other creative activities. Let’s call this view The Product Theory. By contrast, according to another view, Nyman’s score for Drowning by Numbers is the generative performance itself (namely, Nyman’s compositional activity) and, more generally, artworks are identified with generative performances themselves. Following David Davies in Art as Performance, let’s call this view The Performance Theory (80). In that book, Davies argues for The Performance Theory and against The Product Theory. (shrink)

In the last 30 years repeated attempts have been made to develop a proof-sketch Kripke gave for essentialism about material origins into a cogent argument. I argue that there are general reasons that all such attempts have failed, and so we should likewise expect future attempts to fail.

A New Route to the Necessity of Origin’ (2004, henceforth ‘NR’), we offered an argument for the thesis that there are necessary connections between material things and their material origins. Much of the philosophical interest lay in our claim that the argument did not depend on so-called sufficiency principles for crossworld identity. It has been the verdict of much recent work on the necessity of origin that valid arguments for the thesis require some such sufficiency principle as a premise but (...) that such principles are deeply problematic.1 Finding an argument free of such principles would advance both our understanding and the plausibility of that thesis. These claims are now the subject of a pair of insightful critiques by Teresa Robertson and Graeme Forbes (2006, henceforth ‘RF’) and by Ross Cameron and Sonia Roca (2006, henceforth ‘CR’), and we welcome the opportunity to clarify and improve our account of the matter. (shrink)