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)

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)

In disputes about the ontology of music, musical idealism—that is, the view that musical compositions are ideas—has proven to be rather unpopular. We argue that, once we have a better grip on the ontology of ideas, we can formulate a version of musical idealism that is not only defensible, but plausible and attractive. We conclude that compositions are a particular kind of idea: they are completed ideas for musical manifestation.

Realism about types is the view that types are abstract and repeatable objects. Although type realists seem to agree that types, unlike properties, are objects in their own right, they argue that there is a metaphysically intimate tie between the existence conditions of types and properties. In particular, most type realists believe that types are, in a certain sense, determined by the properties that underlie them. I argue that this is a mistake, especially for those type realists who believe that (...) social and cultural types such as works of music and fiction or words are artifacts. I offer an alternative version of type realism where social and cultural types are dependent objects that should be understood in analogy with concrete artifacts. (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)

Descriptivism in the ontology of art is the thesis that the correct ontological proposal for a kind of artwork cannot show the nascent ontological conception of such things embedded in our critical and appreciative practices to be substantially mistaken. Descriptivists believe that the kinds of revisionary art ontological proposals propounded by Nelson Goodman, Gregory Currie, Mark Sagoff, and me are methodologically misconceived. In this paper I examine the case that has been made for a local form of descriptivism in the (...) ontology of art: a form that does not quarrel with the possibility of revisionism in matters of ‘fundamental metaphysics’, but which argues that special features of the arts make descriptivism in this particular sphere obligatory. David Davies, Andrew Kania and Stephen Davies are local descriptivists in this sense. I argue that the burden of proof lies with the local descriptivist, but that this burden is too heavy for him to carry. Specifically, it emerges that the only way in which the local descriptivist can motivate his position is by arguing that our artistic practices determine the art ontological facts: a thesis that local descriptivists typically appeal to, but have not been able to argue for successfully. My conclusion is that the methodological debate in the ontology of art should now proceed by focussing on the case for global descriptivism: i.e. that form of descriptivism that opposes the possibility of revisionism in ontological matters across the board. (shrink)

Some photographs show determinate features of a scene because the photographed scene had those features. This dependency relation is, rightly, a consensus in philosophy of photography. I seek to refute many long-established theories of photography by arguing that they are incompatible with this commitment. In Section II, I classify accounts of photography as either single-stage or multi-stage. In Section III, I analyze the historical basis for single-stage accounts. In Section IV, I explain why the single-stage view led scientists to postulate (...) “latent” photographic images as a technical phenomenon in early chemical photography. In Section V, I discredit the notion of an invisible latent image in chemical photography and, in Section VI, extend this objection to the legacy of the latent image in digital photography. In Section VII, I appeal to the dependency relation to explain why the notion of a latent image makes the single-stage account untenable. Finally, I use the multi-stage account to advance debate about “new” versus “orthodox” theories of photography. (shrink)

I investigate the widely held view that fundamental musical ontology should be descriptivist rather than revisionary, that is, that it should describe how we think about musical works, rather than how they are independently of our thought about them. I argue that if we take descriptivism seriously then, first, we should be sceptical of art-ontological arguments that appeal to independent metaphysical respectability; and, second, we should give ‘fictionalism’ about musical works—the theory that they do not exist—more serious consideration than it (...) is usually accorded. CiteULike Connotea Del.icio.us What's this? (shrink)

The property theory of musical works says that each musical work is a property that is instantiated by its occurrences, that is, the work's performances and playings. The property theory provides ontological explanations very similar to those given by its popular cousin, the type/token theory of musical works, but it is both simpler and stronger. However, type/token theorists often dismiss the property theory. In this essay, I formulate a version of the property theory that identifies each type (thus, each musical (...) work) with a unique property. I then scrutinize the arguments offered for thinking that types, including musical works, are distinct from properties. I respond that no such argument is forceful and conclude that the property theory of musical works is superior to the type/token theory. (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)

Conceiving of fictional characters as types allows us to reconcile intuitions of sameness and difference about characters such as Batman that appear in different fictional worlds. Sameness occurs at the type level while difference occurs at the token level. Yet, the claim that fictional characters are types raises three main issues. Firstly, types seem to be eternal forms whereas fictional characters seem to be the outcome of a process of creation. Secondly, the tokens of a type are concrete particulars in (...) the actual world whereas the alleged tokens of a fictional character are concrete particulars in a fictional world. Thirdly, many fictional characters, unlike Batman, only appear in one work of fiction, and therefore one can wonder whether it does make sense to treat them as types. The main aim of this paper is to address these issues in order to defend a creationist account of fictional characters as types. (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)

This is an overview of analytic philosophy of music. It is in five sections, as follows: 1. What Is Music? 2. Musical Ontology 3. Music and the Emotions 4. Understanding Music 5. Music and Value.

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)

Recently, a number of philosophers have defended a novel, materialist view on the nature of musical works—musical perdurantism. According to this view, musical works are a peculiar kind of concreta, namely perduring mereological sums of performances and/or other concrete entities. One problem facing musical perdurantism stems from the thought that if this view is correct, then virtually no musical work can exist in a continuous, non-intermittent fashion. The aim of this paper is to expound this problem and show that it (...) cannot be plausibly solved by a musical perdurantist. (shrink)

The ontological nature of works of music has been a particularly lively area of philosophical debate during the past few years. This paper serves to introduce the reader to some of the most fertile and interesting issues. Starting by distinguishing three questions – the categorial question, the individuation question, and the persistence question – the article goes on to focus on the first: the question of which ontological category musical works fall under. The paper ends by introducing, and briefly considering, (...) meta-ontological questions in the ontology of music. (shrink)

Guy Rohrbaugh (2003) and Allan Hazlett (2012) have argued against the identification of musical works with sound-pattern types by arguing that musical works are.

This paper explores how a new theory on the ontology of musical works, Musical Stage Theory, can address the problem of change in musical works. A natural consequence of the ontological framework of this theory is that musical works change intrinsically through a change in the sonic-structural properties of performances. From this a surprising consequence follows: everyone can change a musical work. Still, it seems that some changes matter more than others. The article offers a revisionary reply to this concern (...) by arguing that normative change is not a change in the ontological nature of the work but rather in its authenticity conditions. (shrink)

Cover songs are a familiar feature of contemporary popular music. Musicians describe their own performances as covers, and audiences use the category to organize their listening and appreciation. However, until now philosophers have not had much to say about them. This book explores how to think about covers, appreciating covers, and the metaphysics of covers and songs. Along the way, it explores a range of issues raised by covers, from the question of what precisely constitutes a cover, to the history (...) and taxonomy of the category, the various relationships that hold between songs, performances, and tracks, and the appreciation and evaluation of covers. (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)

RÉSUMÉLes œuvres musicales sont à la fois multiples et audibles. Dans le domaine de l'ontologie musicale, deux des principaux modèles conçus pour expliquer ces caractéristiques des œuvres musicales sont le modèle type/instanciation et le modèle étape/continuité. Julian Dodd a soutenu que le modèle type/instanciation a un avantage sur le modèle étape/continuité, car il peut offrir une explication directe de l'audibilité des œuvres musicales en termes de catégorie ontologique. Je défends le modèle étape/continuité contre l'argument de Dodd en invoquant une relation (...) de continuité qui unifie l’œuvre. (shrink)

This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another (...) work). I offer criteria for determining when this is the case. Application of the criteria yields the verdict that performances are sometimes artworks in their own right, while displays of installation artworks rarely are. This difference, though, is merely contingent on the conventions of the respective art forms. Third, I address ontological concerns about entities that are both abstract and temporal, as many artworks are on my analysis. (shrink)

Cover versions form a loose but identifiable category of tracks and performances. We distinguish four kinds of covers and argue that they mark important differences in the modes of evaluation that are possible or appropriate for each: mimic covers, which aim merely to echo the canonical track; rendition covers, which change the sound of the canonical track; transformative covers, which diverge so much as to instantiate a distinct, albeit derivative song; and referential covers, which not only instantiate a distinct song, (...) but for which the new song is in part about the original song. In order to allow for the very possibility of transformative and referential covers, we argue that a cover is characterized by relation to a canonical track rather than merely by being a new instance of a song that had been recorded previously. (shrink)

Aestheticians generally agree that the aesthetic features of an object depend upon the non-aesthetic features of an object, and that this dependence can be captured by some formulation of the supervenience relation. I argue that the aesthetic depends upon the non-aesthetic in various and importantly different ways; that these dependence relations cannot be explained by supervenience; that appeals to supervenience create puzzles that aestheticians have neither fully appreciated nor resolved; and that appealing to various realization relations avoids these puzzles and (...) allows for a richer description of how the aesthetic depends upon the non-aesthetic. (shrink)

According to certain models of the musical work-performance relationship, musical works persist through time. Dodd and Thomasson argue that perdurantist accounts of musical persistence—according to which musical works persist by having temporal parts at every time they exist—are untenable, and Tillman argues that musical endurantism—according to which persisting works are wholly present at each time they exist—avoids Dodd’s worries. In this paper, I argue that both Dodd’s and Thomasson’s arguments—and Tillman’s response—rely on assumptions linking theories of persistence to common-sense views (...) about musical works and, moreover, that these assumptions are unwarranted. As a result, only an attitude of neutrality towards questions about the nature of musical persistence is warranted. (shrink)

It has recently been suggested that the type/token theorist concerning musical works cannot come up with an adequate semantic theory of those sentences in which we purport to talk about such works. Specifically, it has been claimed that, since types are abstract entities, a type/token theorist can only account for the truth of sentences such as “The 1812 Overture is very loud” and “Bach's Two Part Invention in C has an F-sharp in its fourth measure” by adopting an untenable semantic (...) claim: namely, that the predicates in such sentences, once applied to musical works, undergo a systematic shift in their meanings. This article is a sustained explanation of why our talk about musical works in fact provides no problem for the type/token theorist. First, we demonstrate that the aforementioned “meaning shift” approach to the sentences’ predicates is well motivated and very credible. Second, we explain how the type/token theorist can adopt the best available version of an alternative, generic quantificational approach to such sentences. Third, we establish that other semantic theories, presented as undermining the type/token theory by giving us a reason for adopting eliminativism about types, are much less theoretically virtuous than the two theories that a type/token theorist can freely adopt. (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)

A photographic image is said to provide evidence of a photographed scene because it is a causal imprint of reflected light, an indexical trace of real objects and events. Though widely established in the history, theory, and philosophy of photography, this traditional imprinting model must be rejected because it relies on a “single-stage” misconception of the photographic process: the idea that a photographic image comes into existence at the time of exposure. In its place, a “multistage” account properly articulates different (...) production stages, such as registering and rendering, that are relevant to understanding the relation between a photographic image and the photographed scene. By denying that any photographic image is a causal imprint, the multistage approach proposes a more demanding evaluation of photographic evidence. This has implications for documentary film and photojournalism, along with specialized applications such as forensics, surveillance, and face-recognition technology. (shrink)

This paper contrasts the experience of works of installation art with sculptural and architectural experience and argues that installation art is an interactive art form.

Philosophers often talk about and engage with ideas. Scientists, artists, and historians do, too. But what is an idea? In this paper, we first motivate the desire for an ontology of ideas before discussing what conditions a candidate ontology would have to satisfy to be minimally adequate. We then offer our own account of the ontology of ideas, and consider various strategies for specifying the underlying metaphysics of the account. We conclude with a discussion of potential future work to be (...) done on the ontology of ideas. (shrink)

In a recent article, Caterina Moruzzi (2018) develops and defends her musical stage theory. This discussion response supposes that Moruzzi's development and def.

Intuitively speaking, a multiple artwork is one that admits of multiple ‘instances’ which are capable of playing a particular role in the appreciation of the work. The ‘explananda’ in the title of this article are things that have been proposed as requiring explanation by any adequate ontology of multiple artworks so conceived. This assumes that the ontology of art is in the business of explaining certain things, an assumption I defend. At least nine purported explananda have been proposed in the (...) relevant literature. I begin by offering a preliminary sketch of these explananda, identifying how they are grounded in our ordinary artistic practice and discourse, and how they have structured recent debates in the ontology of art. I next argue that the notion of ‘instance’ must be understood in a particular way if instance multiplicity is to capture the standard distinction between singular and multiple art forms. I then assess the relative significance and implications of the nine explananda for an adjudication of the debates in the ontology of art. I identify problems for the historically dominant ‘type’ theory of multiples, and propose an alternative account that speaks to all nine explananda. I conclude by reflecting on where this leaves us and how we should proceed. (shrink)

A central motivation for the type-token model of music works is its ability to explain musical multiplicity—the fact that musical works are capable of having multiple performances through which they can be experienced and which cannot be individually identified with the works themselves. The type-token model explains multiplicity by identifying musical works with structural types and taking performances to be tokens of those types. In this paper, I argue that musical works are flexible in ways which permit performances which are (...) tokens of distinct structural types to be performances of the same musical work. And I argue that various attempts to reconcile the type-token model with musical flexibility are ultimately unsuccessful. (shrink)

In this paper, I explore and defend the idea that musical works are historical individuals. Guy Rohrbaugh (2003) proposes this for works of art in general. Julian Dodd (2007) objects that the whole idea is outré metaphysics, that it is too far beyond the pale to be taken seriously. Their disagreement could be seen as a skirmish in the broader war between revisionists and reactionaries, a conflict about which of metaphysics and art should trump the other when there is a (...) conflict. That dispute is a matter of philosophical methodology as much as it is a dispute about art. I argue that the ontology of works as individuals need not be dunked in that morass. My primary strategy is to show, contra Dodd's accusation, that historical individuals are familiar parts of the world. Although the ontological details are open to debate, it is the standard opinion of biologists is that biological species are historical individuals. So there is no conflict here between fidelity to art and respectable metaphysics. What suits species will fit musical work as well. (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)

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)

Repeatable artworks like musical works have presented theorists in the ontology of art with a puzzle. They seem in some respects like eternal, immutable objects and in others like created, historical objects. Creationists have embraced the latter appearances and attempted to compel Platonists to follow them. I examine in detail each argument in a cumulative case for Creationism, showing how the Platonist can respond. The conclusion is that the debate between Platonists and Creationists is a stalemate. In order for progress (...) to be made in the first-order debate, second-order progress on the metaontology of art needs to come first. (shrink)

The question of how people change artworks is important for the metaphysics of art. It’s relatively easy for anyone to change a painting or sculpture, but who may change a literary or musical work is restricted and varies with context. Authors of novels and composers of symphonies often have a special power to change their artworks. Mary Shelley revised Frankenstein, and Tchaikovsky revised his Second Symphony. I cannot change these artworks. In other cases, such as those involving jazz standards and (...) folk songs, performers and ordinary folks have more power to change artworks. My preferred explanation of these facts is the created-abstract-simples view, according to which literary and musical works, unlike paintings and sculptures, are created abstract objects that have no parts. On this view, the way to change a literary or musical work is for an individual, empowered by social practices, to change rules about how a literary work should be published or a musical work should be performed. A. R. J. Fisher and Caterina Moruzzi object that the created-abstract-simples view doesn’t allow for literary and musical works to genuinely change, and Nemesio Garcia-Carríl Puy objects that the view doesn’t allow for these artworks to be repeatable. This paper clarifies the created-abstract-simples view and defends the view against these objections. -/- . (shrink)

Aaron Smuts has argued that attempts to offer a plausible distinction between stories and tellings will likely face insurmountable difficulties. Here, I offer a distinction between stories and tellings that does not face these difficulties. In doing so, I propose an ontology of stories according to which such entities are ideas for narrative manifestation. In developing this ontology, I also consider parallels between stories and musical compositions.

Repeatable artworks like musical works have presented theorists in the ontology of art with a puzzle. They seem in some respects like eternal, immutable objects and in others like created, historical objects. Creationists have embraced the latter appearances and attempted to compel Platonists to follow them. I examine in detail each argument in a cumulative case for Creationism, showing how the Platonist can respond. The conclusion is that the debate between Platonists and Creationists is a stalemate. In order for progress (...) to be made in the first-order debate, second-order progress on the metaontology of art needs to come first. (shrink)

First critical survey devoted to the history of philosophical contributions to this topic. Brings to light neglected contributions prior to the second half of the 20th century including works in Danish, German, and French. Provides a division of issues and clarifies key ambiguities related to modality.

This paper deals with the phenomenon of retroactive continuity, or retcon for short, in which the truth-value of a proposition in an established fictional work is changed later. The primary aim of this paper is to provide the most compelling explanation for retroactive continuity. I first defend the metaphysical view about fiction, according to which when retconning occurs, a fictional work changes its property of containing a proposition while preserving its identity. I then argue that this view is theoretically preferable (...) to all other competing approaches. (shrink)

The primary purpose of the performing arts is to prepare and present 'artistic performances', performances that either are themselves the appreciative focuses of works of art or are instances of other things that are works of art. In the latter case, we have performances of what may be termed 'performed works', as is generally taken to be so with performances of classical music and traditional theatrical performances. In the former case, we have what may be termed 'performance-works', as, for example, (...) in free improvisations. Where we have performances of performed works, a number of distinctive philosophical questions arise: What kind of thing is a performed work? How is it appreciated through its performances? Is 'authenticity' an artistically relevant quality of performances of performed works, and, if so, why? How much of what goes on in the performing arts is rightly viewed as the performance of performed works? Artistic performances, whether or not they are of performed works, raise philosophical questions of their own. Can a performance itself be rightly viewed as a work of art? How do improvisation and rehearsal enter into the performing arts, and how do they bear on the appreciation of artistic performances? What role does the audience play in such performances? Does the performer's use of her own body as an artistic medium, as for example in dance performance, generate special constraints on appreciation? How, finally, does what is usually classified as 'performance art' relate to activities in the performing arts more generally construed? I critically survey the ways in which these questions have been addressed by principal theorists in the field. (shrink)

For the metaphysician, photographs are very puzzling entities indeed. And even from the non-philosopher's intuitive point of view, it is not that clear what sort of thing a photograph is. Typically, if a client wants to purchase a photograph, she can mean very different things by 'buying a photograph' : she can mean to buy a print or a number of prints, or she can mean to buy a negative (when traditional film photographs are concerned) or a file (when digital (...) photography is concerned), or she can mean to buy a right to use a photograph a precisely determined number of times in a number of brochures or on a website, and so on. When facing a new client, I always, without exception, face the problem of explaining to her what it is that she is actually buying – and it is not always clear that she is ever buying a photograph. As a metaphysician, I face a much more difficult challenge : find out to what ontological category photographs belong to. Are they concrete spatio-temporal entities like prints, are they universals since there can be many 'prints-instances' of a same photograph, are they sets or aggregates of prints, or something even different ? This is the task that I wish to undertake in this paper : examine all plausible metaphysical categories to which photographs could belong to, and see which one is the fittest. As we shall see, in this 'survival for the fittest' competition between traditional metaphysical categories, there will be no real winner : several categories will reveal themselves to be enlightening and useful when describing features of what photographs are, but none will prove to be entirely satisfactory. Photographs, it seems, are a sort of borderline entities that share some but not all aspects of several traditional metaphysical categories. Is it then justified to postulate a new ontological category to which photographs would properly belong ? On mainly methodological grounds, I shall argue that it is not, and I will suggest a different way out of this metaphysician's trouble by defending a nihilism about photographs. To put it bluntly, I will defend the claim that photographs do not exist – but I will also argue that this is not a very revisionary or anti-commonsensical claim. (shrink)

Fictional realism is the view that creatures of fiction exist. Mythical realism is the view that creatures of myth and mistaken theories exist. Call the combined view “Ecumenical Realism.” We critically evaluate three arguments for Ecumenical Realism and argue they are unsound because fictional storytelling differs from mistaken theorizing in important ways. We think these considerations support a more conservative view, “Sectarian Realism,” which results from subtracting “creatures of mistaken theorizing” from Ecumenical Realism. We close by considering an important challenge (...) to Sectarian Realism involving immigrants in fiction. (shrink)

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)