What justifies holding the person that we are today morally responsible for something we did a year ago? And why are we justified in showing prudential concern for the future welfare of the person we will be a year from now? These questions cannot be systematically pursued without addressing the problem of personal identity. This essay considers whether Buddhist Reductionism, a philosophical project grounded on the idea that persons reduce to a set of bodily, sensory, perceptual, dispositional, and conscious elements, (...) provides support for Parfit’s psychological criterion for personal identity. It examines the role that self-consciousness plays in mediating both self-concern and concern for others, and offers an argument for how reductionism about substantive or enduring selves may be reconciled with the seemingly irreducible character of self-consciousness. (shrink)

Composition as Identity is the view that an object is identical to its parts taken collectively. I elaborate and defend a theory based on this idea: composition is a kind of identity. Since this claim is best presented within a plural logic, I develop a formal system of plural logic. The principles of this system differ from the standard views on plural logic because one of my central claims is that identity is a relation which comes in a variety of (...) forms and only one of them obeys substitution unrestrictedly. I justify this departure from orthodoxy by showing some problems which result from attempts to avoid inconsistencies within plural logic by means of postulating other non-singular terms besides plural terms. Thereby, some of the main criticisms raised against Composition as Identity can be addressed. Further, I argue that the way objects are arranged is relevant with respect to the question which object they compose, i.e. to which object they are identical to. This helps to meet a second group of arguments against Composition as Identity. These arguments aim to show that identifying composite objects on the basis of the identity of their parts entails, contrary to our common sense view, that rearranging the parts of a composite object does not leave us with a different object. Moreover, it allows us to carve out the intensional aspects of Composition as Identity and to defend mereological universalism, the claim that any objects compose some object. Much of the pressure put on the latter view can be avoided by distinguishing the question whether some objects compose an object from the question what object they compose. Eventually, I conclude that Composition as Identity is a coherent and plausible position, as long as we take identity to be a more complex relation than commonly assumed. (shrink)

Rose and Schaffer (forthcoming) argue that teleological thinking has a substantial influence on folk intuitions about composition. They take this to show (i) that we should not rely on folk intuitions about composition and (ii) that we therefore should not reject theories of composition on the basis of intuitions about composition. We cast doubt on the teleological interpretation of folk judgments about composition; we show how their debunking argument can be resisted, even on the assumption that folk intuitions have a (...) teleological source; and we argue that, even if folk intuitions about composition carry no weight, theories of composition can still be rejected on the basis of the intuitions of metaphysicians. (shrink)

I consider the claim that analytic statements are "true in virtue meaning", giving the claim a ground-theoretic interpretation.

A system of categories is a complete list of highest kinds or genera. Traditionally, following Aristotle, these have been thought of as highest genera of entities (in the widest sense of the term), so that a system of categories undertaken in this realist spirit would ideally provide an inventory of everything there is, thus answering the most basic of metaphysical questions: “What is there?”. Skepticism about the possibilities for discerning the different categories of ‘reality itself’ has led others to approach (...) category systems not with the aim of cataloging the highest kinds in the world itself, but rather with the aim of elucidating the categories of our conceptual system. Thus Kant makes the shift to a conceptualist approach by drawing out the categories that are.. (shrink)

An encyclopedia entry which covers various revisionary conceptions of which macroscopic objects there are, and the puzzles and arguments that motivate these conceptions: sorites arguments, the argument from vagueness, the puzzles of material constitution, arguments against indeterminate identity, arguments from arbitrariness, debunking arguments, the overdetermination argument, and the problem of the many.

The objectively best language is intended to refer to some metaphysically privileged language that ‘carves reality at its joints’ perfectly. That is, it is the kind of language that various ‘metaphysical deflationists’ have argued is impossible. One common line of argument amongst deflationists is that we have no means to compare languages that all express true facts about the world in such a way to decide which is ‘better’. For example, the language is physics is not objectively better than the (...) language of economics, as each language has the semantic purpose of expressing some domain of truths about the world inexpressible in the other language, and therefore neither could be ‘objectively best’. In this paper, I argue that metaphysical deflationists have failed to recognise a distinction between fine- and coarse-grained semantic purposes of languages, and that a recognition of that distinction provides us grounds to compare languages to see which is objectively best. I argue that once we recognise the distinction between fine- and coarse-grained semantic purposes, then we can see that it is relative to the coarse-grained purpose that we must compare putative objectively best ontological languages. (shrink)

In , Peter van Inwagen asked a good question. (Asking the right question is often the hardest part.) He asked: what do you have to do to some objects to get them to compose something---to bring into existence some further thing made up of those objects? Glue them together or what?1 Some said that you don’t have to do anything.2 No matter what you do to the objects, they’ll always compose something further, no matter how they are arranged. Thus we (...) learned of the fusion of the coins in our pockets and the Eiffel tower. (shrink)

In this talk I present the main results from Anta (2021), namely, that the theoretical division between Boltzmannian and Gibbsian statistical mechanics should be understood as a separation in the epistemic capabilities of this physical discipline. In particular, while from the Boltzmannian framework one can generate powerful explanations of thermal processes by appealing to their microdynamics, from the Gibbsian framework one can predict observable values in a computationally effective way. Finally, I argue that this statistical mechanical schism contradicts the Hempelian (...) (1958) thesis that the predictive power of a scientific theory is directly proportional to its explanatory potential, and vice versa. (shrink)

My starting point is that discussions in philosophy about the ontology of technical artifacts ought to be informed by classificatory practices in engineering. Hence, the heuristic value of the natural-artificial distinction in engineering counts against arguments which favour abandoning the distinction in metaphysics. In this chapter, I present the philosophical equipment needed to analyse classificatory practices and then present a case study of engineering practice using these theoretical tools. More in particular, I make use of the Collectivist Account of Technical (...) Artifacts (CAT) according to which there are different classificatory practices for natural, artificial, and social objects. I demonstrate that in the community studied, artificial kinds are marked by distinctive classificatory practices. The presence of these distinctive classificatory practices in engineering with regard to artificial kinds should inform discussions about the ontology of technical artifacts just as the distinctive classificatory practices in natural science inform discussions about natural kinds. (shrink)

The purpose of this paper is to better understand what ontologists are doing when they ask questions about the categories of the world. I will take Cumpa’s attempts to find out the fundamental structure of the world as a case-study. In one of his latest paper (Cumpa 2014), he conceives the classical ontological question about the existence of the fundamental categories of the world (what are the fundamental categories of the world?) as a question about the category able to unify (...) the two Sellarsian images of the world: the manifest and scientific images, considered as two different languages. According to him, the only category with such an explanatory power is the category of ‘facts’ (or ‘state of affairs’): the fundamental category of what he calls ‘the metaphysical language.’ I will argue that if Cumpa takes the latter to be a broader language or framework, in Carnap’s terms, common to both the ordinary and the scientific ones, then his proposal turns out to be rather problematic (as they are ultimately ‘incommensurable’). On the other hand, if he understands it as external to both of them, then his solution ends up being meaningless and devoid of any cognitive content, with at best a practical character and/or an expressive function. (shrink)

One often hears talk about some entities being "higher-level" than others: social and cultural objects, for example, are often said to be "higher-level" entities than organisms; mental properties are often said to be "higherlevel" than physical or neurological properties; and so on. Sometimes this is expressed as the idea that reality comes in ontological levels, strata of being. I will argue, however, that metaphysics is better off without making use of the idea of "levels." The levels metaphor is misleading and (...) can generate pseudo-questions and pseudo-problems. (shrink)

Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body of anthropological (...) and art-historical evidence and philosophical argument suggests that not only is such a criterion unsatisfied by most of the art-historical canon, but it also rests on a false premise: concepts of 'art' are not shared between cultures, nor even in the same culture across time. My dissertation aims to rectify this error by first exploring what our commitment to art's intention-dependence actually entails, and then showing that, properly understood, intention-dependence sets a number of important constraints on theories of art with respect to explanatory desiderata such as the success- and failure-conditions of art-attempts, the cross-cultural identification of art, and the reference of 'art' and art-kind terms. I begin by situating art's intention-dependence in the philosophical literature on intentional action, arguing that, properly conceived, intention-dependence is a weak criterion which can be satisfied either directly or indirectly. It therefore does not necessarily entail concept-dependence. I then use this distinction to motivate a new treatment of the success- and failure-conditions for art-attempts, arguing that the extant model's emphasis on compliance with 'the manner intended' is far too restrictive to capture actual artistic practices. I go on to show that Ruth Millikan's model of linguistic conventions supplies an independently plausible explanation of art's concept-independent origins in terms of the development of a system of indirectly intention-dependent conventions called an 'artworld'. I argue that this account of artworld development supplies us with the tools we need to distinguish art-kinds from other artifactual kinds. Finally, I turn my attention to methodological issues, arguing that even though 'art' is a social kind with its roots in arbitrary and historically-contingent networks of conventions, the philosophy of art is not merely an exercise in bare conceptual analysis. In fact, there is now a great deal of evidence to show that the ways we think about 'art' are inconsistent, incomplete, imperialistic, and largely unprincipled. Yet I argue that this does not mean that the artworld data have no bearing on theories of art. Instead, I argue that our best reflective understanding of our artworld practices sets the constraints on the reference of 'art' and art-kind terms. I argue that we have no privileged epistemic access to the ontology of social kinds; our only privilege lies in our ability to determine the proper subject of our inquiries. (shrink)

Metaphysics has had a long history of debate over its viability, and substantivity. This thesis explores issues connected to the realism question within the domain of metaphysics, ultimately aiming to defend a realist, substantive metaphysics by responding to so-called deflationary approaches, which have become prominent, and well supported within the recent metametaphysical and metaontological literature. To this end, I begin by examining the changing nature of the realism question. I argue that characterising realism and anti-realism through theories of truth unduly (...) places epistemology prior to ontology, and is unwarranted in assuming a non-neutrality between theories of truth and positions within the realism debate. I therefore propose a characterisation of realism and anti-realism understood through truthmaking. This produces a suitable working characterisation of realism that will be used within the remainder of this project. In the second section, I trace the historical influences upon current deflationary approaches to metaphysics, most prominently those of Carnap, and Putnam. I argue that Quine’s supposed attack on Carnap’s anti-metaphysical thought fails, and show how current deflationary thought, most prominently exhibited by Hirsch, came to focus on linguistically derived concerns over the substantivity of metaphysics. In the third section, I outline a number of issues for the deflationist, and defend the coherency and legitimacy of the unrestricted existential quantifier. Focusing on the linguistic aspect of deflationism, I argue that the conception of language that the deflationist relies upon lacks suitable empirical and theoretical support within linguistics and other related domains. Furthermore, I suggest that linguistic analysis in fact supports the claim that the quantifier carries no inherent restrictions. This restores our ability to suitably posit the unrestricted existential quantifier, as a quantifier wherein the domain is only restricted by metaphysically substantive restrictions. Through this, I argue that metaphysics is a substantive domain of discourse. Lastly, I sketch a positive account of how, under an empirically and theoretically justified conception of language, metaphysics can be coherently held to be a realist, substantive enterprise, contra claims that hold that the nature of language inherently prevents metaphysics being considered to be a substantive domain of discourse. (shrink)

This paper reviews four leading strategies for addressing the problem of material constitution, along with some of the prominent objections faced by each approach. Sections include (1) "The Orthodox View: Coincident Objects," (2) "Dominant Kinds," (3) "Nihilism," (4) "Revising the Logic of Identity," and (5) "Future Research." Also included is an annotated bibliography.

Why is there something rather than nothing? Apparently many people regard that question as a challenge to naturalism because they think it’s too fundamental or too sweeping for natural science to answer, even in principle. I argue, on the contrary, that the question has a simple and adequate naturalistic answer: ‘Because there are penguins.’ I then diagnose various confusions underlying the suspicion that the question can’t have such an answer and, more generally, that the question, or else some variant of (...) it, can’t have a naturalistic answer at all. (shrink)

In this dissertation, I argue that vagueness is a metaphysical phenomenon---that properties and objects can be vague---and propose a trivalent theory of vagueness meant to account for the vagueness in the world. In the first half, I argue against the theories that preserve classical logic. These theories include epistemicism, contextualism, and semantic nihilism. My objections to these theories are independent of considerations of the possibility that vagueness is a metaphysical phenomenon. However, I also argue that these theories are not capable (...) of accommodating metaphysical vagueness. As I move into my positive theory, I first argue for the possibility of metaphysical vagueness and respond to objections that charge that the world cannot be vague. One of these objections is Gareth Evans' much-disputed argument that vague identities are impossible. I then describe what I call the logic of states of affairs. The logic of states of affairs has as its atomic elements states of affairs that can obtain, unobtain, or be indeterminate. Finally, I argue that the logic of states of affairs is a better choice for a theory of vagueness than other logics that could accommodate metaphysical vagueness such as supervaluationism and degree theories. Preference should be given to the logic of states of affairs because it provides a better explanation of higher-order vagueness and does a better job of matching our ordinary understandings of logical operators than supervaluationism does and because it provides a more general account of indeterminacy than the account given by degree theories. Advisor: Reina Hayaki. (shrink)