This article presents an overview of the basic philosophical motivations for, and some recent work in, modal set theory.

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 “Tropes and Ordinary Physical Objects”, Kris McDaniel argues that ordinary physical objects are fusions of monadic and polyadic tropes. McDaniel calls his view “TOPO”—for “Theory of Ordinary Physical Objects”. He argues that we should accept TOPO because of the philosophical work that it allows us to do. Among other things, TOPO is supposed to allow endurantists to reply to Mark Heller’s argument for perdurantism. But, we argue in this paper, TOPO does not help endurantists do that; indeed, we argue (...) that anyone who accepts TOPO should reject endurantism. (shrink)

Hylomorphically complex objects are things that change their parts or matter or that might have, or have had, different parts or matter. Often ontologists analyze such objects in terms of sets (or functions, understood set-theoretically) or other extensional entities such as mereological fusions or quantities of matter. I urge two reasons for being wary of any such analyses. First, being extensional, such things as sets are ill-suited to capture the characteristic modal and temporal flexibility of hylomorphically complex objects. Secondly, sets (...) are often appealed to because they seem to contain their members. But the idea that sets do contain their members, in the ordinary sense of containment, is a substantive metaphysical position that makes analyses that rely on that idea for their plausibility much more metaphysically committing than is generally thought. (shrink)

Disposition ascription has been discussed a good deal over the last few decades, as has the revisionary metaphysical view of ordinary, persisting objects known as 'fourdimensionalism'. However, philosophers have not merged these topics and asked whether four-dimensional objects can be proper subjects of dispositional predicates. This paper seeks to remedy this oversight. It argues that, by and large, four-dimensional objects are not suited to take dispositional predicates.

Am şlefuit materia pentru a afla linia continuă.Und das Problem ensteht: was is das, was übrigbleibt, wenn ich von der Tatsache, daß ich meinen Arm hebe, die abziehe, daß mein Arm sich hebt?Acknowledged to have launched modern poetry with Les Fleurs du mal, Charles Baudelaire was also a prolific and influential art critic, a close friend of Edouard Manet, and an early champion of Eugène Delacroix. At one time decidedly not a friend of sculpture, Baudelaire published a critique of this (...) art form in a section of his Salon de 1846 titled “Pourquoi la sculpture est ennuyeuse” :3Sculpture has several disadvantages inherent in the medium itself. Crude and direct like nature, sculpture is.. (shrink)