The distinction between a type and its tokens is a useful metaphysical distinction. In §1 it is explained what it is, and what it is not. Its importance and wide applicability in linguistics, philosophy, science and everyday life are briefly surveyed in §2. Whether types are universals is discussed in §3. §4 discusses some other suggestions for what types are, both generally and specifically. Is a type the sets of its tokens? What exactly is a word, a symphony, a species? (...) §5 asks what a token is. §6 considers the relation between types and their tokens. Do the type and all its tokens share the same properties? Must all the tokens be alike in some or all respects? §7 explains some problems for the view that types exist, and some problems for the view that they don't. §8 elucidates a distinction often confused with the type-token distinction, that between a type (or token) and an occurrence of it. It also discusses some problems that occurrences might be thought to give rise to, and one way to resolve them. (shrink)

The distinction between a type and its tokens is auseful metaphysical distinction. In §1 it is explained what itis, and what it is not. Its importance and wide applicability inlinguistics, philosophy, science and everyday life are brieflysurveyed in §2. Whether types are universals is discussed in§3. §4 discusses some other suggestions for what types are,both generally and specifically. Is a type the sets of its tokens?What exactly is a word, a symphony, a species? §5 asks what atoken is. §6 considers (...) the relation between types and theirtokens. Do the type and all its tokens share the same properties? Mustall the tokens be alike in some or all respects? §7 explains someproblems for the view that types exist, and some problems for the viewthat they don’t. §8 elucidates a distinction often confused withthe type-token distinction, that between a type and anoccurrence of it. It also discusses some problems thatoccurrences might be thought to give rise to, and one way to resolvethem. (shrink)

Webber's perceptive new introduction helps to decipher this challenging, seminal work, placing it in the context of the author's work and the history of ...

My aim in this article is to locate various forms of printmaking in a broader framework for thinking about so-called ‘multiple’ artworks, artworks that, as this is normally put, admit of multiple instances. I first sketch a general framework for the philosophical exploration of multiple artworks and the philosophical issues to which they give rise. I then address certain forms of printmaking that might be thought to generate singular rather than multiple artworks. Next, I look at how those print works (...) that are multiples stand in relation to other multiple works of the same general type in respect of certain challenges relating to the repeatability and variability of works. Finally, I examine a further question—the problem of limitation—more specific to prints qua multiples. (shrink)

The distinction between singular and multiple artworks is usually drawn modally in terms of the notion of an ‘instance’ of a work. Singular works, it is claimed, can only have a single instance, whereas multiple works allow of more than one instance. But this is enlightening only if we have a clear idea of what is meant by an ‘instance’. I argue that there are two different notions of a work's ‘instances’ in play in the literature – what I term (...) its ‘provenential instances’ (‘P-instances’) and its ‘purely epistemic instances’ (E-instances). I further argue that these notions are conflated in the literature critical of Gregory Currie's ‘instance multiplicity hypothesis’ (IMH) – the claim that all artworks are multiple in nature. I defend a modified version of the IMH as a claim about a work's E-instances against a range of criticisms. (shrink)

Julian Dodd has argued that the type–token theory in musical ontology has a ‘default’ status because it can explain the repeatability and audibility of musical works without the need for philosophical reinterpretation. I present two challenges to Dodd's claims about audibility. First, I argue (a) that a type–token theorist who, like Dodd, adheres to Wolterstorff's doctrine of analogical predication must grant that musical works themselves are hearable only in an ‘analogical’ sense; and (b) that alternative musical ontologies are able to (...) explain the latter just as well as the type–token theory. Second, I argue that Dodd cannot evade this objection by claiming that what matters in musical ontology is accounting for audibility ‘in a derivative sense’, since the latter also allows of explanation by a range of musical ontologies. (shrink)

Introduction -- The type/token theory introduced -- Motivating the type/token theory : repeatability -- Nominalist approaches to the ontology of music -- Musical anti-realism -- The type/token theory elaborated -- Types I : abstract, unstructured, unchanging -- Types introduced and nominalism repelled -- Types as abstracta -- Types as unstructured entities -- Types as fixed and unchanging -- Types II : platonism -- Introduction : eternal existence and timelessness -- Types and properties -- The eternal existence of properties reconsidered -- (...) Types and patterns -- Defending the type/token theory I -- Unstructuredness and analogical predication -- Musical works as fixed and unchanging -- Abstractness and audibility (again) -- Works and interpretations -- Conclusion and resumé -- Defending the type/token theory II : musical platonism -- Platonism it is : replies to Anderson and Levinson -- The existence conditions of works of music -- Composition as creative discovery -- The nature of the compositional process : replies to objections -- Composition and aesthetic appraisal : a reply to Levinson -- Composition and aesthetic appraisal : understanding, interpretation, and correctness -- Musical works as continuants : a theory rejected -- A theory introduced -- Explicating and motivating the continuant view -- The continuant view and repeatability -- Further objections to the continuant view -- Musical works as compositional actions : a critique -- Currie's action-type hypothesis -- Davies's performance theory -- Sonicism I : against instrumentalism -- Sonicism introduced -- Sonicism motivated : moderate empiricism -- Instrumentation : timbral sonicism introduced -- Scores -- Instrumentation, artistic properties, and aesthetic content -- Levinson's rejoinder -- Sonicism II : against contextualism -- Introduction : formulating contextualism -- Contextualist ontological proposals -- Levinson's doppelgänger thought-experiments -- Artistic, representational, and object-directed expressive properties -- Aesthetic and non-object-directed expressive properties -- Conclusion : the place of context. (shrink)

Despite protestations to the contrary, philosophers have always been renowned for espousing theories that do violence to common-sense opinion. In the last twenty years or so there has been a growing number of philosophers keen to follow in this tradition. According to these philosophers, if a story of pure fic-tion tells us that an individual exists, then there really is such an individual. According to these realists about fictional characters, ‘Scarlett O’Hara,’ ‘Char-lie Brown,’ ‘Batman,’ ‘Superman,’ ‘Tweedledum’ and ‘Tweedledee’ are not (...) denotationless terms, but names that really refer. What is truly surprising about this situation is that almost no one has inveighed against this unfortunate real-ist tendency. My aim here will be to challenge this new orthodoxy, and to defend an anti-realist position against the arguments proffered by the realist. (shrink)

The expression ‘an instance of an artwork’ is often used in philosophical discourse about art. Yet there is no clear account of what exactly this expression means. My goal in this essay is to provide such an account. I begin by expounding and defending a particular definition of the concept of ‘an instance of an artwork’. Next, I elaborate this definition – by providing definitions of the main derivatives of the concept of ‘an instance of an artwork’, namely the concepts (...) of ‘a well-formed instance of an artwork’ and ‘a non-wellformed instance of an artwork’. Finally, I examine the relation of the foregoing definitions to the existence and identity conditions of artworks and make some additional remarks concerning these definitions. (shrink)

Although few philosophers agree about what it is for something to be art, most, if not all, agree on one thing: art must be in some sense intention dependent. Art and Art-Attempts is about what follows from taking intention dependence seriously as a substantive necessary condition for something's being art. Christy Mag Uidhir argues that from the assumption that art must be the product of intentional action, along with basic action-theoretic account of attempts (goal-oriented intention-directed activity), follows a host of (...) sweeping implications for philosophical enquiry into the nature of art and its principal relata such as authorship, art forms, and art ontology: e.g., 1) an informative distinction between art, non-art, and failed-art that any viable theory of art must capture, 2) a far more productive minimal framework for authorship not only capable of systematically addressing issues of collective authorship appropriation, etc. but also one according to which artists just are authors, 3) a coherent and structurally precise account of art forms based upon the relation between artists, artworks, and the sortal properties thereof, and 4) a unified and far less metaphysically suspect ontology of art according to which if there are such things as artworks, then artworks must be concrete things. Ultimately, Mag Uidhir aims neither to propose nor to defend any particular, precise answer to the question "What is art?" Instead, he shows the ways in which taking intention-dependence seriously as a substantive necessary condition for being art can be profoundly revelatory, and perhaps even radically revisionary, as to the scope and limits of what any particular, precise answer to such a question could viably be. -/- **Winner of The American Society for Aesthetics Outstanding Monograph Award 2013**. (shrink)

This treatise on aesthetics criticizes various psychological theories of art, offers new theories and interpretations, and draws important inferences concerning ...

This treatise on aesthetics begins by showing that the word "art" is used as a name not only for "art proper" but also for certain things which are "art falsely so called." These are craft or skill, magic, and amusement, each of which, by confusion with art proper, generates a false aesthetic theory. In the course of attacking these theories the author criticizes various psychological theories of art, offers a new theory of magic, and reinterprets Plato's so-called "attack on art," (...) showing that it has been entirely misunderstood. Finally, he draws important inferences concerning the position of art in human society. (shrink)

In this book the author treats art as an action performed by the artist as agent, rather than examining it from the point of view of its audience as ...

I sketch here an intuitive picture of repeatable artworks as created types, which are individuated in part by historical paths (re)production. Although attractive, this view has been rejected by a number of authors on the basis of general claims about abstract objects. On consideration, however, these general claims are overgeneralizations, which whilst true of some abstracta, are not true of all abstract objects, and in particular, are not true of created types. The intuitive picture of repeatable artworks as created types (...) is, then, left in place. (shrink)

The intimate relationship between X and Y consists in the existence of (metaphysically) necessary truths correlating their occurrences/existences/instantiations. E would be in some sense “overdetermined” if caused by both X and Y.2 Some philosophers say this would be bad, that this cannot or does not happen, that we should construct theories ruling it out, at least in certain cases.3 But why? Given the necessary truths correlating objects and their parts, objects and events concerning those objects, physical and supervenient mental properties, (...) and so on, X and Y do both seem to be causes of E. Should we say that a baseball.. (shrink)

Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: that musical works possess perceptual properties and universals do not; that musical works are created and universals cannot be; that universals cannot be destroyed and musical works can; that parts of tokens of the same type can be interchanged (...) and still yield tokens of that type, whereas we cannot interchange parts of performances of the same work and still get performances of the work. Of these claims, and seem to be true, but are not incompatible with a Platonistic construal of the musical work, whereas and just seem to be false and, therefore, of no concern to the musical Platonist. (shrink)

Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: (1) that musical works possess perceptual properties and universals do not; (2) that musical works are created and universals cannot be; (3) that universals cannot be destroyed and musical works can; (4) that parts of tokens of the same (...) type can be interchanged and still yield tokens of that type, whereas we cannot interchange parts of performances of the same work and still get performances of the work. Of these claims, (1) and (2) seem to be true, but are not incompatible with a Platonistic construal of the musical work, whereas (3) and (4) just seem to be false and, therefore, of no concern to the musical Platonist. (shrink)

Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: (1) that musical works possess perceptual properties and universals do not; (2) that musical works are created and universals cannot be; (3) that universals cannot be destroyed and musical works can; (4) that parts of tokens of the same (...) type can be interchanged and still yield tokens of that type, whereas we cannot interchange parts of performances of the same work and still get performances of the work. Of these claims, (1) and (2) seem to be true, but are not incompatible with a Platonistic construal of the musical work, whereas (3) and (4) just seem to be false and, therefore, of no concern to the musical Platonist. (shrink)

objects are standardly taken to be causally inert, but this claim is rarely explicitly argued for. In the context of his platonism about musical works, in order for musical works to be audible, Julian Dodd argues that abstracta are causally efficacious in virtue of their concrete tokens participating in events. I attempt to provide a principled argument for the causal inertness of abstracta by first rejecting Dodd’s arguments from events, and then extending and generalizing the causal exclusion argument to the (...) abstract/concrete distinction. For reasons of parsimony, if concrete tokens or instantiations of abstract objects account for all causal work, then there is no reason to attribute causal efficacy to abstracta, and thus reason to maintain their causal inertness. I then consider how one of the main arguments against causal exclusion, namely Stephen Yablo’s notion of “proportionality”, could be modified to support the causal efficacy of abstracta. I argue that from a few simple premises Yablo’s account in fact supports their causal inertness. Having a principled reason for the causal inertness of abstracta appears to entail that the musical platonist must admit that we never literally hear the musical work, but only its performances. I sketch a solution to this problem available to Dodd, so that the musical platonist can maintain that musical works are abstract objects and are causally inert while retaining their audibility. (shrink)

Some properties are causally relevant for a certain effect, others are not. In this paper we describe a problem for our understanding of this notion and then offer a solution in terms of the notion of a program explanation.

A cornerstone of Sartre’s philosophy, _The Imaginary_ was first published in 1940. Sartre had become acquainted with the philosophy of Edmund Husserl in Berlin and was fascinated by his idea of the 'intentionality of consciousness' as a key to the puzzle of existence. Against this background, _The Imaginary_ crystallized Sartre's worldview and artistic vision. The book is an extended examination of the concepts of nothingness and freedom, both of which are derived from the ability of consciousness to imagine objects both (...) as they are and as they are not – ideas that would drive Sartre's existentialism and entire theory of human freedom. (shrink)

A cornerstone of Sartre’s philosophy, _The Imaginary_ was first published in 1940. Sartre had become acquainted with the philosophy of Edmund Husserl in Berlin and was fascinated by his idea of the 'intentionality of consciousness' as a key to the puzzle of existence. Against this background, _The Imaginary_ crystallized Sartre's worldview and artistic vision. The book is an extended examination of the concepts of nothingness and freedom, both of which are derived from the ability of consciousness to imagine objects both (...) as they are and as they are not – ideas that would drive Sartre's existentialism and entire theory of human freedom. (shrink)

Ockham's razor, the principle of parsimony, states that simpler theories are better than theories that are more complex. It has a history dating back to Aristotle and it plays an important role in current physics, biology, and psychology. The razor also gets used outside of science - in everyday life and in philosophy. This book evaluates the principle and discusses its many applications. Fascinating examples from different domains provide a rich basis for contemplating the principle's promises and perils. It is (...) obvious that simpler theories are beautiful and easy to understand; the hard problem is to figure out why the simplicity of a theory should be relevant to saying what the world is like. In this book, the ABCs of probability theory are succinctly developed and put to work to describe two 'parsimony paradigms' within which this problem can be solved. (shrink)