In a series of recent articles, Robin Jeshion has developed a theory of singular thought which she calls ‘cognitivism’. According to Jeshion, cognitivism offers a middle path between acquaintance theories—which she takes to impose too strong a requirement on singular thought, and semantic instrumentalism—which she takes to impose too weak a requirement. In this article, I raise a series of concerns about Jeshion's theory, and suggest that the relevant data can be accommodated by a version of acquaintance theory that distinguishes (...) unsuccessful thoughts of singular form from successful singular thoughts, and in addition allows for ‘trace-based’ acquaintance. (shrink)

Works of music do not appear to be concrete objects; but they do appear to be created by composers, and abstract objects do not seem to be the kind of things that can be created. In this paper I aim to develop an ontological position that lets us salvage the creativity intuition without either adopting an ontology of created abstracta or identifying musical works with concreta. I will argue that there are no musical works in our ontology, but nevertheless the (...) English sentences we want to hold true are literally true. I rely on a meta-ontological view whereby ‘a exists’ can be true without committing us to an entity that is a. This meta-ontological view is illustrated by its application to the familiar example of the statue and the clay. I argue that my account of musical ontology fares better on the balance of costs and benefits than its rivals. (shrink)

Can a musical work be created? Some say ‘no’. But, we argue, there is no handbook of universally accepted metaphysical truths that they can use to justify their answer. Others say ‘yes’. They have to find abstract objects that can plausibly be identified with musical works, show that abstract objects of this sort can be created, and show that such abstract objects can persist. But, we argue, none of the standard views about what a musical work is allows musical works (...) both to be created and to persist. (shrink)

Are a material object, such as a statue, and its constituting matter, the clay, parts of one another? One wouldn't have thought so, and yet a number of philosophers have argued that they are. I review the arguments for this surprising claim showing how they all fail. I then consider two arguments against the view concluding that there are both pre-theoretical and theoretical considerations for denying that the statue and the clay are mutual parts.

Richard Wollheim's classic reflection on art considers central questions regarding expression, representation, style, the significance of the artist's intention and the essentially historical nature of art. Presented in a fresh series livery for the twenty-first century, with a specially commissioned preface written by Richard Eldridge, illuminating its continuing importance and relevance to philosophical enquiry, Art and its Objects continues to be a perceptive and engaging introduction to the questions and philosophical issues raised by works of art and the part they (...) play in our culture and society. Wollheim's insights into theories of art, criticism, perception and the nature of aesthetic value make this one of the most influential works on aesthetics of the twentieth century. (shrink)

John Hyman explores central problems in philosophy of action and the theory of knowledge, and connects these areas of enquiry in a new way. His approach to the dimensions of human action culminates in an original analysis of the relation between knowledge and rational behaviour, which provides the foundation for a new theory of knowledge itself.

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)

Simon J. Evnine explores the view that some objects have matter from which they are distinct but that this distinctness is not due to the existence of anything like a form. He draws on Aristotle's insight that such objects must be understood in terms of an account that links what they are essentially with how they come to exist and what their functions are. Artifacts are the most prominent kind of objects where these three features coincide, and Evnine develops a (...) detailed account of the existence and identity conditions of artifacts, and the origins of their functions, in terms of how they come into existence. He then extends this account to organisms, where evolution accomplishes what is effected by intentional making in the case of artifacts, and to actions, which are seen as artifactual events. (shrink)

This paper sees me clarify, elaborate, and defend the conclusions reached in my ‘Musical Works as Eternal Types’ in the wake of objections raised by Robert Howell, R. A. Sharpe, and Saam Trivedi. In particular, I claim that the thesis that musical works are discovered rather than created by their composers is obligatory once we commit ourselves to thinking of works of music as types, and once we properly understand the ontological nature of types and properties. The central argument of (...) the paper is ‘the argument from the eternal existence of properties’, its moral being that types are eternal entities because they inherit their existence conditions from their eternally existent property-associates. The two key premises in this argument—that properties exist eternally, and that a type exists just in case its property-associate exists—are motivated and then defended at length. (shrink)

We provide an introduction to some of the key issues raised in this volume by considering how individual chapters bear on the prospects of what may be called a ‘counterfactual process view’ of causal reasoning. According to such a view, counterfactual thought is an essential part of the processing involved in making causal judgements, at least in a central range of cases that are critical to a subject’s understanding of what it is for one thing to cause another. We argue (...) that one fruitful way of approaching the different contributions to the volume is to think of them as providing materials, conceptual as well as empirical, for challenging counterfactual process views of causal thinking, or for responding to such challenges. Amongst the challenges we consider are ones that arise out of or parallel objections to counterfactual theories of causation in philosophy, or ones that appeal to apparent developmental dissociations between causal and counterfactual reasoning abilities. Possible responses turn on questions such as the following: What should count as engaging in counterfactual reasoning? How should we think of the cognitive prerequisites of such reasoning? Is it right to ask what the relationship is between causal and counterfactual reasoning, or are there in fact a number of different ways in which the two are connected? (shrink)

This collection of nine papers brings together Many of Geach's thoughts on such wide topics as resurrection, deductive proof of the existence of God, God's role in ethics, materialism, and the relation of time and prayer. The first three papers are concerned with the survival of death and what form such a survival might take. This includes Geach's argument against materialism in "What Do We Think With?" Two further papers are concerned with arguments about existence, and the remaining papers concern (...) natural theology. (shrink)