When is an artwork complete? Most hold that the correct answer to this question is psychological in nature. A work is said to be complete just in case the artist regards it as complete or is appropriately disposed to act as if he or she did. Even though this view seems strongly supported by metaphysical, epistemological, and normative considerations, this article argues that such psychologism about completeness is mistaken, fundamentally, because it cannot make sense of the artist's own perspective on (...) his or her work. For the artist, the question is not about his or her own psychology, but about the character of the work and the context in which he or she works. A nonpsychological account of completeness, on which completeness is a question of whether the work satisfies the conditions implicit in the artist's plan, avoids this problem and is equally or better able to explain the metaphysical, epistemic, and normative phenomena which appeared to support psychologism. (shrink)

What the Body Told is the second book of poetry from Rafael Campo, a practicing physician, a gay Cuban American, and winner of the National Poetry Series 1993 Open Competition. Exploring the themes began in his first book, The Other Man Was Me, Campo extends the search for identity into new realms of fantasy and physicality. He travels inwardly to the most intimate spaces of the imagination where sexuality and gender collide and where life crosses into death. Whether facing a (...) frenetic hospital emergency room to assess a patient critically ill with AIDS or breathing in the quiet of his mother's closet, Campo proposes with these poems an alternative means of healing and exposes the extent to which words themselves may be the most vital working parts of our bodies. The secret truths in What the Body Told, as the title implies, are already within each of us. In these vivid and provocative poems, Rafael Campo gives them a voice. (shrink)

In “All Play and No Work,” Andrew Kania claims that standard form jazz involves no works, only performances. This article responds to Kania by defending one of the alternative ontological proposals that he rejects, namely, that jazz works are ontologically continuous with works of classical music. I call this alternative “the standard view,” and I argue that it is the default position in the ontology of standard form jazz. Kania has three objections to the standard view. The bulk of the (...) article is devoted to explaining why none of these objections succeed. (shrink)

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)