How do things persist? Are material objects spread out through time just as they are spread out through space? Or is temporal persistence quite different from spatial extension? This key question lies at the heart of any metaphysical exploration of the material world, and it plays a crucial part in debates about personal identity and survival. This book explores and compares three theories of persistence — endurance, perdurance, and stage theories — investigating the ways in which they attempt to account (...) for the world around us. Having provided valuable clarification of its two main rivals, the book concludes by advocating stage theory. Such a basic issue about the nature of the physical world naturally has close ties with other central philosophical problems. This book includes discussions of change and parthood, of how we refer to material objects at different times, of the doctrine of Humean supervenience, and of the modal features of material things. In particular, it contains new accounts of the nature of worldly vagueness, and of what binds material things together over time, distinguishing the career of a natural object from an arbitrary sequence of events. Each chapter concludes with a reflection about the impact of these metaphysical debates upon questions about our personal identity and survival. (shrink)

known as timbral sonicism, accepts that a musical work's orchestral colour is a factor in its identity, but denies that the use of the specified instruments is required for an authentic rendition of the work provided that sounds as of those instruments are achieved. This position has been defended by Julian Dodd. In arguing against his view, I appeal to empirical work showing that composers, musicians, and listeners typically hear through music to the actions that go into its production. In (...) this respect, musical listening reflects the standard account of ‘ecological hearing’; we appreciate sounds as providing information about their sources rather than for their intrinsic qualities. On this basis, I suggest that musical instruments are not merely means to the production of the sounds of performances. Their use is mandated if such performances are to be properly formed. More specifically, when composers are able to make the instrumentation of their compositions central to the identity of those compositions, accurate performances must involve the appropriate use of the specified instruments. CiteULike Connotea Del.icio.us What's this? (shrink)

A review of David Davies, _Art as Performance_ (Blackwell, 2004).

Many contemporary philosophers rate error theories poorly. We identify the arguments these philosophers invoke, and expose their deficiencies. We thereby show that the prospects for error theory have been systematically underestimated. By undermining general arguments against all error theories, we leave it open whether any more particular arguments against particular error theories are more successful. The merits of error theories need to be settled on a case-by-case basis: there is no good general argument against error theories.

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)

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)

Philosophy Compass, Volume 1. Oxford: Blackwell, 2006.

This book is a defense of modal realism; the thesis that our world is but one of a plurality of worlds, and that the individuals that inhabit our world are only a few out of all the inhabitants of all the worlds. Lewis argues that the philosophical utility of modal realism is a good reason for believing that it is true.

Arguments that ordinary inanimate objects such as tables and chairs, sticks and stones, simply do not exist have become increasingly common and increasingly prominent. Some are based on demands for parsimony or for a non-arbitrary answer to the special composition question; others arise from prohibitions against causal redundancy, ontological vagueness, or co-location; and others still come from worries that a common sense ontology would be a rival to a scientific one. Until now, little has been done to address these arguments (...) in a unified and systematic way. Ordinary Objects is designed to fill this gap, demonstrating that the mistakes behind all of these superficially diverse eliminativist arguments may be traced to a common source. It aims to develop an ontology of ordinary objects subject to no such problems, providing perhaps the first sustained defense of a common sense ontology in two generations. The work done along the way addresses a number of major issues in philosophy of language and metaphysics, contributing to debates about analyticity, identity conditions, co-location and the grounding problem, vagueness, overdetermination, parsimony, and ontological commitment. In the end, the most important result of addressing these eliminativist arguments is not merely avoiding their conclusions; examining their failings also gives us reason to suspect that many apparent disputes in ontology are pseudo-debates. For it brings into question widely-held assumptions about which uses of metaphysical principles are appropriate, which metaphysical demands are answerable, and how we should go about addressing such fundamental questions as "What exists?". As a result, the work of Ordinary Objects promises to provide not only the route to a reflective understanding of our unreflective common-sense view, but also a better understanding of the proper methods and limits of metaphysics. (shrink)

Philosophical Perspectives on Art presents a series of essays devoted to two of the most fundamental topics in the philosophy of art: the distinctive character of artworks and what is involved in understanding them as art. In Part I, Stephen Davies considers a wide range of questions about the nature and definition of art. Can art be defined, and if so, which definitions are the most plausible? Do we make and consume art because there are evolutionary advantages to doing so? (...) Has art completed the mission that guided its earlier historical development, and if so, what is to become of it now? Should architecture be classified as an art form? -/- Part II turns to the interpretation and appreciation of art. What is the target and purpose of the critic's interpretation? Is interpretation primarily directed at uncovering artists' intended meanings? Can apparently contradictory interpretations of a given piece both be true? Are interpretative evaluations entailed by descriptions of a work's aesthetic and artistic characteristics? In addition to providing fresh answers to these and other central questions in aesthetics, Davies considers the nature and content of metaphor, and the relation between the expressive qualities of a work of art and the emotions of its creator. (shrink)

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

Crispin Wright offers an original perspective on the place of “realism” in philosophical inquiry. He proposes a radically new framework for discussing the claims of the realists and the anti-realists. This framework rejects the classical “deflationary” conception of truth yet allows both disputants to respect the intuition that judgments, whose status they contest, are at least semantically fitted for truth and may often justifiably be regarded as true. In the course of his argument, Wright offers original critical discussions of many (...) central concerns of philosophers interested in realism, including the “deflationary” conception of truth, internal realist truth, scientific realism and the theoreticity of observation, and the role of moral states of affairs in explanations of moral beliefs. (shrink)

In the course of the discussion, Professor Quine pinpoints the difficulties involved in translation, brings to light the anomalies and conflicts implicit in our ...

Willard Van Orman Quine begins this influential work by declaring, "Language is asocial art.

. . . Unlike Dewey, he has provided detailed incisive argumentation, and has shown just where the dogmas and dualisms break down." -- Richard Rorty, The Yale Review.

Recasting important questions about truth and objectivity in new and helpful terms, his book will become a focus in the contemporary debates over realism, and ...

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 ...

It is a very great honor to address my friends and colleagues as president of the American Society for Aesthetics, an organization that plays a unique role in a field that is, at once, a major traditional branch of philosophy and also central to disciplines often regarded as remote from philosophy, as well as depending crucially on their contributions.

Amie L. Thomasson; The Ontology of Art and Knowledge in Aesthetics: Thomasson The Ontology of Art and Knowledge in Aesthetics, The Journal of Aesthetics and Art.

In recent analytic metaphysics, the view that ‘ordinary inanimate objects such as sticks and stones, tables and chairs, simply do not exist’ has been defended by some noteworthy writers. Thomasson opposes such revisionary ontology in favour of an ontology that is conservative with respect to common sense. The book is written in a straightforward, methodical and down-to-earth style. It is also relatively non-specialized, enabling the author and her readers to approach problems that are often dealt with in isolation in a (...) more unified way.Thomasson's arguments are mainly counter-attacks on six ‘eliminativist’ arguments against ordinary objects. A causal redundancy argument espoused by Trenton Merricks holds that to suppose that there are ordinary objects is to suppose that these objects have distinctive causal powers. However, the casual efficacy of a baseball, for example, is exhausted by that of some suitably arranged …. (shrink)

Persistence through time is like extension through space. A road has spatial parts in the subregions of the region of space it occupies; likewise, an object that exists in time has temporal parts in the various subregions of the total region of time it occupies. This view — known variously as four dimensionalism, the doctrine of temporal parts, and the theory that objects “perdure” — is opposed to “three dimensionalism”, the doctrine that things “endure”, or are “wholly present”.1 I will (...) attempt to resolve this dispute in favor of four dimensionalism by means of a novel argument based on considerations of vagueness. But before argument in this area can be productive, I believe we must become much clearer than is customary about exactly what the dispute is, for the usual ways of formulating the dispute are flawed, especially where three dimensionalism is concerned. (shrink)

Some philosophers believe that everyday objects are 4-dimensional spacetime worms, that a person (for example) persists through time by having temporal parts, or stages, at each moment of her existence. None of these stages is identical to the person herself; rather, she is the aggregate of all her temporal parts.1 Others accept “three dimensionalism”, rejecting stages in favor of the notion that persons “endure”, or are “wholly present” throughout their lives.2 I aim to defend an apparently radical third view: not (...) only do I accept person stages; I claim that we are stages.3 Likewise for other objects of our everyday ontology: statues are statue-stages, coins are coin-stages, etc. At one level, I accept the ontology of the worm view. I believe in spacetime worms, since I believe in temporal parts and aggregates of things I believe in. I.. (shrink)

In 1907, Alfred Stieglitz took what was to become one of his signature photographs, The Steerage. Stieglitz stood at the rear of the ocean liner Kaiser Wilhelm II and photographed the decks, first-class passengers above and steerage passengers below, carefully exposing the film to their reflected light. Later, in the darkroom, Stieglitz developed this film and made a number of prints from the resulting negative. The photograph is a familiar one, an enduring piece of social commentary, but what exactly is (...) The Steerage which Stieglitz has given us? It is clearer what The Steerage is not. It is distinct from each of its prints and from its negative. These may be dusty or torn without The Steerage being so, and any one of these could be destroyed without thereby destroying The Steerage itself. Nor is The Steerage the set of its prints. The set could not have had different members, while The Steerage could have had more, fewer, or different prints.1 Similar reasoning rules out the mereological sum of parts of its actual prints, for The Steerage’s prints might not have comprised just these parts. We are left with a puzzle, what sort of thing is a photograph? This puzzle is not unique to photography. Similar reasoning generates an analogous puzzle for any repeatable work of art. Novels, poems, plays, symphonies, songs, and the rest share an ontological predicament and create a 1 general puzzle concerning the ontological status of repeatable works of art. It is widely held that the puzzle has an equally general solution, one which I will argue fails for systematic reasons. Although my target here is the supposed solution to the general problem, photography will remain the central case under scrutiny. I offer it as a model for our thinking about the wider class in order to reap the benefits of thinking in terms of concrete cases. Although this risks a trade-off with the generality of my conclusions—there are important differences of detail between the cases—I hope it is clear that the considerations I appeal to in photography are not idiosyncratic but shared by the wider class.. (shrink)

According to four dimensionalism, the material world is divided into momentary stages. In a four-dimensional world, which objects are the ordinary things, the things we normally name and quantify over? Aggregates of stages, according to most four-dimensionalists, but according to stage theorists (or exdurantists), ordinary objects are instead to be identified with the stages themselves. (A temporal counterpart theoretic account of de re temporal predication is then given.) This paper argues that a stage theorist is best positioned to accept David (...) Lewis's argument from temporary intrinsics for four-dimensionalism, since stage theorists are the only four-dimensionalists who attribute monadic temporary intrinsic properties to ordinary things. (shrink)

John Mackie's stimulating book is a complete and clear treatise on moral theory. His writings on normative ethics-the moral principles he recommends-offer a fresh approach on a much neglected subject, and the work as a whole is undoubtedly a major contribution to modern philosophy.The author deals first with the status of ethics, arguing that there are not objective values, that morality cannot be discovered but must be made. He examines next the content of ethics, seeing morality as a functional device, (...) basically the same at all times but changing significantly in response to changes in the human condition. He sketches a practical moral system, criticizing but also borrowing from both utilitarian and absolutist views. Thirdly, the frontiers of ethics, areas of contact with psychology, metaphysics, theology, law and politcs, are explored.Throughout, his aim is to discuss a wide range of questions that are both philosophical and practical, working within a distinctive version of subjectivism-an "error" theory of the apparent objectivity of values. John Mackie has drawn on the contributions of such classic thinkers as Plato, Aristotle, Hobbes, Hume, Kant and Sidgwick, and on more recent discussions, to produce a thought-provoking account that will inspire both the general reader and the student of philosophy. (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)

I investigate the widely held view that fundamental musical ontology should be descriptivist rather than revisionary, that is, that it should describe how we think about musical works, rather than how they are independently of our thought about them. I argue that if we take descriptivism seriously then, first, we should be sceptical of art-ontological arguments that appeal to independent metaphysical respectability; and, second, we should give ‘fictionalism’ about musical works—the theory that they do not exist—more serious consideration than it (...) is usually accorded. CiteULike Connotea Del.icio.us What's this? (shrink)

Aaron Ridley has recently attacked the study of musical ontology—an apparently fertile area in the philosophy of music. I argue here that Ridley's arguments are unsound. There are genuinely puzzling ontological questions about music, many of which are closely related to questions of musical value. While it is true that musical ontology must be descriptive of pre-existing musical practices and that some debates, such as that over the creatability of musical works, have little consequence for questions of musical value, none (...) of this implies that these debates themselves are without value. (shrink)

Aaron Ridley has recently attacked the study of musical ontology—an apparently fertile area in the philosophy of music. I argue here that Ridley's arguments are unsound. There are genuinely puzzling ontological questions about music, many of which are closely related to questions of musical value. While it is true that musical ontology must be descriptive of pre-existing musical practices and that some debates, such as that over the creatability of musical works, have little consequence for questions of musical value, none (...) of this implies that these debates themselves are without value. (shrink)

The purpose of this paper is to clarify what metaontological realism, as discussed in contemporary metaontological literature, amounts to. Although metaontological debates are of relatively long standing, the terms ‘realism’ and ‘anti‐realism’ have only recently come to be regularly applied to metaontological positions. The new usage is not fully stable. This paper aims to: (1) distinguish three key claims associated with the term ‘realism’ in metaontology, and give some initial reasons why it is important to be very clear about the (...) differences between these claims; (2) argue that the three ‘realist’ claims are independent of one other; and (3) argue that the label ‘ontological realism’ is best attached to just one of the three claims, namely the claim that the facts of ontology are objective. (shrink)

Katherine Hawley explores and compares three theories of persistence -- endurance, perdurance, and stage theories - investigating the ways in which they attempt to account for the world around us. Having provided valuable clarification of its two main rivals, she concludes by advocating stage theory.

Kit Fine; XIV*—Ontological Dependence, Proceedings of the Aristotelian Society, Volume 95, Issue 1, 1 June 1995, Pages 269–290, https://doi.org/10.1093/aristote.

According to the discovery model in the ontology of art, the facts concerning the ontological status of artworks are mind-independent and, hence, are facts about which the folk may be substantially ignorant or in error. In recent work Amie Thomasson has claimed that the most promising solution to the ‘ qua problem’—a problem concerning how the reference of a referring-expression is fixed—requires us to give up the discovery model. I argue that this claim is false. Thomasson's solution to the qua (...) problem—a hybrid descriptive/causal theory of reference-fixing—has a superior competitor, in the form of the account of reference-fixing suggested by Gareth Evans; and Evans's theory leaves the discovery model untouched. (shrink)