This paper is an investigation into the metaphysics of social objects such as political borders, states, and organizations. I articulate a metaphysical puzzle concerning such objects and then propose a novel account of social objects that provides a solution to the puzzle. The basic idea behind the puzzle is that under appropriate circumstances, seemingly concrete social objects can apparently be created by acts of agreement, decree, declaration, or the like. Yet there is reason to believe that no concrete object can (...) be created in this way. The central idea of my positive account is that social objects have a normative component to them, and seemingly concrete social objects have both normative and material components. I develop this idea more rigorously using resources from the Aristotelian hylomorphic tradition. The resulting normative hylomorphic account, I argue, solves the puzzle by providing a satisfying explanation of creation-by-agreement and the like, while also avoiding the difficulties facing extant accounts of social objects. (shrink)

Repeatable artworks like musical works have presented theorists in the ontology of art with a puzzle. They seem in some respects like eternal, immutable objects and in others like created, historical objects. Creationists have embraced the latter appearances and attempted to compel Platonists to follow them. I examine in detail each argument in a cumulative case for Creationism, showing how the Platonist can respond. The conclusion is that the debate between Platonists and Creationists is a stalemate. In order for progress (...) to be made in the first-order debate, second-order progress on the metaontology of art needs to come first. (shrink)

I present two puzzles about the metaphysics of stores, restaurants, and other such establishments. I defend a solution to the puzzles, according to which establishments are not material objects and are not constituted by the buildings that they occupy.

Many philosophers think all abstract objects are causally inert. Here, focusing on novels, I argue that some abstracta are causally efficacious. First, I defend a straightforward argument for this view. Second, I outline an account of object causation—an account of how objects cause effects. This account further supports the view that some abstracta are causally efficacious.

Abstract objects are standardly taken to be causally inert, however principled arguments for this claim are rarely given. As a result, a number of recent authors have claimed that abstract objects are causally efficacious. These authors take abstracta to be temporally located in order to enter into causal relations but lack a spatial location. In this paper, I argue that such a position is untenable by showing first that causation requires its relata to have a temporal location, but second, that (...) if an entity is temporally located then it is spatiotemporally located since this follows from the theory of Relativity. Since abstract objects lack a spatiotemporal location, then if something is causally efficacious, it is not abstract. (shrink)

Musical works change. Bruckner revised his Eighth Symphony. Ella Fitzgerald and many other artists have made it acceptable to sing the jazz standard “All the Things You Are” without its original verse. If we accept that musical works genuinely change in these ways, a puzzle arises: why can’t I change Bruckner’s Eighth Symphony? More generally, why are some individuals in a privileged position when it comes to changing musical works and other artifacts, such as novels, films, and games? I give (...) a view of musical works that helps to answer these questions. Musical works, on this view, are created abstract objects with no parts. The paradigmatic changes that musical works undergo are socially determined normative changes in how they should be performed. Due to contingent social practices, Bruckner, but not I, can change how his symphony should be performed. Were social practices radically different, I would be able to change his symphony. This view extends to abstract artifacts beyond music, including novels, films, words, games, and corporations. (shrink)

Memes, of the kind found often on the internet, are an increasingly significant medium of expressive activity. I develop a theory of their ontological nature and, in parallel, an analysis of the concept meme. On my view, memes are abstract artifacts made out of norms for production of instances. The norms say things like ‘use a certain image; add text of a certain kind; the text should be delivered in two chunks, one at the top of the image, one at (...) the bottom, etc.’ Instances of these memes are created when users follow these norms and publish the results. The concept meme is analyzed in terms of the notion of memographic practice, a historically situated form of activity within which memes are created and their instances produced and made public. (shrink)

In this paper, I argue that the dominant view of musical sampling embodies an impoverished conception of the expressive capabilities of sampling. There are two respects in which it goes wrong. First, it overlooks the possibility of samples representing their sample sources. Second, it overlooks the possibility of samples that are not instances of their sample sources. En route to bringing out why the dominant view is impoverished, I introduce a theoretical framework that illuminates some of the ways in which (...) sample-based musical works can function as realistic representations of their sample sources. (shrink)

Words are indispensable linguistic tools for beings like us. However, there is not much philosophical work done about what words really are. In this paper, I develop a new ontology for words. I argue that words are abstract artifacts that are created to fulfill various kinds of purposes, and words are abstract in the sense that they are not located in space but they have a beginning and may have an end in time given that certain conditions are met. What (...) follows from this two-fold argument is that words, from an ontological point of view, are more like musical works, fictional characters or computer programs, than numbers or sets. (shrink)

I explain a tension between musical creationism (the view that musical works are abstract artifacts) and the view that there is no vague existence. I then suggest ways to reconcile these views. My central conclusion is that, although some versions of musical creationism imply vague existence, others do not. I discuss versions of musical creationism held by Jerrold Levinson, Simon Evnine, and Kit Fine. I also present two new versions. I close by considering whether the tension is merely an instance (...) of a general problem raised by artifacts, both abstract and concrete. I argue that on at least one defensible account of music the tension is especially problematic for abstracta. I focus on musical works, but much of the paper straightforwardly applies to other kinds of abstract artifacts. (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)

Attributions of omnipresence, most familiar within the philosophy of religion, typically take the omnipresence of an entity to either consist in that entity's occupation of certain regions or be dependent upon other of that entity's attributes, such as omnipotence or omniscience. This paper defends an alternative conception of omnipresence that is independent of other purported divine attributes and dispenses with occupation. The resulting view repurposes the metaphysics of necessitism and permanentism, taking omnipresent entities to be those entities that exist at (...) all regions. This view is then shown to best accommodate attributions of omnipresence to a diverse range of metaphysical posits, like abstract entities, and a more diverse class of religious posits. (shrink)

Abstract creationism about fictional characters is the view that fictional characters are abstract objects that authors create. I defend this view against criticisms from Stuart Brock that hitherto have not been adequately countered. The discussion sheds light on how the number of fictional characters depends on authorial intention. I conclude also that we should change how we think intentions are connected to artifacts more generally, both abstract and concrete.

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)

In “Mathematical Truth,” Paul Benacerraf raises an epistemic challenge for mathematical platonists. In this paper, I examine the assumptions that motivate Benacerraf’s original challenge, and use them to construct a new causal challenge for the epistemology of mathematics. This new challenge, which I call ‘Gödel’s Gap’, appeals to intuitive insights into mathematical knowledge. Though it is a causal challenge, it does not rely on any obviously objectionable constraints on knowledge. As a result, it is more compelling than the original challenge. (...) It is also more general; the challenge applies equally to platonistic and non-platonistic accounts of mathematical truth. And it can be generalized beyond the case of mathematical knowledge to pose a challenge for, e.g., moral knowledge. (shrink)

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.

One of the central questions of material-object metaphysics is which highly visible objects there are right before our eyes. Daniel Z. Korman defends a conservative view, according to which our ordinary, natural judgments about which objects there are are more or less correct. He begins with an overview of the arguments that have led people away from the conservative view, into revisionary views according to which there are far more objects than we ordinarily take there to be or far fewer. (...) Korman criticizes a variety of compatibilist strategies, according to which these revisionary views are actually compatible with our ordinary beliefs. He goes on to respond to debunking arguments; objections that the conservative's verdicts about which objects that are and aren't are objectionably arbitrary; the argument from vagueness; the overdetermination argument; the argument from material constitution; and the problem of the many. (shrink)

In this paper I confront what I take to be the crucial challenge for fictional realism, i.e. the view that fictional characters exist. This is the problem of accounting for the intuition that corresponding negative existentials such as ‘Sherlock Holmes does not exist’ are true (when, given fictional realism, taken literally they seem false). I advance a novel and detailed form of the response according to which we take them to mean variants of such claims as: there is no concrete (...) x such that x is Sherlock Holmes. (shrink)

There are two conspicuous and inescapable features of this world in which time is real. One experiences a world in flux, a transient world in which things constantly come into existence, change and cease to be. One also experiences a stable world, one in which how things are at any given moment is permanent, unchangeable. Thus, there is transience and permanence. Yet these two features of the world seem incompatible. The primary purpose of this paper is to sketch a metaphysics (...) of time that embraces both features. Crucial to this undertaking is the notion of becoming, that is, coming into existence. I distinguish three distinct phenomena of becoming: temporal, absolute and atemporal. The last is the least familiar of these; it is the phenomenon of coming into existence outside of time. Although the idea that there are things that do not exist in time is not unfamiliar, it is largely taken for granted that if anything comes into existence, it must do so in time. (Indeed, I suspect many think that the idea of a thing coming to be outside of time is simply incoherent.) In this paper, I articulate and defend the notion of atemporal becoming. It is by means of this notion that one can develop a fully satisfactory metaphysics of time, one that honors both transience and permanence and finds for each its proper domain within the world. (shrink)

Anthony Everett gives a philosophical defence of the common-sense view that there are no such things as fictional people, places, and things. He argues that our talk and thought about such fictional objects takes place within the scope of a pretense, and that we gain little but lose much by accepting fictional realism.

This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another (...) work). I offer criteria for determining when this is the case. Application of the criteria yields the verdict that performances are sometimes artworks in their own right, while displays of installation artworks rarely are. This difference, though, is merely contingent on the conventions of the respective art forms. Third, I address ontological concerns about entities that are both abstract and temporal, as many artworks are on my analysis. (shrink)

Words, languages, symphonies, fictional characters, games, and recipes are plausibly abstract artifacts— entities that have no spatial location and that are deliberately brought into existence as a result of creative acts. Many accept that composition is unrestricted: for every plurality of material objects, there is a material object that is the sum of those objects. These two views may seem entirely unrelated. I will argue that the most influential argument against restricted composition—the vagueness argument—doubles as an argument that there can (...) be no abstract artifacts. There is no way to resist the vagueness argument against abstract artifacts that does not also undermine the vagueness argument against restricted composition. (shrink)

Some hold that musical works are fusions of, or coincide with, their performances. But if performances contain wrong notes, won't works inherit that property? We say ‘no’.

Peirce illustrated the type-token distinction by means of the definite article: there is only one word type “the,” but there are likely to be about twenty tokens of it on this page. Not all tokens are inscriptions; some are sounds, whispered or shouted, and some are smoke signals. The type “the” is neither written ink nor spoken sound; it is an abstract object. Or consider the Grizzly Bear, Ursus arctos horribilis. At one time its U.S. range was most of the (...) area west of the Missouri River and it numbered 10,000 in California alone. Today it numbers less than 1,000. Of course no particular bear numbers 1,000 and no particular bear ever had a range comprising most of the area west of the Missouri. It is a type of bear, a species of bear, that has both properties.We are all familiar with this way of talking about types of things. But—aside from being universals—what are types? What makes a token of one type rather than another? How do we know it is a token of that type? Do some types fail to have tokens? What, if anything, do all and only tokens of a particular type have in common other than being tokens of that type? The first half of the paper answers the last question (“Nothing beyond being a token of the type”). The second half contains sketches of answers to the other questions. (shrink)

The consensus is that musical works and other ‘multiple’ artworks are abstract objects of some sort. According to the standard objections to musical materialism, multiple artworks cannot be identified with any concrete manifestation since concrete manifestations are many, and one thing cannot be identical to many. Multiple artworks are particularly good, while particular concrete manifestations are particularly bad, at surviving the destruction of particular concrete manifestations. Finally, multiple artworks cannot be identified with a particular sum of concrete manifestations since sums (...) and works differ modally. This paper aims to show that by appealing to recent work on the metaphysics of material objects, musical materialists avoid the standard objections. (shrink)

Fictional realism, i.e., the view that because fictions exist, fictional characters exist as well, has recently been accused of leading to inconsistency generated by phenomena of indeterminacy and inconsistency in fiction. We examine in detail four arguments against fictional realism, and present a version of fictional realism which can withstand those arguments.

Reference and Existence, Saul Kripke's John Locke Lectures for 1973, can be read as a sequel to his classic Naming and Necessity. It confronts important issues left open in that work -- among them, the semantics of proper names and natural kind terms as they occur in fiction and in myth; negative existential statements; the ontology of fiction and myth. In treating these questions, he makes a number of methodological observations that go beyond the framework of his earlier book -- (...) including the striking claim that fiction cannot provide a test for theories of reference and naming. In addition, these lectures provide a glimpse into the transition to the pragmatics of singular reference that dominated his influential paper, " Speaker's Reference and Semantic Reference " -- a paper that helped reorient linguistic and philosophical semantics. Some of the themes have been worked out in later writings by other philosophers -- many influenced by typescripts of the lectures in circulation -- but none have approached the careful, systematic treatment provided here. The virtuosity of Naming and Necessity -- the colloquial ease of the tone, the dazzling, on-the-spot formulations, the logical structure of the overall view gradually emerging over the course of the lectures -- is on display here as well. (shrink)

In this book Terence Parsons revives the older tradition of taking such objects at face value. Using various modern techniques from logic and the philosophy of language, he formulates a metaphysical theory of nonexistent objects. The theory is given a formalization in symbolism rich enough to contain definite descriptions, modal operators, and epistemic contexts, and the book includes a discussion which relates the formalized theory explicitly to English.

It is advisable to treat some sorts of discourse about fiction with the aid of an intensional operator "in such-And-Such fiction...." the operator may appear either explicitly or tacitly. It may be analyzed in terms of similarity of worlds, As follows: "in the fiction f, A" means that a is true in those of the worlds where f is told as known fact rather than fiction that differ least from our world, Or from the belief worlds of the community in (...) which the fiction originated. (shrink)

In this book, Zalta attempts to lay the axiomatic foundations of metaphysics by developing and applying a (formal) theory of abstract objects. The cornerstones include a principle which presents precise conditions under which there are abstract objects and a principle which says when apparently distinct such objects are in fact identical. The principles are constructed out of a basic set of primitive notions, which are identified at the end of the Introduction, just before the theorizing begins. The main reason for (...) producing a theory which defines a logical space of abstract objects is that it may have a great deal of explanatory power. It is hoped that the data explained by means of the theory will be of interest to pure and applied metaphysicians, logicians and linguists, and pure and applied epistemologists. (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 ...

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)

In this fascinating work, Scott Soames offers a new conception of the relationship between linguistic meaning and assertions made by utterances. He gives meanings of proper names and natural kind predicates and explains their use in attitude ascriptions. He also demonstrates the irrelevance of rigid designation in understanding why theoretical identities containing such predicates are necessary, if true.

What are musical works? Are they discovered or created? Can recordings substitute faithfully for live performances? This book considers these and other intriguing questions. It first outlines the nature of musical works, their relation to performances, and their notational specification; it then considers authenticity in performance, musical traditions, and recordings. Comprehensive and original, the volume discusses many kinds of music, applying its conclusions to issues as diverse as the authentic performance movement, the cultural integrity of ethnic music, and the implications (...) of the dominance of recorded over live music. (shrink)

Terence Parsons presents a lively and controversial study of philosophical questions about identity. Because many puzzles about identity remain unsolved, some people believe that they are questions that have no answers and that there is a problem with the language used to formulate them. Parsons explores a different possibility: that such puzzles lack answers because of the way the world is (or because of the way the world is not). He claims that there is genuine indeterminacy of identity in the (...) world. He articulates such a view in detail and defends it from a host of criticisms. (shrink)

Sherlock Holmes is a fictional individual. So is his favorite pipe. Our pre-theoretical intuition says that neither of them is real. It says that neither of them really, or actually, exists. It also says that there is a sense in which they do exist, namely, a sense in which they exist “in the world of” the Sherlock Holmes stories. Our pre-theoretical intuition says in general of any fictional individual that it does not actually exist but exists “in the world of” (...) the relevant fiction. I wish to defend this pretheoretical intuition. To do so, I need to defend two claims: that fictional individuals do not actually exist, and that they exist “in the world of” the relevant fiction. The aim of this paper is to defend the first claim. (shrink)

According to standard, pre-philosophical intuitions, there are many composite objects in the physical universe. There is, for example, my bicycle, which is composed of various parts - wheels, handlebars, molecules, atoms, etc. Recently, a growing body of philosophical literature has concerned itself with questions about the nature of composition.1 The main question that has been raised about composition is, roughly, this: Under what circumstances do some things compose, or add up to, or form, a single object? It turns out that (...) it is surprisingly difficult to give a satisfactory answer to this question that accords with standard, pre-philosophical intuitions about the universe's composite objects. In fact, the three rival views in response to this question that have received the most support in the literature are (i) that there are no objects composed of two or more parts (which means that there are no stars, chairs, humans, or bicycles);2 (ii) that the only objects composed of two or more parts are living organisms (which still means no stars. (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)

Creationism is the conjunction of the following theses: (i) fictional individuals (e.g. Sherlock Holmes) actually exist; (ii) fictional names (e.g., 'Holmes') are at least sometimes genuinely referential; (iii) fictional individuals are the creations of the authors who first wrote (or spoke, etc.) about them. CA Creationism is the conjunction of (i) - (iii) and the following thesis: (iv) fictional individuals are contingently existing abstracta; they are non-concrete artifacts of our world and various other possible worlds. TakashiYagisawa has recently provided a (...) number of arguments designed to show that Creationism is unjustified. I here critically examine three of his challenges to CA Creationism. I argue that each fails to undermine this version of Creationism. (shrink)

John Stuart Mill (1843) thought that proper names denote individuals and do not connote attributes. Contemporary Millians agree, in spirit. We hold that the semantic content of a proper name is simply its referent. We also think that the semantic content of a declarative sentence is a Russellian structured proposition whose constituents are the semantic contents of the sentence’s constituents. This proposition is what the sentence semantically expresses. Therefore, we think that sentences containing proper names semantically express singular propositions, which (...) are propositions having individuals as constituents. For instance, the sentence ‘George W. Bush is human’ semantically expresses a proposition that has Bush himself as a constituent. Call this theory Millianism. Many philosophers initially find Millianism quite appealing, but find it much less so after considering its many apparent problems. Among these problems are those raised by non-referring names, which are sometimes (tendentiously) called empty names. Plausible examples of empty names include certain names from fiction, such as ‘Sherlock Holmes’, which I shall call fictional names, and certain names from myth and false scientific theory, such as ‘Pegasus’ and ‘Vulcan’, which I shall call mythical names. I have defended Millianism from objections concerning empty names in previous work (Braun 1993). In this paper, I shall re-present those objections, along with some new ones. I shall then describe my previous Millian theory of empty names, and my previous replies to the objections, and consider whether the theory or replies need revision. I shall next consider whether fictional and mythical names are really empty. I shall argue that at least some utterances of mythical names are. (shrink)

I argue that the ontological status of fictional characters is determined by the beliefs and practices of those who competently deal with works of literature, and draw out three important consequences of this. First, heavily revisionary theories cannot be considered as ‘discoveries’ about the ‘true nature’ of fictional characters; any acceptable realist theory of fiction must preserve all or most of the common conception of fictional characters. Second, once we note that the existence conditions for fictional characters are extremely minimal, (...) it makes little sense to deny the existence of fictional characters, leaving anti-realist views of fiction unmotivated. Finally, the role of ordinary beliefs and practices in determining facts about the ontology of fictional characters explains why non-revisionary theories of fiction are bound to yield no determinate or precise answer to certain questions about fictional characters, demonstrating the limits of a theory of fiction. (shrink)