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)

In this essay I first outline contemporary Platonism about musical works – the theory that musical works are abstract objects. I then consider reasons to be suspicious of such a view, motivating a consideration of nominalist theories of musical works. I argue for two conclusions: first, that there are no compelling reasons to be a nominalist about musical works in particular, i.e. that nominalism about musical works rests on arguments for thoroughgoing nominalism, and, second, that if Platonism fails, fictionalism about (...) musical works is to be preferred to other nominalist ontologies of musical works. (shrink)

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)

In disputes about the ontology of music, musical idealism—that is, the view that musical compositions are ideas—has proven to be rather unpopular. We argue that, once we have a better grip on the ontology of ideas, we can formulate a version of musical idealism that is not only defensible, but plausible and attractive. We conclude that compositions are a particular kind of idea: they are completed ideas for musical manifestation.

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)

If musical works are abstract objects, which cannot enter into causal relations, then how can we refer to musical works or know anything about them? Worse, how can any of our musical experiences be experiences of musical works? It would be nice to be able to sidestep these questions altogether. One way to do that would be to take musical works to be concrete objects. In this paper, we defend a theory according to which musical works are concrete objects. In (...) particular, the theory that we defend takes musical works to be fusions of performances. We defend this view from a series of objections, the first two of which are raised by Julian Dodd in a recent paper and the last of which is suggested by some comments of his in an earlier paper. (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)

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)

It is widely believed that platonists face a formidable problem: that of providing an intelligible account of mathematical knowledge. The problem is that we seem unable, if the platonist is right, to have the causal relationships with the objects of mathematics without which knowledge of these objects seems unintelligible. The standard platonist response to this challenge is either to deny that knowledge without causation is unintelligible, or to make room for causal interactions by softening the platonism at issue. In this (...) essay I argue that the idea of causal relations with fully platonist objects is unproblematic. (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)

This essay explains why creationism about fictional characters is an abject failure. Creationism about fictional characters is the view that fictional objects are created by the authors of the novels in which they first appear. This essay shows that, when the details of creationism are filled in, the hypothesis becomes far more puzzling than the linguistic data it is used to explain. No matter how the creationist identifies where, when and how fictional objects are created, the proposal conflicts with other (...) strong intuitions we have about fictional characters. (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)

This book does three main things. First, it defends mathematical platonism against the main objections to that view (most notably, the epistemological objection and the multiple-reductions objection). Second, it defends anti-platonism (in particular, fictionalism) against the main objections to that view (most notably, the Quine-Putnam indispensability objection and the objection from objectivity). Third, it argues that there is no fact of the matter whether abstract mathematical objects exist and, hence, no fact of the matter whether platonism or anti-platonism is true.

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.

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)

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)

The challenge of handling fictional discourse is to find the best way to resolve the apparent inconsistencies in our ways of speaking about fiction. A promising approach is to take at least some such discourse to involve pretense, but does all fictional discourse involve pretense? I will argue that a better, less revisionary, solution is to take internal and fictionalizing discourse to involve pretense, while allowing that in external critical discourse, fictional names are used seriously to refer to fictional characters. (...) I then address two objections to such realist theories of fiction: One, that they can’t adequately account for the truth of singular nonexistence claims involving fictional names, and two, that accepting that there are fictional characters to which we refer is implausible or ontologically profligate. (shrink)

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 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)

My goal is to reflect on the phenomenon of inadvertent creation and argue that—various objections to the contrary—it doesn’t undermine the view that fictional characters are abstract artifacts. My starting point is a recent challenge by Jeffrey Goodman that is originally posed for those who hold that fictional characters and mythical objects alike are abstract artifacts. The challenge: if we think that astronomers like Le Verrier, in mistakenly hypothesizing the planet Vulcan, inadvertently created an abstract artifact, then the “inadvertent creation” (...) element turns out to be inescapable yet theoretically unattractive. Based on considerations about actually existing concrete objects featured in fictional works (as Napoleon is in Tolstoy’s War and Peace), I argue that independently of one’s stand on mythical objects, admitting fictional characters as abstract artifacts is enough to give rise to the challenge at hand; yet this very point serves to undermine the challenge, indicating that inadvertent creation is not nearly as worrisome as Goodman suggests. Indeed, the inadvertent creation phenomenon’s generality extends far beyond objects of fiction and myth, and I will use this observation to counter a further objection. Taking fictional characters (and mythical objects) to be abstract artifacts therefore remains a viable option. (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)

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)

Anthony Everett () argues that those who embrace the reality of fictional entities run into trouble when it comes to specifying criteria of character identity. More specifically, he argues that realists must reject natural principles governing the identity and distinctness of fictional characters due to the existence of fictions which leave it indeterminate whether certain characters are identical and the existence of fictions which say inconsistent things about the identities of their characters. Everett's critique has deservedly drawn much attention and (...) a number of defensive moves have been made by, or on the behalf of, fictional realists. My goal in this paper is to move this debate on a further step. I have three goals: to clarify the importance of Everett's discussion of identity criteria within the context of fictional realism, to reassess Everett's objections to realism in light of the resultant literature, and to develop a novel strategy for responding to Everett's concerns. On the approach to be developed, the problems emerge due to an indeterminacy inherent in the concept of a fictional character itself. (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 ...

That there is no substance causation is often treated as the default position. My aim in this paper is primarily one of burden shifting: opponents of substance causation must do more to defend their position. After outlining the thesis I wish to defend, I present a simple argument for substance causation, arguing that opponents of substance causation owe us an explanation of why this argument is unsound. I end by answering objections to the view that substances can be causes.

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)

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)

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)

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’.

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)

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.

In recent discussions concerning the definition of argument, it has been maintained that the word ‘argument’ exhibits the process-product ambiguity, or an act/object ambigu-ity. Drawing on literature on lexical ambiguity we argue that ‘argument’ is not ambiguous. The term ‘argu-ment’ refers to an object, not to a speech act. We also examine some of the important implications of our argument by considering the question: what sort of abstract objects are arguments?

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)

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.

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)

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.

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)

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)