There is a well-known argument from Leibniz's Law for the view that coincident material things may be distinct. For given that they differ in their properties, then how can they be the same? However, many philosophers have suggested that this apparent difference in properties is the product of a linguistic illusion; there is just one thing out there, but different sorts or guises under which it may be described. I attempt to show that this ‘opacity’ defence has intolerable consequences for (...) the functioning of our language and that the original argument should therefore be allowed to stand. (shrink)

As conceived by analytic philosophers ontology consists in the application of the methods of mathematical logic to the analysis of ontological discourse. As conceived by realist philosophers such as Meinong and the early Husserl, Reinach and Ingarden, it consists in the investigation of the forms of entities of various types. The suggestion is that formal methods be employed by phenomenological ontologists, and that phenomenological insights may contribute to the construction of adequate formal-ontological languages. The paper sketches an account of what (...) might be involved in this new discipline, an account which is illustrated in application to the formal-ontological problems raised by negative states of affairs. (shrink)

Peter Goldie and Elisabeth Schellekens have recently articulated the Idea Idea, the thesis that “in conceptual art, there is no physical medium: the medium is the idea.” But what is an idea, and in the case of works such as Duchamp's Fountain, how does the idea relate to the urinal? In answering these questions, it becomes apparent that the Idea Idea should be rejected. After showing this, I offer a new ontology of conceptual art, according to which such artworks are (...) not ideas but artifacts imbued with ideas. After defending this view from objections, I briefly discuss some implications it has for the ontology of art in general. (shrink)

While Roman Ingarden is well known for his work in aesthetics and studies in ontology, one of his most important and lasting contributions has been largely overlooked: his approach to a general ontology of social and cultural objects. Ingarden himself discusses cultural objects other than works of art directly in the first section of “The Architectural Work”1, where he develops a particularly penetrating view of the ontology of buildings, flags, and churches. This text provides the core insight into how his (...) more lengthy studies of the ontology of works of art in The Literary Work of Art and the rest of The Ontology of the Work of Art, combined with the ontological distinctions of Der Streit um die Existenz der Welt, may be used to understand social and cultural objects. The view that results, I will argue, is based in foreseeing problems with the reductivist and projectivist views that remain popular, and is capable of resolving central problems still thought to plague those who would offer a theory of cultural objects. (shrink)