Software is a ubiquitous artifact, yet not much has been done to understand its ontological nature. There are a few accounts offered so far about the nature of software. I argue that none of those accounts give a plausible picture of the nature of software. I draw attention to the striking similarities between software and musical works. These similarities motivate to look more closely on the discussions regarding the nature of the musical works. With the lessons drawn from the ontology (...) of musical works I offer a novel account of the nature of software. In this account, software is an abstract artifact. I elaborate the conditions under which software comes into existence; how it persists; how and on which entities its existence depends. (shrink)

The distinction between a type and its tokens is a useful metaphysical distinction. In §1 it is explained what it is, and what it is not. Its importance and wide applicability in linguistics, philosophy, science and everyday life are briefly surveyed in §2. Whether types are universals is discussed in §3. §4 discusses some other suggestions for what types are, both generally and specifically. Is a type the sets of its tokens? What exactly is a word, a symphony, a species? (...) §5 asks what a token is. §6 considers the relation between types and their tokens. Do the type and all its tokens share the same properties? Must all the tokens be alike in some or all respects? §7 explains some problems for the view that types exist, and some problems for the view that they don't. §8 elucidates a distinction often confused with the type-token distinction, that between a type (or token) and an occurrence of it. It also discusses some problems that occurrences might be thought to give rise to, and one way to resolve them. (shrink)

The paper challenges Williamson’s safety based explanation for why we cannot know the cut-off point of vague expressions. We assume throughout (most of) the paper that Williamson is correct in saying that vague expressions have sharp cut-off points, but we argue that Williamson’s explanation for why we do not and cannot know these cut-off points is unsatisfactory. -/- In sect 2 we present Williamson's position in some detail. In particular, we note that Williamson's explanation relies on taking a particular safety (...) principle ('Meta-linguistic belief safety' or 'MBS') as a necessary condition on knowledge. In section 3, we show that even if MBS were a necessary condition on knowledge, that would not be sufficient to show that we cannot know the cut-off points of vague expressions. In section 4, we present our main case against Williamson's explanation: we argue that MBS is not a necessary condition on knowledge, by presenting a series of cases where one's belief violates MBS but nevertheless constitutes knowledge. In section 5, we present and respond to an objection to our view. And in section 6, we briefly discuss the possible directions a theory of vagueness can take, if our objection to Williamson's theory is taken on board. (shrink)

Hud Hudson presents an innovative view of the metaphysics of human persons according to which human persons are material objects but not human organisms. In developing his account, he formulates and defends a unique collection of positions on parthood, persistence, vagueness, composition, identity, and various puzzles of material constitution. The author also applies his materialist metaphysics to issues in ethics and in the philosophy of religion. He examines the implications for ethics of his metaphysical views for standard arguments addressing the (...) moral permissibility of our treatment of human persons and their parts, fetuses and infants, the irreversibly comatose, and corpses. He argues that his metaphysics provides the best foundation in the philosophy of religion for the Christian doctrine of the resurrection of the body. Hudson addresses a broad range of metaphysical issues, but among his most strikingly original contributions are his defense of the "Partist" view and his argument for the compatibility of Christianity with a materialistic theory of human persons. (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)

Vagueness provides the first comprehensive examination of a topic of increasing importance in metaphysics and the philosophy of logic and language. Timothy Williamson traces the history of this philosophical problem from discussions of the heap paradox in classical Greece to modern formal approaches such as fuzzy logic. He illustrates the problems with views which have taken the position that standard logic and formal semantics do not apply to vague language, and defends the controversial realistic view that vagueness is a kind (...) of ignorance--that there really is a grain of sand whose removal turns a heap into a non-heap, but we cannot know which one it is. (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)

I sketch here an intuitive picture of repeatable artworks as created types, which are individuated in part by historical paths (re)production. Although attractive, this view has been rejected by a number of authors on the basis of general claims about abstract objects. On consideration, however, these general claims are overgeneralizations, which whilst true of some abstracta, are not true of all abstract objects, and in particular, are not true of created types. The intuitive picture of repeatable artworks as created types (...) is, then, left in place. (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)

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 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)

A standard response to the problem of diachronic vagueness is ‘the semantic solution’, which demands an abundant ontology. Although it is known that the abundant ontology does not logically preclude endurantism, their combination is rejected because it necessitates massive coincidence between countless objects. In this paper, I establish that the semantic solution is available not only to perdurantists but also to endurantists by showing that there is no problem with such ubiquitous and principled coincidence.

Roy Sorenson offers a unique exploration of an ancient problem: vagueness. Did Buddha become a fat man in one second? Is there a tallest short giraffe? According to Sorenson's epistemicist approach, the answers are yes! Although vagueness abounds in the way the world is divided, Sorenson argues that the divisions are sharp; yet we often do not know where they are. Written in Sorenson'e usual inventive and amusing style, this book offers original insight on language and logic, the way world (...) is, and our understanding of it. (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)

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.

There is a general form of an argument which I call the ‘argument from vagueness’ which attempts to show that objects persist by perduring, via the claim that vagueness is never ontological in nature and thus that composition is unrestricted. I argue that even if we grant that vagueness is always the result of semantic indeterminacy rather than ontological vagueness, and thus also grant that composition is unrestricted, it does not follow that objects persist by perduring. Unrestricted mereological composition lacks (...) the power to ensure that there exist instantaneous objects that wholly overlap persisting objects at times, and thus lacks the power to ensure that there exists anything that could be called a temporal part. Even if we grant that such instantaneous objects exist, however, I argue that it does not follow that objects perdure. To show this I briefly outline a coherent version of three dimensionalism that grants just such an assumption. Thus considerations pertaining to the nature of vagueness need not lead us inevitably to accept perdurantism. (shrink)

A presentation of the Lewis-Sider argument from vagueness for unrestricted composition and possible responses.

Nihilism is the thesis that no composite objects exist. Some ontologists have advocated abandoning nihilism in favor of deep nihilism, the thesis that composites do not existO, where to existO is to be in the domain of the most fundamental quantifier. By shifting from an existential to an existentialO thesis, the deep nihilist seems to secure all the benefits of a composite-free ontology without running afoul of ordinary belief in the existence of composites. I argue that, while there are well-known (...) reasons for accepting nihilism, there appears to be no reason at all to accept deep nihilism. In particular, deep nihilism draws no support either from the usual arguments for nihilism or from considerations of parsimony. (shrink)

Introduction In the first four chapters of this book, I develop and defend a monistic account of human persons according to which human persons are highly ...

The Evans-Salmon position on vague identity has deservedly elicited a large response in the literature. I think it is in fact among the most provocative metaphysical ideas to appear in recent years. I will try to show in this paper, however, that the position is vulnerable to a fundamental criticism that seems to have been virtually ignored in the many discussions of it. I take the Evans-Salmon position to consist of the following two theses: Thesis I. There cannot be objects (...) x and y such that it is indeterminate whether x is (identical with) y. Thesis II. The only way for an identity sentence to be indeterminate in truth-value is if one of the expressions flanking the identity symbol is referentially ambiguous.] The argument for Thesis I is essentially as follows. We are assuming that the sense of identity under discussion satisfies the standard formal logic of identity including Leibniz's Law. Suppose, now, that it is indeterminate whether x is y. Since it is determinate that x is x, x differs from y with respect to the property of being determinately x, from which it follows by Leibniz's Law that x is not y. Since the supposition that it is indeterminate whether x is y leads to the conclusion that x is not y, this supposition is incoherent. (shrink)

It is often assumed that indeterminacy in mereological relations—in particular, indeterminacy in which collections of objects have fusions—leads immediately to indeterminacy in what objects there are in the world. This assumption is generally taken as a reason for rejecting mereological vagueness. The purpose of this paper is to examine the link between mereological vagueness and existential vagueness. I hope to show that the connection between the two forms of vagueness is not nearly so clear-cut as has been supposed.

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)

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)

In this paper I further elucidate and defend a metaontological position that allows you to have a minimal ontology without embracing an error-theory of ordinary talk. On this view 'there are Fs' can be strictly and literally true without bringing an ontological commitment to Fs. Instead of a sentence S committing you to the things that must be amongst the values of the variables if it is true, I argue that S commits you to the things that must exist as (...) truthmakers for S if it is true. I rebut some recent objections that have been levelled against this metaontological view. (shrink)

This paper provides a new approach to a family of outstanding logical and semantical puzzles, the most famous being Frege's puzzle. The three main reductionist theories of propositions (the possible-worlds theory, the propositional-function theory, the propositional-complex theory) are shown to be vulnerable to Benacerraf-style problems, difficulties involving modality, and other problems. The nonreductionist algebraic theory avoids these problems and allows us to identify the elusive nondescriptive, non-metalinguistic, necessary propositions responsible for the indicated family of puzzles. The algebraic approach is also (...) used to defend antiexistentialism against existentialist prejudices. The paper closes with a suggestion about how this theory of content might enable us to give purely semantic (as opposed to pragmatic) solutions to the puzzles based on a novel formulation of the principle of compositionality. (shrink)

In this paper I respond to Trenton Merricks's (2005) paper ‘Composition and Vagueness’. I argue that Merricks's paper faces the following difficulty: he claims to provide independent motivation for denying one of the premisses of the Lewis-Sider vagueness argument for unrestricted composition, but the alleged motivation he provides begs the question.

Sider (Four-dimensionalism 2001; Philos Stud 114:135–146, 2003; Nous 43:557–567, 2009) has developed an influential argument against indeterminacy in existence. In what follows, I argue that the defender of metaphysical forms of indeterminate existence has a unique way of responding to Sider’s argument. The response I’ll offer is interesting not only for its applicability to Sider’s argument, but also for its broader implications; responding to Sider helps to show both how we should think about precisification in the context of metaphysical indeterminacy (...) and how we should understand commitment to metaphysically indeterminate existence. And if I’m right that metaphysical indeterminacy can allow for indeterminate existence in a way that semantic indeterminacy can’t, indeterminate existence might actually give us a reason to accept metaphysical indeterminacy (rather than a reason to reject it, as is commonly assumed). (shrink)

This challenging study places fiction squarely at the centre of the discussion of metaphysics. Philosophers have traditionally treated fiction as involving a set of narrow problems in logic or the philosophy of language. By contrast Amie Thomasson argues that fiction has far-reaching implications for central problems of metaphysics. The book develops an 'artifactual' theory of fiction, whereby fictional characters are abstract artifacts as ordinary as laws or symphonies or works of literature. By understanding fictional characters we come to understand how (...) other cultural and social objects are established on the basis of the independent physical world and the mental states of human beings. (shrink)