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)

Defense of an account of intrinsic properties in terms of (what is now called) grounding rather than naturalness.

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 paper, I motivate the view that quantitative parsimony is a theoretical virtue: that is, we should be concerned not only to minimize the number of kinds of entities postulated by our theories (i. e. maximize qualitative parsimony), but we should also minimize the number of entities postulated which fall under those kinds. In order to motivate this view, I consider two cases from the history of science: the postulation of the neutrino and the proposal of Avogadro's hypothesis. I (...) also consider two issues concerning how a principle of quantitative parsimony should be framed. (shrink)

Something could be round even if it were the only thing in the universe, unaccompanied by anything distinct from itself. Jaegwon Kim once suggested that we define an intrinsic property as one that can belong to something unaccompanied. Wrong: unaccompaniment itself is not intrinsic, yet it can belong to something unaccompanied. But there is a better Kim-style definition. Say that P is independent of accompaniment iff four different cases are possible: something accompanied may have P or lack P, something unaccompanied (...) may have P or lack P. P is basic intrinsic iff (1) P and not-P are nondisjunctive and contingent, and (2) P is independent of accompaniment. Two things (actual or possible) are duplicates iff they have exactly the same basic intrinsic properties. P is intrinsic iff no two duplicates differ with respect to P. (shrink)

I defend the conception of musical works as indicated temporally initiated types against Julian Dodd's recent argument that all types are eternal and uncreated. In doing so, I develop a new account of both cultural and natural types. While types are in a certain sense determined by the properties that underlie them, not all properties determine types; and properties such as being indicated by Beethoven exist only once the temporally initiated entities that those properties essentially involve exist. A cultural type (...) such as Beethoven's Fifth Symphony is a sound pattern that has the essential property of being used in the way specified by Beethoven's singling out of that pattern. (Natural types, such as bird songs or biological species, are patterns having places in actual causal chains in nature.) Given this framework, the Fifth Symphony is an indicated type that was, in a straightforward literal sense, created by Beethoven in 1804–1808. (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)

'Object' and 'criterion of identity' are philosophical terms of art whose application lies at a considerable theoretical remove from the surface phenomena of everyday linguistic usage. This partly explains their highly controversial status, for their point of application lies precisely where the concerns of linguists and philosophers of language merge with those of metaphysicians. This chapter explains the possession of determinate identity‐conditions. It argues that the distinction between 'abstract' and 'concrete' objects is itself a highly controversial one, and although it (...) has indeed been argued that this distinction turns ultimately upon differences between the criteria of identity governing objects of these two broad categories. It examines the role which criteria of identity play in our talk about objects of the least controversial varieties. The chapter concerns the problem of identity over time and the paradoxes to which identity criteria often appear to give rise when time is brought into the picture. (shrink)

Consensus has it that generic sentences such as “Dogs bark” and “Birds fly” contain, at the level of logical form, an unpronounced generic operator: Gen. On this view, generics have a tripartite structure similar to overtly quantified sentences such as “Most dogs bark” and “Typically, birds fly”. I argue that Gen doesn’t exist and that generics have a simple bipartite structure on par with ordinary atomic sentences such as “Homer is drinking”. On my view, the subject terms of generics are (...) kind-referring. The interesting truth conditions characteristic of generics arise from the interesting ways in which kinds inherit properties from their members. (shrink)

Several intrinsic/extrinsic distinctions amongst properties, current in the literature, are discussed and contrasted. The proponents of such distinctions tend to present them as competing, but it is suggested here that at least three of the relevant distinctions (including here that between non-relational and relational properties) arise out of separate perfectly legitimate intuitive considerations: though of course different proposed explications of the informal distinctions involved in any one case may well conflict. Special attention is paid to the question of whether a (...) single notion of property is capable of supporting the various distinctions. (shrink)

Translation of Frege's 'Über Begriff und Gegenstand' (1892). Translation by Peter Geach, revised by Max Black.

It has recently been suggested that the type/token theorist concerning musical works cannot come up with an adequate semantic theory of those sentences in which we purport to talk about such works. Specifically, it has been claimed that, since types are abstract entities, a type/token theorist can only account for the truth of sentences such as “The 1812 Overture is very loud” and “Bach's Two Part Invention in C has an F-sharp in its fourth measure” by adopting an untenable semantic (...) claim: namely, that the predicates in such sentences, once applied to musical works, undergo a systematic shift in their meanings. This article is a sustained explanation of why our talk about musical works in fact provides no problem for the type/token theorist. First, we demonstrate that the aforementioned “meaning shift” approach to the sentences’ predicates is well motivated and very credible. Second, we explain how the type/token theorist can adopt the best available version of an alternative, generic quantificational approach to such sentences. Third, we establish that other semantic theories, presented as undermining the type/token theory by giving us a reason for adopting eliminativism about types, are much less theoretically virtuous than the two theories that a type/token theorist can freely adopt. (shrink)

The article is an investigation of a certain form of argument that refers to Leibniz’s Law as its inference ticket (where Leibniz’s Law is understood as the thesis that if x=y.

I criticize Julian Dodd's Platonist conception of musical works as discovered eternal types, and defend and elaborate upon Jerrold Levinson's conception of musical works as creatable indicated types. I raise broadly three sorts of worries for Dodd. First, I argue that Dodd conflates types with Platonist universals in claiming that types are eternal and discovered. Secondly, I raise worries for Dodd's Platonist claim that musical works are discovered not created. Here I argue that Dodd's claim goes against our current musical (...) practice. I then argue that Dodd's view leads to a false divide across the arts, and defend this claim from Dodd's criticisms. I also defend the claim that Dodd's view robs artists of the special status we give to them as creators, not merely creative discoverers. I suggest also that musical works can not only be created but can also plausibly cease to exist, which Dodd's Platonism would seem to deny. Thirdly and finally, I defend the conception of musical works as indicated types from Dodd's criticisms. Here I argue that Dodd's view is ontologically profligate. I also submit that Dodd is mistaken in thinking that indicated types have times as their constituents and thus must be events. (shrink)

The distinction between a type and its tokens is auseful metaphysical distinction. In §1 it is explained what itis, and what it is not. Its importance and wide applicability inlinguistics, philosophy, science and everyday life are brieflysurveyed 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 atoken is. §6 considers (...) the relation between types and theirtokens. Do the type and all its tokens share the same properties? Mustall the tokens be alike in some or all respects? §7 explains someproblems for the view that types exist, and some problems for the viewthat they don’t. §8 elucidates a distinction often confused withthe type-token distinction, that between a type and anoccurrence of it. It also discusses some problems thatoccurrences might be thought to give rise to, and one way to resolvethem. (shrink)