Precis of my book by this title, for a symposium.

Some philosophers believe that everyday objects are 4-dimensional spacetime worms, that a person (for example) persists through time by having temporal parts, or stages, at each moment of her existence. None of these stages is identical to the person herself; rather, she is the aggregate of all her temporal parts.1 Others accept “three dimensionalism”, rejecting stages in favor of the notion that persons “endure”, or are “wholly present” throughout their lives.2 I aim to defend an apparently radical third view: not (...) only do I accept person stages; I claim that we are stages.3 Likewise for other objects of our everyday ontology: statues are statue-stages, coins are coin-stages, etc. At one level, I accept the ontology of the worm view. I believe in spacetime worms, since I believe in temporal parts and aggregates of things I believe in. I.. (shrink)

How do things persist? Are material objects spread out through time just as they are spread out through space? Or is temporal persistence quite different from spatial extension? This key question lies at the heart of any metaphysical exploration of the material world, and it plays a crucial part in debates about personal identity and survival. This book explores and compares three theories of persistence — endurance, perdurance, and stage theories — investigating the ways in which they attempt to account (...) for the world around us. Having provided valuable clarification of its two main rivals, the book concludes by advocating stage theory. Such a basic issue about the nature of the physical world naturally has close ties with other central philosophical problems. This book includes discussions of change and parthood, of how we refer to material objects at different times, of the doctrine of Humean supervenience, and of the modal features of material things. In particular, it contains new accounts of the nature of worldly vagueness, and of what binds material things together over time, distinguishing the career of a natural object from an arbitrary sequence of events. Each chapter concludes with a reflection about the impact of these metaphysical debates upon questions about our personal identity and survival. (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)

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)

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)