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An entity x is said to be generically dependent on a type F if x cannot exist without at least one entity of type F existing. In this paper several varieties of generic dependence are distinguished, differing in the nature of the relationship between an entity and the instances of a type on which it generically depends, and in the light of this, criteria of identity for generically dependent entities are investigated. These considerations are then illustrated in detail in a (...) |
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Our topic is the theory of topics. My goal is to clarify and evaluate three competing traditions: what I call the way-based approach, the atom-based approach, and the subject-predicate approach. I develop criteria for adequacy using robust linguistic intuitions that feature prominently in the literature. Then I evaluate the extent to which various existing theories satisfy these constraints. I conclude that recent theories due to Parry, Perry, Lewis, and Yablo do not meet the constraints in total. I then introduce the (...) |
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The ontological nature of works of music has been a particularly lively area of philosophical debate during the past few years. This paper serves to introduce the reader to some of the most fertile and interesting issues. Starting by distinguishing three questions – the categorial question, the individuation question, and the persistence question – the article goes on to focus on the first: the question of which ontological category musical works fall under. The paper ends by introducing, and briefly considering, (...) |
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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. |
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Questions central to the ontology of art include the following: what sort of things are works of art? Do all works of art belong to any one basic ontological category? Do all or only some works have multiple instances? Do works have parts or constituents, and if so, what is their relation to the work as a whole? How are particular works of art individuated? Are they created or discovered? Can they be destroyed? Explicit and extensive treatments of these topics (...) |
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yamato sharply distinguishes itself from other existing upper ontologies in the following respects. Most importantly, yamato is designed with both engineering and philosophical minds. yamato is based on a sophisticated theory of roles, given that the world is full of roles. yamato has a tenable theory of functions which helps to deal with artifacts effectively. Information is a ‘content-bearing’ entity and it differs significantly from the entities that philosophers have traditionally discussed. Taking into account the modern society in which a (...) |
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Predictions concerning the end of the world have proven less reliable than your broker’s recommendations or your fondest hopes. Whether you await the end fearfully or eagerly, you may rest assured that it will never come—not because the world is everlasting but because it has already ended, if indeed it ever began. But we need not mourn, for the world is indeed well lost, and with it the stultifying stereotypes of absolutism: the absurd notions of science as the effort to (...) |
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