A thorough critique (extracted from the author’s 1979 doctoral dissertation) of Kripke’s purported derivation, in footnote 56 of his philosophical masterpiece /Naming and Necessity/, of nontrivial modal essentialism from the theory of rigid designation.

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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)

Some hold that musical works are fusions of, or coincide with, their performances. But if performances contain wrong notes, won't works inherit that property? We say ‘no’.

A New Route to the Necessity of Origin’ (2004, henceforth ‘NR’), we offered an argument for the thesis that there are necessary connections between material things and their material origins. Much of the philosophical interest lay in our claim that the argument did not depend on so-called sufficiency principles for crossworld identity. It has been the verdict of much recent work on the necessity of origin that valid arguments for the thesis require some such sufficiency principle as a premise but (...) that such principles are deeply problematic.1 Finding an argument free of such principles would advance both our understanding and the plausibility of that thesis. These claims are now the subject of a pair of insightful critiques by Teresa Robertson and Graeme Forbes (2006, henceforth ‘RF’) and by Ross Cameron and Sonia Roca (2006, henceforth ‘CR’), and we welcome the opportunity to clarify and improve our account of the matter. (shrink)

Saul Kripke has claimed that there are necessary connections between material things and their material origins. The usual defences of such necessity of origin theses appeal to either a sufficiency of origin principle or a branching-times model of necessity. In this paper we offer a different defence. Our argument proceeds from more modest ‘independence principles’, which govern the processes by which material objects are produced. Independence principles are motivated, in turn, by appeal to a plausible metaphysical principle governing such processes, (...) their invulnerability to non-local prevention. We outline the new argument, and distinguish it from both of the usual defences. (shrink)

In this paper, I examine the case that has been made for origin essentialism and find it wanting. I focus on the arguments of Nathan Salmon and Graeme Forbes. Like most origin essentialists, Salmon and Forbes have been concerned to respect the intuition that slight variation in the origin of an artifact or organism is possible. But, I argue, both of their arguments fail to respect this intuition. Salmon's argument depends on a sufficiency principle for cross-world identity, which should be (...) rejected, if - as Salmon concedes - a given artifact might have been originally made from slightly different material. Similarly, Forbes's argument succeeds only if essentially the same argument can be used to establish a claim that - by his own admission - is too strong, namely that no variation, however slight, in an organism's origin is possible. (shrink)

A New Route to the Necessity of Origin’, Guy Rohrbaugh and Louis deRossett argue for the Necessity of Origin in a way that they believe avoids use of any kind of transworld constitutional sufficiency principle. In this discussion, we respond that either their arguments do imply a sufficiency principle, or else they entirely fail to establish the Necessity of Origin.

ln "Possibilities and the Arguments for Origin Essentialism" Teresa Robertson (1998) contends that the best-known arguments in favour of origin essentialism can succeed only at the cost of violating modal common sense—by denying that any variation in constitution or process of assembly is possible. Focusing on the (Kripke-style) arguments of Nathan Salmon and Graeme Forbes, Robertson shows that both founder in the face of sophisticated Ship of Theseus style considerations. While Robertson is right that neither of the arguments is compelling (...) as formulated, each can be modified to fend off her particular counterexamples; these modifications do not differ in kind from those already needed to deal with ordinary Theseus cases, requiring only a further narrowing of the sufficiency clause from which the necessity of origins is derived. (shrink)

Analytic philosophy has recently demonstrated a revived interest in metaphysical problems about possibility and necessity. Graeme Forbes here provides a careful description of the logical background of recent work in this area for those who may be unfamiliar with it, moving on to d discuss the distinction between modality de re and modality de dicto and the ontological commitments of possible worlds semantics. In addition, Forbes offers a unified theory of the essential properties of sets, organisms, artefacts, substances, and events, (...) based on the doctrine that identity facts must be intrinsically grounded, and analyzes and rejects apparent counterexamples to this doctrine. (shrink)

In the last 30 years repeated attempts have been made to develop a proof-sketch Kripke gave for essentialism about material origins into a cogent argument. I argue that there are general reasons that all such attempts have failed, and so we should likewise expect future attempts to fail.

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)

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)

British Journal of Aesthetics (forthcoming Jan. 2008).

In footnote 56 of his Naming and Necessity, Kripke offers a ‘proof’ of the essentiality of origin. On its most literal reading the argument is clearly flawed, as was made clear by Nathan Salmon. Salmon attempts to save the literal reading of the argument, but I argue that the new argument is flawed as well, and that it can’t be what Kripke intended. I offer an alternative reconstruction of Kripke’s argument, but I show that this suffers from a more subtle (...) fault. (shrink)

In the last 30 years much philosophical discussion has been generated by Kripke’s proof of the necessity of origin for material objects presented in footnote 56 of ‘Naming and Necessity’. I consider the two most popular reconstructions of Kripke’s argument: one appealing to the necessary sufficiency of origin, and the other employing a strong independence principle allegedly derived from the necessary local nature of prevention. I argue that, to achieve a general result, both reconstructions presuppose an implicit Humean atomistic thesis (...) of recombination, according to which any two (non-overlapping) possible objects can simultaneously coexist in one and the same world. Yet recombination ill accords with the other assumptions of the proofs. I also argue that the locality of prevention does not entail strong independence. (shrink)

1. Causal knowledge is an indispensable element in science. Causal assertions are embedded in both the results and the procedures of scientific investigation. 2. It is therefore worthwhile to investigate the meaning of causal statements and the ways in which we can arrive at causal knowledge.