In a recent essay in this journal, Ross Cameron presents a novel solution to the problem of musical creation.1 The solution is of the ‘using a sledgehammer to crack a nut’ variety, since side by side with a dissolution of the problem of musical creation, his approach, if successful, would yield a swift answer to pretty much every central question in the ontology of art, and, for that matter, to a wide variety of perennial metaphysical difficulties. Nothing of this magnitude (...) should be nonchalantly swept aside. Unfortunately, Cameron's approach does not survive close scrutiny. (shrink)

Many of those who accept the universalist thesis that mereological composition is unrestricted also maintain that the folk typically restrict their quantifiers in such a way as to exclude strange fusions when they say things that appear to conflict with universalism. Despite its prima facie implausibility, there are powerful arguments for universalism. By contrast, there is remarkably little evidence for the thesis that strange fusions are excluded from the ordinary domain of quantification. Furthermore, this reconciliatory strategy seems hopeless when applied (...) to the more fundamental conflict between universalism and the intuitions that tell against it. (shrink)