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, meta-ontological questions in the ontology of music. (shrink)

There is growing debate about what is the correct methodology for research in the ontology of artworks. In the first part of this essay, I introduce my view: I argue that semantic descriptivism is a semantic approach that has an impact on meta-ontological views and can be linked with a hermeneutic fictionalist proposal on the meta-ontology of artworks such as works of music. In the second part, I offer a synthetic presentation of the four main (...) positive meta-ontological views that have been defended in philosophical literature about artworks and of some criticisms that can be lodged against them: Amie Thomasson’s global descriptivism, Andrew Kania’s local descriptivism, Julian Dodd’s folk-theoretic modesty, and David Davies’ rational accountability view. In the conclusion, I show the advantages of my view. (shrink)

This chapter focuses on the methodological challenges and practical implications of the experimental ontology of music. It offers an overview of the existing research, primarily focusing on how people judge whether two musical performances are of one and the same or two distinct musical works, followed by a discussion of the current methodological debates in this field and, finally, an exploration of its potential legal implications.

Aaron Ridley posed the question of whether results in the ontology of musical works would have implications for judgements about the interpretation, meaning or aesthetic value of musical works and performances. His arguments for the conclusion that the ontology of musical works have no aesthetic consequences are unsuccessful, but he is right in thinking (in opposition to Andrew Kania and others) that ontological judgements have no aesthetic consequences. The key to demonstrating this conclusion is the recognition that ontological (...) judgments are a priori and aesthetic judgments are empirical. A priori judgements have no empirical consequences. Neither fundamental ontology of music nor higher- order ontological reflections have any aesthetic consequences. (shrink)

Deflationary positions have been defended in many areas of philosophy. Most prominent are semantic deflationism about truth and reference, and meta-ontological deflationism, according to which existence has no deep nature and the standard neo-Quinean approach to ontology is misguided. Although both kinds of views have generated much discussion, surprisingly little attention has been paid to the question of how they relate to each other. Are they independent, is it advisable to hold them all at once, or do they (...) even entail each other? One exception is Amie Thomasson, who has argued that semantic deflationism actually entails meta-ontological deflationism. This is unexpected, since semantic deflationism is usually regarded as much less controversial than meta-ontological deflationism. In our paper, we will argue that Thomasson’s argument fails though, and that the connection between the views is in fact weaker than she makes them out to be. (shrink)

In his article “The Ontology of Musical Versions: Introducing the Hypothesis of Nested Types,” Nemesio Puy raises a hypothesis that continuity of the purpose is both a necessary and a sufficient condition for musical work’s identity. Puy’s hypothesis is relevant to two topics in cognitive psychology and experimental philosophy. The first topic is the prevalence of teleological reasoning about various objects and its influence on persistence and categorization judgments. The second one is the importance of an artist’s intention in (...) the categorization of artworks. We tested the teleological hypothesis across three studies. Vignettes in these three studies describe a musical work being changed in some of these aspects: purpose either changed or retained; score either changed or retained; change is made either by the same or a different composer. The results suggest that teleological considerations impact judgments on the persistence of musical works, but this impact appears to be relatively weak. The results also suggest that persistence judgments strongly depend on whether acoustical properties were changed, while whether the change was made by the original composer seems to be relatively unimportant. (shrink)

Meta-ontology (in van Inwagen's sense) concerns the methodology of ontology, and a controversial meta-ontological issue is to what extent ontology can rely on linguistic analysis while establishing the furniture of the world. This paper discusses an argument advanced by some ontologists (I call them unifiers) against supporters of or coincident entities (I call them multipliers) and its meta-ontological import. Multipliers resort to Leibniz's Law to establish that spatiotemporally coincident entities a and b are distinct, (...) by pointing at a predicate F () made true by a and false by b . Unifiers try to put multipliers in front of a dilemma: in attempting to introduce metaphysical differences on the basis of semantic distinctions, multipliers either (a) rest on a fallacy of verbalism, entailed by a trade-off between a de dicto and a de re reading of modal claims, or (b) beg the question against unifiers by having to assume the distinction between a and b beforehand. I shall rise a tu quoque, showing that unifiers couldn't even distinguish material objects (or events) from the spatiotemporal regions they occupy unless they also resorted to linguistic distinctions. Their methodological aim to emancipate themselves from linguistic analysis in ontological businesses is therefore problematic. (shrink)

Words are indispensable linguistic tools for beings like us. However, there is not much philosophical work done about what words really are. In this paper, I develop a new ontology for words. I argue that words are abstract artifacts that are created to fulfill various kinds of purposes, and words are abstract in the sense that they are not located in space but they have a beginning and may have an end in time given that certain conditions are met. (...) What follows from this two-fold argument is that words, from an ontological point of view, are more like musical works, fictional characters or computer programs, than numbers or sets. (shrink)

There are compelling reasons to believe that musical works are abstract. However, this hypothesis conflicts with the platitude that musical works are appreciated by means of audition: the things that enter our ear canals and make our eardrums vibrate must be concrete, so how can musical works be listened to if they are abstract? This question constitutes the audibility problem. In this paper, I assess Julian Dodd’s elaborate attempt to solve it, and contend that Dodd’s attempt is unsuccessful. Then I (...) discuss what I take to be the ideal response to the audibility problem, and show that it ultimately fails. I contend, consequently, that the project of construing musical works as audible is disheartening. Accordingly, in my last section, I will argue the audibility problem may be satisfactorily resolved without ascribing audibility to musical works. (shrink)

We propose an ontological theory that is powerful enough to describe both complex spatio-temporal processes (occurrents) and the enduring entities (continuants) that participate in such processes. For this purpose we distinguish between meta-ontology and token ontologies. Token ontologies fall into two major categories: ontologies of type SPAN and ontologies of type SNAP. These represent two complementary perspectives on reality and result in distinct though compatible systems of categories. The meta-ontological level then describes the relationships between the different (...) token ontologies. In a SNAP (snapshot) ontology we have enduring entities such as substances, qualities, roles, functions as these exist to be inventoried at a given moment of time. In a SPAN ontology we have perduring entities such as processes and their parts and aggregates. We argue that both kinds of ontological theory are required, together with the metaontology which joins them together, in order to give a non-reductionistic account of both static and dynamic aspects of the geospatial world. (shrink)

Huw Price has argued that naturalistic philosophy inevitably leads to a deflationary approach to ontological questions. In this paper, I rebut these arguments. A more substantive, less language-focused approach to metaphysics remains open to naturalists. However, rebutting one of Price’s main arguments requires rejecting Quine’s criterion of ontological commitment. So, even though Price’s argument is unsound, it reveals that naturalists cannot rest content with broadly Quinean, “mainstream metaphysics,” which, I suggest, naturalists also have independent reasons to reject.

This article argues for an epistemology of music, stating that dealing with music can be considered as a process of knowledge acquisition. What really matters is not the representation of an ontological musical reality, but the generation of music knowledge as a tool for adaptation to the sonic world. Three major positions are brought together: the epistemological claims of Jean Piaget, the biological methodology of Jakob von Uexküll, and the constructivistic conceptions of Ernst von Glasersfeld, each ingstress (...) the role of the music user rather than the music. Dealing with music, in this view, is not a matter of representation, but a process of semiotization of the sonorous environment as the outcome of interactions with the sound. Hence the role of enactive cognition and perceptual-motor interaction with the sonic environment. What is considered a central issue is the way how listeners as subjects experience their own phenomenal world or Umwelt, and how they can make sense out of their sonic environment. Umwelt-research, therefore, is highly relevant for music education in stressing the role of the listener and his/her listening strategies. (shrink)

Susan Stebbing’s work on incomplete symbols and analysis was instrumental in clarifying, sharpening, and improving the project of logical constructions which was pivotal to early analytic philosophy. She dispelled use-mention confusions by restricting the term ‘incomplete symbol’ to expressions eliminable through analysis, rather than those expressions’ purported referents, and distinguished linguistic analysis from analysis of facts. In this paper I explore Stebbing’s role in analytic philosophy’s development from anti-holism, presupposing that analysis terminates in simples, to the more holist or foundherentist (...) analytic philosophy of the later 20th century. I read Stebbing as a transitional figure who made room for more holist analytic movements, e.g., applications of incomplete symbol theory to Quinean ontological commitment. Stebbing, I argue, is part of a historical narrative which starts with the holism of Bradley, an early influence on her, to which Moore and Russell’s logical analysis was a response. They countered Bradley’s holist reservations about facts with the view that the world is built up out of individually knowable simples. Stebbing, a more subtle and sympathetic reader of the British idealists, defends analysis, but with important refinements and caveats which prepared the way for a return to foundherentism and holism within analytic philosophy. (shrink)

Metaphysicians who are aware of modern physics usually follow Putnam (1967) in arguing that Special Theory of Relativity is incompatible with the view that what exists is only what exists now or presently. Partisans of presentism (the motto ‘only present things exist’) had very difficult times since, and no presentist theory of time seems to have been able to satisfactorily counter the objection raised from Special Relativity. One of the strategies offered to the presentist consists in relativizing existence to inertial (...) frames. This unfashionable strategy has been accused of counterfeiting, since the meaning of the concept of existence would be incompatible with its relativization. Therefore, existence could only be relativistically invariant. In this paper, I shall examine whether such an accusation hits its target, and I will do this by examining whether the different criteria of existence that have been suggested by the Philosophical Tradition from Plato onwards imply that existence cannot be relativized. (shrink)

This book is both an introduction to and a research work on Meinongianism. “Meinongianism” is taken here, in accordance with the common philosophical jargon, as a general label for a set of theories of existence – probably the most basic notion of ontology. As an introduction, the book provides the first comprehensive survey and guide to Meinongianism and non-standard theories of existence in all their main forms. As a research work, the book exposes and develops the most up-to-date Meinongian (...) theory (called modal Meinongianism), applies it to specific fields, and discusses its open problems. Part I of the book provides a historical introduction to, and critical discussion of, the dominant philosophical view of existence: the “Kantian-Fregean-Quinean” perspective. Part II is the full-fledged introduction to the Meinongian theories of existence as a real property of individuals: after starting with the so-called naïve Meinongian conception and its problems, it provides a self-contained presentation of the main neo-Meinongian proposals, and a detailed discussion of their strengths and weaknesses. Part III develops a specific neo-Meinongian theory of existence employing a model-theoretic semantic framework. It discusses its application to the ontology and semantics of fictional objects, and its open problems. The methodology of the book follows the most recent trends in analytic ontology. In particular, the meta-ontological point of view is largely privileged. (shrink)

Traditionally, being a realist about something means believing in the independent existence of that something. In this line of thought, a scientific realist is someone who believes in the objective existence of the entities postulated by our best scientific theories. In metaphysical terms, what does that mean? In ontological terms, i.e., in terms of what exists, scientific realism can be understood as involving the adoption of a scientifically informed ontology. But according to some philosophers, a realistic attitude must go (...) beyond ontology. The way in which this requirement has been understood involves providing a metaphysics for the entities postulated by science, that is, answering questions about the nature of what ontology admits to exist. We discuss how two fashionable approaches face the challenge of providing a metaphysics for science: a form of naturalism and the Viking/Toolbox approach. Finally, we present a third way, which adopts the best of both approaches: the meta-Popperian method, which focuses on discarding the wrong alternatives, or better saying, the metaphysical profiles incompatible with certain theories. We present the meta-Popperian method, a metametaphysical method capable of objectively assessing which metaphysical profiles are incompatible with certain scientific theories. For this, we will use quantum mechanics as a case study, presenting some previously obtained results. As our focus is on methodological questions about the relationship between metaphysics and science; with this method, we can see how science can be used to avoid error in metaphysical issues. In our opinion, this would be a way to develop a productive relationship between science and metaphysics. (shrink)

From 1) the main ideas of the Kantian CRP - 2) a reinterpretation of the concept of transcendental subject and - 3) the logical principle of Individuation, we propose a new ontology in which subject and object are of the same reality. We describe the dynamic principle by which the Existence of the subject emerges from formless meta-substance and separates into an animated representation of the world.

In the ontology of music the Aristotelian theory of musical works is the view that musical works are immanent universals. The Aristotelian theory (hereafter Musical Aristotelianism) is an attractive and serviceable hypothesis. However, it is overlooked as a genuine competitor to the more well-known theories of Musical Platonism and nominalism. Worse still, there is no detailed account in the literature of the nature of the universals that the Aristotelian identifies musical works with. In this paper, I argue that (...) the best version of Musical Aristotelianism identifies musical works with structural universals. I first motivate the view by outlining its explanatory benefits. I then argue that Musical Aristotelianism is preferable to Musical Platonism and present a novel account of musical works as structural universals by developing D. M. Armstrong’s theory of structural universals. I discuss the consequences of Musical Aristotelianism with respect to on-going issues in debates about musical works and defend the view against an influential objection, concluding that Musical Aristotelianism is a genuine competitor in debates about the nature of musical works. (shrink)

ABSTRACT In previous work I explored how Integral Theory can be applied as a metatheoretical and transdisciplinary framework, in an attempt to arrive at an integrally informed metatheory of addiction. There was an overemphasis on Integral Methodological Pluralism in that thread of research, without clarifying the ontological pluralism of addiction as a multiple object enacted by various methodologies. To arrive at a comprehensive integral metatheory and integral ontology of addiction, I believe it is necessary to include the conception of (...) Integral Pluralism and Integral Enactment Theory as posited by Sean Esbjörn-Hargens. Integral Enactment Theory highlights the phenomenon of addiction as a multiple and dynamic object arising along a continuum of ontological complexity; it adeptly points out how etiological models “co-arise” in relation to methodology (methodological pluralism) to enact a particular reality of addiction (ontological pluralism) while being mediated by the worldview of the subject (epistemological pluralism) applying the method. This article briefly explores the significance of including Integral Pluralism and Integral Enactment Theory in the quest of an integral metatheory and integral ontology of addiction. (shrink)

The aim of this thesis is to propose a deflationary approach towards the ontological analysis of physical theories. Such an approach sustains that the development of ontologies for physical theories must be neutral relatively to the debate between realists and anti-realists in philosophy of physics. Mainly, our attention will be oriented towards what we called "quantum domain", which includes the non-relativistic Quantum Mechanics and variants of the Quantum Field Theory. This meta-ontological approach consists in an attempt to provide a (...) methodology for the development of specific ontologies for physical theories. With this aim we suggest the separation between physical phenomena and physical theories on one side, and physical theories and ontologies on the other side. This separation intends to endorse the idea that physical theories can provide all the informative contents required for the development of the ontologies associated with them. The result is a defense of the idea that physical theories can positively contribute for the constitution of the ontologies in physics. Additionally, we present a critical analysis of four different ontological approaches to QM and QFT. Each one of these interpretations deals with a different ontological category (tropes, events and processes). At the end of the thesis we will analyze the concepts of interaction and commutation in QFT in order to exemplify the main lines of the deflationary approach suggested here. (shrink)

Metaphysicians frequently appeal to intuition. But when is that appeal useful? I consider that question by focusing on our existential intuitions. In particular, I want to go some way to answering the question of whether, and when, appeal to existential intuitions is useful, by consid-ering the issue in the light of an argument for unrestricted composition. This argument appeals to a difference in the extent to which restricted and unrestricted compositionalists appeal to existential intuitions, and concludes that at the very (...) least, restricted compositionalists are on shak-ier epistemic ground than unrestricted compositionalists. Having outlined this argument for unrestricted composition, I con-sider the nature of the unrestricted existential quantifier in the context of three different metaphysical scenarios about the way the world might be: scenarios that differ with respect to whether the metaphysics of a world completely or uniquely settles the division of that world into ob-jects. I argue that appeal to intuition is not only useful but necessary if we are to determine the intension of ‘exists’ and hence its extension at any given world. But this appeal is not simply an appeal to our brute ex-istential intuitions—our dispositions actually to quantify over a certain domain. Rather, it requires equilibration over a set of worlds in which we consider our ‘quantificational’ dispositions in each world, where, importantly, included in this set of worlds are worlds in which the meta-physics differently settles the division of those worlds into objects. Ul-timately, I argue, our dispositions yield various conditional claims about our concept <existence>. These are conditional claims of the most ab-stract kind: they tell us, for instance, that if there is some natural, unique division of our world into objects, then the unrestricted quantifier ranges over all and only the objects in that domain. But, I will argue, our untu-tored, world-bound dispositions are no guide at all to what actually ex-ists even on the supposition that metaphysics alone does not uniquely or completely settle a natural division of our world into objects. Hence they are no guide to the nature of composition. And to the extent that certain restricted compositionalist views depend on such intuitions, so much the worse for them. Or so I shall argue. (shrink)

This paper is a reply to Richard Lauer’s “Is Social Ontology Prior to Social Scientific Methodology?” (2019) and an attempt to contribute to the meta-social ontological discourse more broadly. In the first part, I will give a rough sketch of Lauer’s general project and confront his pragmatist approach with a fundamental problem. The second part of my reply will provide a solution for this problem rooted in a philosophy of the social sciences in practice.

Realism about musical works is often tied to some type of Platonism. Nominalism, which posits that musical works exist and that they are concrete objects, goes with ontological realism much less often than Platonism: there is a long tradition which holds human-created objects (artifacts) to be mind-dependent. Musical Platonism leads to the well-known paradox of the impossibility of creating abstract objects, and so it has been suggested that only some form of nominalism becoming dominant in the ontology of art (...) could cause a great change in the field and open up new possibilities. This paper aims to develop a new metaontological view starting from the widely accepted claim that musical works are created. It contends that musical works must be concrete and created objects of some sort, but, nevertheless, they are mind-independent, and we should take the revisionary methodological stance. Although musical works are artifacts, what people think about them does not determine what musical works are. Musical works are similar to natural objects in the following sense: semantic externalism applies to the term ‘musical work’ because, firstly, they possess a shared nature, and, secondly, we can be mistaken about what they are. (shrink)

In this article I address some questions concerning the emerging conjunction of musical research on improvisation and work in the ‘posthumanities’, in particular the theoretical results of the ‘ontological turn’ in the humanities. Engaging with the work of the composer John Cage, and George E. Lewis’s framing of Cage’s performative indeterminacy as a ‘Eurological’ practice that excludes ‘Afrological’ jazz improvisation, I examine how critical discourse on Cage and his conception of sound is relevant to the improvisation-posthumanities conjunction. After discussing some (...) criticisms of ontological and materialist approaches to sound, I consider the Actor-Network Theory (ANT) of Bruno Latour, posed as offering an alternative to these approaches. Following an examination of some limitations to ANT based around the themes of critique and abstraction, I draw from the work of Gilles Deleuze and Georgina Born to suggest that work on improvisation and the posthumanities may be fruitful, but must be part of a pluralistic mode of inquiry that does not reject critique and abstraction, as some work in the posthumanities has done. (shrink)

How, if at all, consciousness can be part of the physical universe remains a baffling problem. This article outlines a new, developing philosophical theory of how it could do so, and offers a preliminary mathematical formulation of a physical grounding for key aspects of the theory. Because the philosophical side has radical elements, so does the physical-theory side. The philosophical side is radical, first, in proposing that the productivity or dynamism in the universe that many believe to be responsible for (...) its systematic regularities is actually itself a physical constituent of the universe, along with more familiar entities. Indeed, it proposes that instances of dynamism can themselves take part in physical interactions with other entities, this interaction then being “meta-dynamism” (a type of meta-causation). Secondly, the theory is radical, and unique, in arguing that consciousness is necessarily partly constituted of meta-dynamic auto-sensitivity, in other words it must react via meta-dynamism to its own dynamism, and also in conjecturing that some specific form of this sensitivity is sufficient for and indeed constitutive of consciousness. The article proposes a way for physical laws to be modified to accommodate meta-dynamism, via the radical step of including elements that explicitly refer to dynamism itself. Additionally, laws become, explicitly, temporally non-local in referring directly to quantity values holding at times prior to a given instant of application of the law. The approach therefore implicitly brings in considerations about what information determines states. Because of the temporal non-locality, and also because of the deep connections between dynamism and time-flow, the approach also implicitly connects to the topic of entropy insofar as this is related to time. (shrink)

In this paper, we describe four broad ‘meta-methods’ employed in scientific and philosophical research of qualia. These are the theory-centred metamethod, the property-centred meta-method, the argument-centred meta-method, and the event-centred meta-method. Broadly speaking, the theory-centred meta-method is interested in the role of qualia as some theoretical entities picked out by our folk psychological theories; the property-centred meta-method is interested in some metaphysical properties of qualia that we immediately observe through introspection ; the argument-centred (...) class='Hi'>meta-method is interested in the role of qualia in some arguments for non-physicalism; the event-centred metamethod is interested in the role of qualia as some natural events whose nature is hidden and must be uncovered empirically. We will argue that the event-centred metamethod is the most promising route to a comprehensive scientific conception of qualia because of the flexibility of ontological and methodological assumptions it can provide. We also reveal the hidden influences of the different meta-methods and in doing so show why consideration of meta-methods has value for the study of consciousness. (shrink)

The central hypothesis of the collaboration between Language and Computing (L&C) and the Institute for Formal Ontology and Medical Information Science (IFOMIS) is that the methodology and conceptual rigor of a philosophically inspired formal ontology greatly benefits application ontologies. To this end r®, L&C’s ontology, which is designed to integrate and reason across various external databases simultaneously, has been submitted to the conceptual demands of IFOMIS’s Basic Formal Ontology (BFO). With this project we aim to move (...) beyond the level of controlled vocabularies to yield an ontology with the ability to support reasoning applications. Our general procedure has been the implementation of a meta-ontological definition space in which the definitions of all the concepts and relations in LinKBase® are standardized in a framework of first-order logic. In this paper we describe how this standardization has already led to an improvement in the LinKBase® structure that allows for a greater degree of internal coherence than ever before possible. We then show the use of this philosophical standardization for the purpose of mapping external databases to one another, using LinKBase® as translation hub, with a greater degree of success than possible hitherto. We demonstrate how this offers a genuine advance over other application ontologies that have not submitted themselves to the demands of philosophical scrutiny. LinKBase® is one of the world’s largest applications-oriented medical domain ontologies, and BFO is one of the world’s first philosophically driven reference ontologies. The collaboration of the two thus initiates a new phase in the quest to solve the so-called “Tower of Babel”. (shrink)

Four issues or problems philosophers should be concerned about when doing philosophy.

What is the distinctive character of musical experiences? An answer: musical experience is distinctive because it is of music. I argue, however, that the difference between musical and nonmusical experience cannot be explained with an ontological account of music per se. Instead, we have musical experiences of sounds whenever we listen and attend to sounds in a particular kind of way. I call this special kind of attention “musical listening.” One can explain why musical experiences are distinctive by (...) explaining what makes musical listening distinctive. This account of musical listening suggests an anti-realist stance towards music; there is no kind of thing “music” and no musical works that are its instances. Ultimately, I give a kind of account of music as a function of an activity of listening that more fully explains our lives with music and sound than do accounts that focus on describing the ontological status of music. (shrink)

In this paper, partly historical and partly theoretical, after having shortly outlined the development of the meta-ethics in the 1900?s starting from the Tractatus of Wittgenstein, I argue it is possible to sustain that emotivism and intuitionism are unsatisfactory ethical conceptions, while on the contrary, reason (intended in a logical-deductive sense) plays an effective role both in ethical discussions and in choices. There are some characteristics of the ethical language (prescriptivity, universalizability and predominance) that cannot be eluded (pain the (...) non significativity of the same language) by those who want to morally reason, i.e. by those who intend to regulate their own behaviour on the basis of knowledged and coherent principles. These characteristics can be found whether or not all possible ontological-metaphysics foundations of morals are taken into account. Furthermore the deontic logic systems allow the formalization of ethical theories and - at least in principle - a rigorous critical discussion of the same, but obviously nothing can be affirmed on the value of truth of the axioms of a system. In the deontic logic systems Hume?s law is assumed as an implicit result of inferential (conventional) rules and the acceptance of Hume?s law as a logical-linguistic thesis does not involve the cancellation of values (nihilism) or ethical relativism or indifferentism. (shrink)

The Queen's College, Oxford, UK In his article `Facts and Principles', G.A. Cohen attempts to refute constructivist approaches to justification by showing that, contrary to what their proponents claim, fundamental normative principles are fact- in sensitive. We argue that Cohen's `fact-insensitivity thesis' does not provide a successful refutation of constructivism because it pertains to an area of meta-ethics which differs from the one tackled by constructivists. While Cohen's thesis concerns the logical structure of normative principles, constructivists ask how normative (...) principles should be justified . In particular, their claim that justified fundamental normative principles are fact-sensitive follows from a commitment to agnosticism about the existence of objective moral facts. We therefore conclude that, in order to refute constructivism, Cohen would have to address questions of justification, and take a stand on those long-standing meta-ethical debates about the ontological status of moral notions (for example, realism versus anti-realism) with respect to which he himself wants to remain agnostic. Key Words: John Rawls • normative justification • realism versus anti-realism • methodological versus substantive principles. (shrink)

In a number of recent publications Thomasson has defended a deflationary approach to ontological disputes, according to which ontological disputes are relatively easy to settle, by either conceptual analysis, or conceptual analysis in conjunction with empirical investigation. Thomasson’s “easy” approach to ontology is intended to derail many prominent ontological disputes. In this paper I present an objection to Thomasson’s approach to ontology. Thomasson’s approach to existence assertions means that she is committed to the view that application conditions associated (...) with any term “K” with non-trivial application conditions must refer to the existence of things other than Ks. Given other components of her meta-ontological scheme, this leads to either an infinite regress or circularity of application conditions, both of which seem objectionable. Accordingly, some part of Thomasson’s meta-ontological scheme should be modified or abandoned. (shrink)

Issues about the nature and ontology of works of art play a central part in contemporary aesthetics. But such issues are complicated by the fact that there seem to be two fundamentally different kinds of artworks. First, a visual artwork such as a picture or drawing seems to be closely identified with a particular physical object, in that even an exact copy of it does not count as being genuinely the same work of art. Nelson Goodman describes such works (...) as being “autographic.” Second, other artworks such as musical or literary works seem to be copyable without any such limitations: for example, two identical copies of a novel could each equally be a genuine instance of that novel; such works are “allographic,” in Goodman’s terminology. Nevertheless, it seems clear enough that a deeper understanding of both kinds of artworks requires the pursuit of analogies or similarities between them, in spite of their differences. Any such analogies that may be found will provide critical tests for more general theories about the nature of artworks. I show how to resolve such analogies for the orientational concept of inversion. (shrink)

There are different ways to be. This paper explicates and defends this controversial thesis. Special attention is given to the meta-ontology of Martin Heidegger. -/- .

According to the PubMed resource from the U.S. National Library of Medicine, over 750,000 scientific articles have been published in the ~5000 biomedical journals worldwide in the year 2007 alone. The vast majority of these publications include results from hypothesis-driven experimentation in overlapping biomedical research domains. Unfortunately, the sheer volume of information being generated by the biomedical research enterprise has made it virtually impossible for investigators to stay aware of the latest findings in their domain of interest, let alone to (...) be able to assimilate and mine data from related investigations for purposes of meta-analysis. While computers have the potential for assisting investigators in the extraction, management and analysis of these data, information contained in the traditional journal publication is still largely unstructured, free-text descriptions of study design, experimental application and results interpretation, making it difficult for computers to gain access to the content of what is being conveyed without significant manual intervention. In order to circumvent these roadblocks and make the most of the output from the biomedical research enterprise, a variety of related standards in knowledge representation are being developed, proposed and adopted in the biomedical community. In this chapter, we will explore the current status of efforts to develop minimum information standards for the representation of a biomedical experiment, ontologies composed of shared vocabularies assembled into subsumption hierarchical structures, and extensible relational data models that link the information components together in a machine-readable and human-useable framework for data mining purposes. (shrink)

The widespread mistrust of metaphysics-the main obstacle to the unification of physics and philosophy-is based on the myth that metaphysical claims cannot be falsified or verified, because they are supposedly true independently of empirical knowledge. This is not true of metaphysical naturalism, whose approach is to critically reflect on the theories and findings of all the empirical disciplines and abstract from them a theory about such general features of reality that no single empirical discipline can be the authority on. Causation (...) is such a feature, since its instances include anything from planetary motions to particle interactions, chemical reactions, biological functions, and closing a door. Consequently, a general account of causation is beyond any particular empirical discipline. Metaphysical naturalism takes a meta-perspective on the results of the empirical sciences and attempts to figure out how it fits together in a coherent whole, e.g. by offering a general account of causation. General accounts of this kind are falsifiable in so far as the theories are falsifiable from which they are generalizations. The paper also discusses some fundamental metaphysical principles implicitly assumed by the sciences generally, and why they imply that unification is methodologically virtuous. (shrink)

The paper deals with the question whether musical works are created or discovered. In the preliminaries some ontological presuppositions concerning the nature of a musical work setting the stage for the whole debate and the Creationist and Platonist views are discussed. The psychological concepts of creation and discovery are distinguished from their ontological counterparts and it turns out that only the ontological ones are relevant in this context and that the Creationist arguments fail to prove the point in question. Finally (...) it is argued that there is not necessaryly a conflict between the positions of the creationist and the Platonist, if they are construed in an appropriate way. The Creationist view that to compose is to create and the Platonist that to compose is to discover are compatible, at least if creation is understood in a quite natural and common sense way. (shrink)

Everyone agrees that musical works are individuated by essential elements such as tone, harmony, and rhythm. Some argue that timbre or instrumentation can individuate musical works, too. I argue here that there can be a further element of musical works: spatial location. Some works of music are partly constituted by the location and motion of their sound sources. I begin by describing works of spatial music and arguing that they exist. I then consider the implications for the (...) class='Hi'>ontology of music. Hardcore formalists cannot allow for spatial music. I argue that two other views, which allow a close relationship between sounds and musical works, can allow for works of spatial music. However, their ability to do so turns on issues in the philosophy of sound. I appeal to work in philosophy of sound to show that music is an art not just of hearing, but of sounds. (shrink)

In this paper I wish to connect the recent debate in the philosophy of quantum mechanics concerning the nature of the wave function to the historical debate in the philosophy of science regarding the tenability of scientific realism. Being realist about quantum mechanics is particularly challenging when focusing on the wave function. According to the wave function ontology approach, the wave function is a concrete physical entity. In contrast, according to an alternative viewpoint, namely the primitive ontology approach, (...) the wave function does not represent physical entities. In this paper, I argue that the primitive ontology approach can naturally be interpreted as an instance of the so-called ‘explanationism’ realism, which has been proposed as a response to the pessimistic-meta induction argument against scientific realism. If my arguments are sound, then one could conclude that: (1) contrarily to what is commonly though, if explanationism realism is a good response to the pessimistic-meta induction argument, it can be straightforwardly extended also to the quantum domain; (2) the primitive ontology approach is in better shape than the wave function ontology approach in resisting the pessimistic-meta induction argument against scientific realism. (shrink)

In this essay, I present an alternative philosophical approach to meta-curating. While the debate surrounding the meta-curating of content often centers around technology like post-digital art, I prefer to take a broader perspective and examine its ontological implications. I consider the realist or anti-realist assumptions of meta-curating through Jean Baudrillard’s concept of seduction and Giorgio Agamben’s idea of spectrality. Both simulacrum and spectrality tend to support an anti-realist approach to meta-curating where the value of the object (...) is made fragile when constantly predetermined by a superficially seductive or spectrally floating context. Against meta-curating as anti-realist, I argue that meta-curation is realist. As a case, the seductive and the spectral in Zaha Hadid’s Morpheus in Macao demonstrate that meta-curating does not completely disregard, but rather raises the question of how to establish an antifragile realism prompted by an architectural object. (shrink)

Accounts of the ontology of musical works seek to uncover what metaphysically speaking a musical work is and how we should identify instances of musical works. In this article, I examine the curious case of the mash-up and seek to address two questions: are mash-ups musical works in their own right and what is the relationship between the mash-up and its source materials? As mash-ups are part of the broader tradition of rock, I situate this discussion within an (...) class='Hi'>ontology of rock as defended by Theodore Gracyk and Stephen Davies and offer some interpretation as to what their positions might be in regard to mash-ups. Finally, I argue that the account of mash-ups that best makes sense of our evaluative practices would hold that they are emergent musical works that are distinct in their own right and yet also happen to be cases of musical works that instantiate parts of other musical works. (shrink)

The paper proposes a simple method for constructing ontological theories—an ‘ontology generator’. It shows that such a generator manages to produce major existing ontological theories, e.g., Realism, Nominalism, Trope theory, Bundle theory, Perdurantism, Endurantism, Possibilism, Actualism and more. It thus turns out, surprisingly, that all these seemingly unrelated different ontological theories that were designed by thinkers hundreds of years apart, can all be generated using the same simple mechanism. Moreover, this same generator manages to produce entirely novel ontological theories, (...) that fare no worse than existing ones in meeting the same common metaphysical challenges. (shrink)

that can serve as a foundation for more refined ontologies in the field of proteomics. Standard data sources classify proteins in terms of just one or two specific aspects. Thus SCOP (Structural Classification of Proteins) is described as classifying proteins on the basis of structural features; SWISSPROT annotates proteins on the basis of their structure and of parameters like post-translational modifications. Such data sources are connected to each other by pairwise term-to-term mappings. However, there are obstacles which stand in the (...) way of combining them together to form a robust meta-classification of the needed sort. We discuss some formal ontological principles which should be taken into account within the existing datasources in order to make such a metaclassification possible, taking into account also the Gene Ontology (GO) and its application to the annotation of proteins. (shrink)

Meta-metaphysics concerns the nature and methodology of metaphysics and metaphysical inquiry. The emergence of meta-metaphysics as a systematic area of study is relatively recent, going back to the late 1990s. But the issues pursued in meta-metaphysics are certainly not novel: an age old question about the nature of metaphysics is whether it is possible to obtain knowledge about metaphysical matters in the first place, and if it is, how this knowledge is obtained.

This paper addresses the following problem: to what extent do ontological considerations about musical works affect our evaluation of performances of those works? I argue for the claim that at least some important grounds on which performances are evaluated are specific to them, in that these grounds are either independent from, or related but not fully determined by, the properties of the works they are of. In the first part of the paper, I explore the relations between good-making features of (...) works and of performances of them. The second and third parts develop two kinds of example in favour of the claim above. In the last part, I discuss the significance of those examples in relation to the ways in which performances are assessed, and explore some further ramifications of them. (shrink)

The question of ontological foundation has undergone a noteworthy revival in recent years: metaphysicians today quarrel about how exactly to understand the asymmetrical and hyperintensional relationship of grounding. One of the reasons for this revival is that the old quantificationalist meta-ontology inherited from Quine has been effectively criticised by leading philosophers favourable to a meta-ontology, the aim of which is to come to know “which facts/items ground (constitute the base of) which other facts/items”, thus to examine (...) the relation of ontological dependence between beings (e.g. chemical properties depend on physical properties, the economic situation on the behaviour of individuals etc.), i.e. to explore the hierarchical structure of reality. I shall not discuss here the relationship of grounding in itself, but make some historical-formal remarks on the properties of the ultimate ontological foundational item itself and its aporetic nature. To do so I explore various more or less exotic philosophical ecosystems in the following order: Heidegger (Seyn), Plato (ἕν), Wáng Bi (道, dào). On the way I shall propose a new interpretation both of certain hypotheses in the Parmenides and of the nature of the opposition between Wáng Bì and Guō Xiàng in regard to the logical grammar of the expression “nothing (無, wú)” (transl. J. Dudley). (shrink)

Quine's views on ontology and naturalism are well-known but rarely considered in tandem. According to my interpretation the connection between them is vital. I read Quine as a global epistemic structuralist. Quine thought we only ever know objects qua solutions to puzzles about significant intersections in observations. Objects are always accessed descriptively, via their roles in our best theory. Quine's Kant lectures contain an early version of epistemic structuralism with uncharacteristic remarks about the mental. Here Quine embraces mitigated anomalous (...) monism, allowing introspection and the availability in principle of full physical descriptions of the perceptual states which get science off the ground. Later versions abandon these ideas. My epistemic-structural interpretation explains why. I argue first-personal introspective access to mental states is incompatible with global epistemic structuralism. (shrink)

Arguments for a theory about the nature of the ontological categories, the relations that determine them and their epistemic role in the construction of different kinds of limited, but true knowledge of reality in itself.

This is the published version of a talk on meta-ontology in a conference of a multidisciplinary research project on "logic and sensibility". It argues against univocalism about "existence" and for a variety of perspectivism.

A condensed summary of the adventures of ideas (1990-2020). Methodology of evolutionary-phenomenological constitution of Consciousness. Vector (BeVector) of Consciousness. Consciousness is a qualitative vector quantity. Vector of Consciousness as a synthesizing category, eidos-prototecton, intentional meta-observer. The development of the ideas of Pierre Teilhard de Chardin, Brentano, Husserl, Bergson, Florensky, Losev, Mamardashvili, Nalimov. Dialectic of Eidos and Logos. "Curve line" of the Consciousness Vector from space and time. The lower and upper sides of the "abyss of being". The existential tension (...) of being. Five reference “points” (existential-extremum) - world events in the evolution of Consciousness from “homo habilis” to “homo sapiens sapiens”. “Prometheus Effect". Inversion and reversion of Сonsciousness. "Open" and "closed" Сonsciousness. Consciousness and Self-Consciousness. Protogeometer: fall in the future, in the "EgoLand". The problem of justification/substantiation of mathematics (knowledge) is an ontological problem. The crisis of ontology and ontological limits of cognition. Ontological structure of space. The project of constructive dialectic ontology. The methodology of dialectical-ontological construction (modeling): conceptual-figure synthesis, total unification of matter, coincidence of ontological opposites, primordial Meta-Axioma and Superprinciple, vector (bivector) of the absolute state (states) of matter (absolute forms of existence). The ontological "celestial triangle" (Plato). Ontological invariants of the Universum and their ontological paths. Ontological and gnoseological dimensions of space. Triune (ontological) space of nine gnoseological dimensions: absolute rest (linear state, "Continuum")+ absolute motion (absolute vortex, "Discretuum") + absolute becoming (absolute wave, "Dis-Continuum"). Primordial generating structure: ontological framework, ontological carcass and ontological foundation. Ontological (structural, cosmic) memory - the semantic core of the conceptual construction of the Universum being as an eternal process of generation of new meanings and structures. Consciousness is an absolute (unconditional) attractor of meanings, a univalent phenomenon of ontological memory, which manifests itself at a certain level of the Universum being. Ontological space-MatterMemory-Ontological time (S-MM-T). Ontological Rhythm and Cycle. The nature and structure of ontological time. Natural (absolute) determinism. (shrink)