While pluralism in ontology of art improves on various monistic views, through its eclectic approach it lost a lot of their simplicity, parsimony, unity and intuitiveness. The dualistic theory presented in this paper offers an alternative – it shares the advantages of the monistic views while retaining the wide scope of pluralism, and thus should be preferred for methodological reasons. On this view all artworks are at the same time abstract universals which are called recipes, and particular physical objects (...) – realisations. The fact that various artworks seem to differ in their ontology is due to certain fairly consistent culturally determined biases which cause people to prioritise the above compounds differently in cases of different arts. Thus the diversity of arts should not be considered on the level of ontology, as the pluralists would hold, but epistemology, or even further – socially determined phenomena concerning customary perception of various artworks. (shrink)

El presenta trabajo describe y caracteriza de manera breve y concisa lo que podría ser una ontología del arte. En la primera sección se presentan las dificultades actuales, así como las nociones y preguntas principales de la ontología. En la sección segunda, se bosquejan las definiciones y caracterizaciones actuales de la ontología, se hace especial hincapié, en la ontología aplicada. En la tercera, cuarta y quinta sección se caracteriza y configura lo que podría ser una ontología del arte, se evidencian (...) sus limitaciones así́ como sus perspectivas y trazabilidad para hacer viable dicha ontología; adicionalmente se abordan los aportes del realismo anglosajón a la cuestión. El propósito de esta caracterización es hacer evidente que es plausible dar un tratamiento integral al problema de la realidad y su configuración y desarrollo en los mundos regionales, como, el mundo del arte. (shrink)

In recent decades, the internet has become our predominant public space and yet the role of art in this space remains largely unthought. This paper argues that graphic art, and in particular digital graphic art, has great power to shape and transform our thinking and experience. But with that power comes an enormous political and ethical responsibility, a responsibility too often ignored by programmers and computer scientists. This paper uses the work of Denis Schmidt and Jacques Taminiaux as important resources (...) for developing a Heideggerian response to this lack. (shrink)

The descriptions and theoretical laws scientists write down when they model a system are often false of any real system. And yet we commonly talk as if there were objects that satisfy the scientists’ assumptions and as if we may learn about their properties. Many attempt to make sense of this by taking the scientists’ descriptions and theoretical laws to define abstract or fictional entities. In this paper, I propose an alternative account of theoretical modelling that draws upon Kendall Walton’s (...) ‘make-believe’ theory of representation in art. I argue that this account allows us to understand theoretical modelling without positing any object of which scientists’ modelling assumptions are true. (shrink)

Starting out from the ontology of human work set out by Marx in Das Kapital, the paper seeks to analyse the relations between the artist and his actions and aims, the work of art he produces, and the audience for this work. The paper concludes with a discussion of the problem of creativity in the arts, drawing on ideas of Roman Ingarden and other phenomenologists.

A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print (...) class='Hi'>ontology, the most plausible model of which looks decidedly nominalist (what I call the relevant similarity model) and that as such, photographic artworks must be likewise construed, not as abstracta but as individual and distinct concreta. That is, the correct ontological account of photographic art must be one according to which photographic artworks are individual and distinct concrete artworks. In the end, I show that the ontology of photographic art resists the standard repeatable-work model because the putative repeatability of photographic artworks is upon closer inspection nothing more than the relevant similarity relation between individual and distinct photographic prints. (shrink)

Several prominent contemporary philosophers, including Jürgen Habermas, John Caputo, and Robert Bernasconi, have at times painted a somewhat negative picture of Gadamer as not only an uncritical traditionalist, but also as one whose philosophical project fails to appreciate difference. Against such claims, I argue that Gadamer’s reflections on art exhibit a genuine appreciation for alterity not unrelated to his hermeneutical approach to the other. Thus, by bringing Gadamer’s reflections on our experience of art into conversation with key aspects of his (...) philosophical hermeneutics, we are able to better assess the viability of Gadamer’s contributions to contemporary discussions of difference and alterity. -/- Sections two through six focus on key concepts in Gadamer’s account of art’s dynamic ontology and our experience of art. Such concepts include the play structure of art, hermeneutic identity, tarrying with a work, and contemporaneity. The opening sections provide not only a discussion of these central themes, but they also (1) draw attention to the various ways in which difference and otherness are integral to Gadamer’s account, and (2) utilize relevant musical examples that prepare the reader for a more focused discussion of a Gadamerian approach to free jazz in section seven. By highlighting how Gadamer’s understanding of art possesses a dialogical play structure, is characterized by identity and difference, requires actively engaged spectators and auditors, and is amenable to what many criticize as an unintelligible musical expression, viz. free jazz, Gadamer’s project is shown as other-affirming and open to ambiguity and dynamism. That is, the essential structures and concepts characterizing Gadamer’s reflections on art are likewise central to his overall hermeneutical project, and hence are not rightly described as un-attuned to difference or other-negating. Rather, Gadamer’s philosophical project upholds difference, since it requires a dialogical interplay between self and other that creates the possibility for a transformative experience. (shrink)

Interested in art, we tend to be interested in works of art. We seem to encounter works of art all the time, and—setting aside certain relatively abstruse problems in ontology—we seem to have little difficulty in recognizing them for what they are. That there are works of art seems obvious and unproblematic. Quite so, I think. But reflection on what has to be the case if there are to be works of art shows that some quite demanding conditions have (...) to be met. Some will find those conditions too demanding: if I am right, that means that they should not admit that there are any works of art, and they will have to give some other account of what might be involved when we think we are dealing with a work of art. For myself, I think the conditions are not too demanding: their interest comes in what they show us about the nature of artistic ‘media’, and about what is involved in being a great artist. (shrink)

It is often thought that the boundaries and properties of art-kinds are determined by the things we say and think about them. More recently, this tendency has manifested itself as concept-descriptivism, the view that the reference of art-kind terms is fixed by the ontological properties explicitly or implicitly ascribed to art and art-kinds by competent users of those terms. Competent users are therefore immune from radical error in their ascriptions; the result is that the ontology of art must begin (...) and end with conceptual analysis. Against this tendency towards concept-driven ontology, I offer a trio of objections derived from: the cultural and temporal variability of concepts of art, the systematic tendency, on the part of would-be ontological assessors, to err on the side of familiar categories or, conversely, to exaggerate minor differences between familiar and unfamiliar practices, and the influence artworld precedents exert over expert and folk concepts alike. These considerations, I argue, mandate an epistemic humility that is simply unavailable to the concept-descriptivist. (shrink)

It is intuitively plausible that art and imagination are intimately connected. This chapter explores attempts to explain that connection. We focus on three areas in which art and imagination might be linked: production, ontology, and appreciation. We examine views which treat imagination as a fundamental human faculty, and aim for comprehensive accounts of art and artistic practice: for example, those of Kant and Collingwood. We also discuss philosophers who argue that a specific kind of imagining may explain some particular (...) element of the artistic domain: for example, Walton's ideas about representational art, and Kivy’s about reading. (shrink)

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)

I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when (...) philosophical aesthetics tends toward insularity, we shouldn’t be surprised to find standard art-ontological categories incongruous with those standardly employed in contemporary metaphysics. Of course, when contemporary metaphysics tends to ignore aesthetic and art theoretic concerns, perhaps we likewise shouldn’t be surprised to find the climate of contemporary metaphysics inhospitable for a theory of art. While this may seem to suggest at least a prima facie tension between our basic art theoretic commitments considered from within philosophical aesthetics and our standard ontological commitments considered from without, I think any perceived tension or antagonism largely due to metaphysicians and aestheticians (at least implicitly) assuming there to be but two available methodological positions with respect to the relationship between contemporary metaphysics and philosophical aesthetics (in the relevant overlap areas). I call these two opposing views the Deference View and the Independence View. I argue that either view looks to lead to what I call the Paradox of Standards. (shrink)

ABSTRACTThe Necessity of Origins is the thesis that, necessarily, if a material object wholly originates from some particular material, then it could not have wholly originated from any significantly non-overlapping material. Several philosophers have argued for this thesis using as a premise a principle that we call ‘Single Origin Necessity’. However, we argue that Single Origin Necessity is false. So any arguments for The Necessity of Origins that rely on Single Origin Necessity are unsound. We also argue that the Necessity (...) of Origins itself is false. Our arguments rely on a thesis in the ontology of art that we find plausible: Multi-Work Materialism. It is the thesis that works of art that have multiple concrete manifestations are co-located with those manifestations. (shrink)

The purpose of this paper is to show that images have an ontological support by which they obtain an independent existence from the mind. In accordance with the new theories of aesthetics, we will see that the object of art is taken as an object of thought. Image has an important role in the existence of the work of art; therefore the image becomes an object of thought. To show how the image is independent from the mind or to show (...) how it is not a mind-dependent object, the analysis has to start from the pre-ontological level of the work of art in order to understand the existence of images in correlation with the work of art. At the beginning there is only the object. The object is the work of art before its concretization. It is not nature; it is the natural support of art. From this point of view, the role of the image can be explored in all ontological stages of the work of art. Firstly, it can be argued that the intuition of the artist is the image of the idea underlying the work of art. The intentional image is a subjective image. Secondly, it seems that people can see or have in mind different images (representations) referring to a work of art. This is possible in time and space and implies cultural differences, historical events and so on. A question arises: what supports the intentional image? One answer put forward is that the mind is the support of the image, but it seems that the original intentional image has something that can make other intentional images possible, an infinite number of representations, in other words an infinite number of images. The aim of this paper is to show that we can talk about an original intentional image (the first idea), intentional images (the representations of the work of art in time and space), and the transcendental image which can be defined as the ontological condition for the existence of the intentional image. At the end I will argue that the transcendental image is the support or the entity which offers the ontological conditions necessary for all intentional images. -/- Tags: intentional image, transcendental image, ontology, object and subjectivity. (shrink)

For the purposes of analytical clarity it is possible to distinguish two ways in which Nancy's ontology of sense appeals to art. First, he uses 'art' as a metaphorical operator to give features to his ontology (such as surprise and wonder); second, the practice of the contemporary arts instruct the terms of his ontological project because, in his view, this practice catches up with the fragmentation of existence and thus informs ontology about the structure of existence today. (...) These two different roles—in which 'art' is both a general category able to stage the features of sense in general and a particularly striking example of the alteration sense undergoes in our times—make available for Nancy different perspectives on the question of sense. On the one hand, the general category of 'art' allows Nancy to construct a characterology of sense around terms such as surprise and novelty; on the other, the appeal to the fractal practice of the 'contemporary arts' supports the project of giving an account of sense.This paper analyses the effects on Nancy's conception of sense of these different appeals to 'art' and the practice of 'the contemporary arts.' Are the locales from which these different perspectives on sense take shape compatible? In what ways do they inflect each other or, alternatively, undermine the perspectives of the other on the question of sense? Finally, what do these two strands tell us about what Nancy expects of 'art' and what would happen to his ontology of sense without the different appeals he makes to it? (shrink)

In The Principles of Art, R. G. Collingwood pursues, on the one hand, a ‘definition’ of art, and, on the other, a ‘metaphysics’. The Principles is divided into three Books. Book I is devoted mostly to craft, while Book II pertains largely to metaphysics. The fact that Book II is twice the size of Book III, where the discussion of ‘art proper’ takes place, is proof enough that the metaphysical part of the Principles is not a mere excursus. Collingwood’s (...) class='Hi'>ontology is indispensable for understanding his aesthetics, and vice versa. The crucial link is the imagination. What Collingwood calls ‘total imaginative experience’ is described in the Principles as the sine qua non of both thought and sensibility. The aim of this article is to examine the ontological import of Collingwood’s conception of the total imagination. (shrink)

Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body of anthropological (...) and art-historical evidence and philosophical argument suggests that not only is such a criterion unsatisfied by most of the art-historical canon, but it also rests on a false premise: concepts of 'art' are not shared between cultures, nor even in the same culture across time. My dissertation aims to rectify this error by first exploring what our commitment to art's intention-dependence actually entails, and then showing that, properly understood, intention-dependence sets a number of important constraints on theories of art with respect to explanatory desiderata such as the success- and failure-conditions of art-attempts, the cross-cultural identification of art, and the reference of 'art' and art-kind terms. I begin by situating art's intention-dependence in the philosophical literature on intentional action, arguing that, properly conceived, intention-dependence is a weak criterion which can be satisfied either directly or indirectly. It therefore does not necessarily entail concept-dependence. I then use this distinction to motivate a new treatment of the success- and failure-conditions for art-attempts, arguing that the extant model's emphasis on compliance with 'the manner intended' is far too restrictive to capture actual artistic practices. I go on to show that Ruth Millikan's model of linguistic conventions supplies an independently plausible explanation of art's concept-independent origins in terms of the development of a system of indirectly intention-dependent conventions called an 'artworld'. I argue that this account of artworld development supplies us with the tools we need to distinguish art-kinds from other artifactual kinds. Finally, I turn my attention to methodological issues, arguing that even though 'art' is a social kind with its roots in arbitrary and historically-contingent networks of conventions, the philosophy of art is not merely an exercise in bare conceptual analysis. In fact, there is now a great deal of evidence to show that the ways we think about 'art' are inconsistent, incomplete, imperialistic, and largely unprincipled. Yet I argue that this does not mean that the artworld data have no bearing on theories of art. Instead, I argue that our best reflective understanding of our artworld practices sets the constraints on the reference of 'art' and art-kind terms. I argue that we have no privileged epistemic access to the ontology of social kinds; our only privilege lies in our ability to determine the proper subject of our inquiries. (shrink)

This transcription of a keynote for the Speculative Art Histories conference in May 2013 is a mixture of the main argument of The Sympathy of Things and some new insights. The text might be helpful for those who have not read the Sympathy book, which has been sold out for a number of years. This essay will appear as a chapter in Sjoerd van Tuinen's Speculative Art Histories, to be published with Edinburgh University Press in 2017.

This thesis analyses Deleuze & Guattari’s notion of becoming through certain performative encounters in contemporary political art, and re-conceptualizes them as “art(s) of becoming”. Art(s) of becoming are actualizations of a non-representational –minoritarian– mode of becoming and creation as well as the political actions of fleeing quanta. The theoretical aim of the study is, on the one hand, to explain how Platonic Idealism is overturned by Deleuze’s reading of Nietzsche and Leibniz, and on the other hand, how Cartesian dualism of (...) mind and body is surpassed by following a Spinozistic theory of affects. In this respect, the dissertation has both theoretical and practical dimensions. Since art(s) of becoming are bodies without organs which constitute their own lines of flight through a process of minoration, the concepts of body, affect, becoming, and intensity are central to this study. For the same reason, this is an attempt to show the intersections of philosophical, political and aesthetic domains in Deleuze’s theory of sensation which is part of his general practice of philosophy, that is, a quest for establishing an ontology of immanence as opposed to identitarian metaphysics. (shrink)

In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship between (...) Genette’s and Daniel Arasse’s reflections on restoration and the history of art, highlighting their similarities and differences with Cesare Brandi’s theory of restoration and, therefore, pointing out their as yet undischarged debts to Sartre’s phenomenology of image. (shrink)

While representation learning techniques have shown great promise in application to a number of different NLP tasks, they have had little impact on the problem of ontology matching. Unlike past work that has focused on feature engineering, we present a novel representation learning approach that is tailored to the ontology matching task. Our approach is based on embedding ontological terms in a high-dimensional Euclidean space. This embedding is derived on the basis of a novel phrase retrofitting strategy through (...) which semantic similarity information becomes inscribed onto fields of pre-trained word vectors. The resulting framework also incorporates a novel outlier detection mechanism based on a denoising autoencoder that is shown to improve performance. An ontology matching system derived using the proposed framework achieved an F-score of 94% on an alignment scenario involving the Adult Mouse Anatomical Dictionary and the Foundational Model of Anatomy ontology (FMA) as targets. This compares favorably with the best performing systems on the Ontology Alignment Evaluation Initiative anatomy challenge. We performed additional experiments on aligning FMA to NCI Thesaurus and to SNOMED CT based on a reference alignment extracted from the UMLS Metathesaurus. Our system obtained overall F-scores of 93.2% and 89.2% for these experiments, thus achieving state-of-the-art results. (shrink)

This transcription of a keynote for the Speculative Art Histories conference in May 2013 is a mixture of the main argument of The Sympathy of Things and some new insights. The text might be helpful for those who have not read the Sympathy book, which has been sold out for a number of years. This essay will appear as a chapter in Sjoerd van Tuinen's Speculative Art Histories, to be published with Edinburgh University Press in 2017.

THE WORD IN AFRICAN ONTOLOGY Socrates Ebo, PhD ABSTRACT The word in African ontology is more than mere expression of sounds. It is a being which is intra-mental and extra-mental. It is a creation of human mind and the human lips. But it is also an independent entity with enormous causal powers in the African universe of forces. It is an art as well as a means of communication. It is the embodiment of the history of the African (...) community. Embedded in the word, is the community’s ethics. Yet, the word is also a series of sounds which can be learnt and repeated. It can be uttered by anyone yet not everyone can put it to every use. The word can be profound in a context and meaningless in another context. The same word that is commonplace in common speech can be a causal force in a coded ritual. Yet, it is the word: ubiquitous and cryptic, mystic and plebeian; sacred and profane, artistic, yet plain bland on the lips of many. -/- . (shrink)

The premise that every work belongs to an art-kind has recently inspired a kind-centred approach to theories of art. Kind-centred analyses posit that we should abandon the project of giving a general theory of art and focus instead on giving theories of the arts. The main difficulty, however, is to explain what makes a given kind an art-kind in the first place. Kind-centred theorists have passed this buck on to appreciative practices, but this move proves unsatisfactory. I argue that the (...) root of this dissatisfaction stems not from the act of kicking the can down the road, but from not kicking it far enough. The missing ingredient, I argue, is a notion of convention which does the work of marking the difference between art and non-art for a given physical medium. (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)

“Else-where” is a synoptic survey of the representational values given to art, architecture, and cultural production from 2002 through 2011. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the real Real . While architecture nominally addresses an environmental ethos, it also famously negotiates its own representational values by way of its putative autonomy ; its main repression (...) in this regard is “landscape,” figure of the Other and figure of the Real. Engaging forms of spectrality, and not necessarily speculative intelligence per se, architecture is also “conscious” of its own complicity in capitalist orders, a complicity that in part underwrites its avant-garde forms of agitation since the onset of modern architecture. As a result, and over the course of the twentieth century, architectural vanguards have successively been depleted such that they return only as reified half-measures in the late-modern production of difference. As such, the essay “Actually Existing Ground” examines the failed promise of Landscape Urbanism. Since the 1960s, as with the allied arts, architecture has evacuated many of the utopian gestures given to modernism and embraced a form of ultra-contingency in a direct alliance with the post-modern and post-Marxist concession to markets and to cultural production as principal means of establishing formal hegemony. This recourse or surrender to the economic-determinist ethos of post-modernity, regardless of attempts to problematize it and/or critique it through types of what Manfredo Tafuri has called “operative criticism” , has, arguably, all but failed, and with the suggestive return circa 2011 of new forms of resistance an exit from the accommodating spirit of the times is indicative of the expectation of strenuous, yet highly formal and non-discursive operations within artistic and architectural production. The essays collected in “Else-where” cross various disciplines, inclusive of landscape architecture, architecture, and visual art, to develop a nuanced critique of an emergent formal regard in the arts that is also an invocation of the highest coordinates given to the arts – formal ontology as speculative intelligence itself – or the return of the universal as utopian thought “here-and-now.”. (shrink)

You are sitting in Chez Panisse, Alice Waters’ acclaimed restaurant in Berkeley, California. After an extensively prepared, multi-course meal, out comes the dessert course: an unmodified but perfectly juicy, fresh peach. Many chefs serve such unmodified or barely-modified foods with the intention that they count as culinary art. This paper takes up the question of whether unmodified foods, served in the relevant institutional settings, can count as culinary art. I propose that there is a distinctive form of aesthetic trust involved (...) in formal culinary settings, and it plays a central role in many instances of culinary art. Culinary institutions summon aesthetic trust, which helps to explain why a dish of unmodified food served in an appropriate institutional setting can count as culinary art. (shrink)

The paper points out that the modern formulation of Bohm’s quantum theory known as Bohmian mechanics is committed only to particles’ positions and a law of motion. We explain how this view can avoid the open questions that the traditional view faces according to which Bohm’s theory is committed to a wave-function that is a physical entity over and above the particles, although it is defined on configuration space instead of three-dimensional space. We then enquire into the status of the (...) law of motion, elaborating on how the main philosophical options to ground a law of motion, namely Humeanism and dispositionalism, can be applied to Bohmian mechanics. In conclusion, we sketch out how these options apply to primitive ontology approaches to quantum mechanics in general. (shrink)

Epistemic reasons are mental states. They are not propositions or non-mental facts. The discussion proceeds as follows. Section 1 introduces the topic. Section 2 gives two concrete examples of how our topic directly affects the internalism/externalism debate in normative epistemology. Section 3 responds to an argument against the view that reasons are mental states. Section 4 presents two problems for the view that reasons are propositions. Section 5 presents two problems for the view that reasons are non-mental facts. Section 6 (...) argues that reasons are mental states. Section 7 responds to objections. (shrink)

What is the ontology of collective action? I have in mind three connected questions. 1. Do the truth conditions of action sentences about groups require there to be group agents over and above individual agents? 2. Is there a difference, in this connection, between action sentences about informal groups that use plural noun phrases, such as ‘We pushed the car’ and ‘The women left the party early’, and action sentences about formal or institutional groups that use singular noun phrases, (...) such as ‘The United States declared war on Japan on December 8th, 1941’ and ‘The Supreme Court ruled that segregation is unconstitutional in 1954 in Brown vs. Board of Education’? 3. Under what conditions does it make sense to speak of a group doing something together, and what, if anything, is a collective action? In this paper, I argue that a) understanding action sentences about groups does not commit us to the existence of group agents per se, but only to the existence of individual agents; b) there is no difference in this regard between sentences which attribute actions to informal groups on the one hand and institutional groups on the other; c) collective action can be both intentional and unintentional; d) any random group of agents each of whom does something is also a group which does something together; e) while there is a sense in which groups per se perform no primitive collective actions, and therefore no actions at all, f) there is a sensible extension of talk of actions to groups, though it should be treated strictly speaking, like talk of group agents, as a façon de parler, for g) the only agents per se are individuals and the only actions are theirs. -/-. (shrink)

The rapidly increasing wealth of genomic data has driven the development of tools to assist in the task of representing and processing information about genes, their products and their functions. One of the most important of these tools is the Gene Ontology (GO), which is being developed in tandem with work on a variety of bioinformatics databases. An examination of the structure of GO, however, reveals a number of problems, which we believe can be resolved by taking account of (...) certain organizing principles drawn from philosophical ontology. We shall explore the results of applying such principles to GO with a view to improving GO’s consistency and coherence and thus its future applicability in the automated processing of biological data. (shrink)

I argue that the most promising approach to understanding J.J. Gibson's "affordances" takes affordances themselves as ontological primitives, instead of treating them as dispositional properties of more primitive things, events, surfaces, or substances. These latter are best treated as coalescences of affordances present in the environment (or "coalescences of use-potential," as in Sanders (1994) and Hilditch (1995)). On this view, even the ecological approach's stress on the complementary organism/environment pair is seen as expressing a particular affordance relation between the world (...) and the analyst. That the world is parsed in any way among events and objects, perceivers and worlds, etc., reflects equally features of certain real or possible perspectives on the world and features of the world itself. In section 1, I begin by contending that, contrary to the apparent expectations of some in the field, the bare existence of affordances is surely quite uncontroversial. In section 2, I argue that the most reasonable approach to foundational ontology is a relativistic one. In section 3, I address the claim that affordances must be ontologically complemented by effectivities for the sake of completeness, and I shall argue against that claim on grounds that I take to reflect some of Gibson's most important insights. This work will help to clarify the way affordances are to be used in the fourth and final section, where I argue that ontological work, even within special sciences, should not be merely "regional," and that the most attractive general approach to ontological questions is one that is based on affordances, rather than upon things, events, surfaces, and the like. (shrink)

The best arguments for possible worlds as states of affairs furnish us with equally good arguments for impossible worlds of the same sort. I argue for a theory of impossible worlds on which the impossible worlds correspond to maximal inconsistent classes of propositions. Three objections are rejected. In the final part of the paper, I present a menu of impossible worlds and explore some of their interesting formal properties.

Is there a right or wrong way to play a game? Many think not. Some have argued that, when we insist that players obey the rules of a game, we give too much weight to the author’s intent. Others have argued that such obedience to the rules violates the true purpose of games, which is fostering free and creative play. Both of these responses, I argue, misunderstand the nature of games and their rules. The rules do not tell us how (...) to interpret a game; they merely tell us what the game is. And the point of the rules is not always to foster free and creative play. The point can be, instead, to communicate a sculpted form of activity. And in games, as with any form of communication, we need some shared norms to ground communicative stability. Games have what has been called a “prescriptive ontology.” A game is something more than simply a piece of material. It is some material as approached in a certain specified way. These prescriptions help to fix a common object of attention. Games share this prescriptive ontology with more traditional kinds of works. Novels are more than just a set of words on a page; they are those words read in a certain order. Games are more than just some software or cardboard bits; they are those bits interacted with according to certain rules. Part of a game’s essential nature is the prescriptions for how we are to play it. What’s more, we investigate the prescriptive ontology of games, we will uncover at least distinct prescriptive categories of games. Party games prescribe that we encounter the game once; heavy strategy games prescribe we encounter the game many times; and community evolution games prescribe that we encounter the game while embedded in an ongoing community of play. (shrink)

Can an understanding be formed of how sensory experience might be presented or manipulated in visual art in order to promote a relational concept of the senses, in opposition to the customary, capitalist notion of sensation as a private possession, as a sensory impression that is mine? I ask the question in the light of recent visual art theory and practice which pursue relational, ecological ambitions. As Arnold Berleant, Nicolas Bourriaud, and Grant Kester see it, ecological ambition and artistic form (...) should correspond, but they fail to recognize sensation as a site where the ecological cause can be fought. Jacques Rancière argues for the political force of the senses, but his distribution of the sensible does not address the particularity of sensory experience. I identify the difference between these approaches within recent relational or ecological aesthetics and my position on sensibility, and indicate some of the problems involved in referring to the senses. I set out the concepts that are central to the cultivation of relational sensibility: style, autofiguration, and the mobility of sensory meaning, extrapolated from Maurice Merleau-Ponty’s discussion of Paul Cézanne. They amount to positioning the senses ontologically as movements along lines of conceptual-sensory connection and implication, based on the transfer of meanings created artistically through style and autofiguration. (shrink)

In this paper I will argue that critical theory needs to make its socio-ontological commitments explicit, whilst on the other hand I will posit that contemporary social ontology needs to amend its formalistic approach by embodying a critical theory perspective. In the first part of my paper I will discuss how the question was posed in Horkheimer’s essays of the 1930s, which leave open two options: (1) a constructive inclusion of social ontology within social philosophy, or else (2) (...) a program of social philosophy that excludes social ontology. Option (2) corresponds to Adorno’s position, which I argue is forced to recur to a hidden social ontology. Following option (1), I first develop a metacritical analysis of Searle, arguing that his social ontology presupposes a notion of 'recognition' which it cannot account for. Furthermore, by means of a critical reading of Honneth, I argue that critical theory could incorporate a socioontological approach, giving value to the constitutive socio-ontological role of recognition and to the socio-ontological role of objectification. I will finish with a proposal for a socio-ontological characterization of reification which involves that the basic occurrence of recognition is to be grasped at the level of background practices. (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)

Though the realm of biology has long been under the philosophical rule of the mechanistic magisterium, recent years have seen a surprisingly steady rise in the usurping prowess of process ontology. According to its proponents, theoretical advances in the contemporary science of evo-devo have afforded that ontology a particularly powerful claim to the throne: in that increasingly empirically confirmed discipline, emergently autonomous, higher-order entities are the reigning explanantia. If we are to accept the election of evo-devo as our (...) best conceptualisation of the biological realm with metaphysical rigour, must we depose our mechanistic ontology for failing to properly “carve at the joints” of organisms? In this paper, I challenge the legitimacy of that claim: not only can the theoretical benefits offered by a process ontology be had without it, they cannot be sufficiently grounded without the metaphysical underpinning of the very mechanisms which processes purport to replace. The biological realm, I argue, remains one best understood as under the governance of mechanistic principles. (shrink)

What happens when painting emancipates itself from all physical mediums, the piece of art disappears from the exposition site and it becomes immaterial, indiscernible within its surrounding space? What type of esthetic experience and embodied understanding of art is possible under these programmed and produced conditions, maybe dissimulated, and finally enunciated and affirmed next to and in place of that which presents itself with the title of art masterpiece? What type of description, definition and interpretation is necessary? What type of (...) phenomenology, pragmatic, rhetoric, and ontology is called upon? What type of percepts, of effects and affects, of appearance and apparatus, are put into play in this esthetic relation lacking an artistic object? When there is nothing to see and to touch, what living forms, what beliefs, what qualities are dealt with? Until this day, after more than 50 years, the “Exposition of Void” of Yves Klein doesn’t quit asking these and other questions on aesthetics and to the history of art. (shrink)

I discuss the ontological assumptions and implications of General Relativity. I maintain that General Relativity is a theory about gravitational fields, not about space-time. The latter is a more basic ontological category, that emerges from physical relations among all existents. I also argue that there are no physical singularities in space-time. Singular space-time models do not belong to the ontology of the world: they are not things but concepts, i.e. defective solutions of Einstein’s field equations. I briefly discuss the (...) actual implication of the so-called singularity theorems in General Relativity and some problems related to ontological assumptions of Quantum Gravity. (shrink)

I present a discussion of some issues in the ontology of spacetime. After a characterisation of the controversies among relationists, substantivalists, eternalists, and presentists, I offer a new argument for rejecting presentism, the doctrine that only present objects exist. Then, I outline and defend a form of spacetime realism that I call event substantivalism. I propose an ontological theory for the emergence of spacetime from more basic entities. Finally, I argue that a relational theory of pre-geometric entities can give (...) rise to substantival spacetime in such a way that relationism and substantivalism are not necessarily opposed positions, but rather complementary. In an appendix I give axiomatic formulations of my ontological views. (shrink)

In this paper I elicit a prediction from structural realism and compare it, not to a historical case, but to a contemporary scientific theory. If structural realism is correct, then we should expect physics to develop theories that fail to provide an ontology of the sort sought by traditional realists. If structure alone is responsible for instrumental success, we should expect surplus ontology to be eliminated. Quantum field theory (QFT) provides the framework for some of the best confirmed (...) theories in science, but debates over its ontology are vexed. Rather than taking a stand on these matters, the structural realist can embrace QFT as an example of just the kind of theory SR should lead us to expect. Yet, it is not clear that QFT meets the structuralist's positive expectation by providing a structure for the world. In particular, the problem of unitarily inequivalent representations threatens to undermine the possibility of QFT providing a unique structure for the world. In response to this problem, I suggest that the structuralist should endorse pluralism about structure. (shrink)

Modern philosophy is, for what appear to be good reasons, uniformly hostile to sui generis final causes. And motivated to develop philosophically and scientifically plausible interpretations, scholars have increasingly offered reductivist and eliminitivist accounts of Aristotle's teleological commitment. This trend in contemporary scholarship is misguided. We have strong grounds to believe Aristotle accepted unreduced sui generis teleology, and reductivist and eliminitivist accounts face insurmountable textual and philosophical difficulties. We offer Aristotelians cold comfort by replacing his apparent view with failed accounts. (...) And so we ought to admit Aristotle’s prima facie commitments and deal with — if not accept — the consequences. (shrink)

We present an ontology of pain and of other pain-related phenomena, building on the definition of pain provided by the International Association for the Study of Pain (IASP). Our strategy is to identify an evolutionarily basic canonical pain phenomenon, involving unpleasant sensory and emotional experience based causally in localized tissue damage that is concordant with that experience. We then show how different variant cases of this canonical pain phenomenon can be distinguished, including pain that is elevated relative to peripheral (...) trauma, pain that is caused neuropathically (thus with no necessary peripheral stimulus), and pain reports arising through deception either of self or of others. We describe how our approach can answer some of the objections raised against the IASP definition, and sketch how it can be used to support more sophisticated discrimination of different types of pain resulting in improved data analysis that can help in advancing pain research. (shrink)

Semantic interoperability can be defined as the ability of two or more computer systems to exchange information in such a way that the meaning of that information can be automatically interpreted by the receiving system accurately enough to produce useful results to the end users of both systems. Several activities are currently being performed by a variety of stakeholders to achieve semantic interoperability in healthcare. Many of these activities are not beneficial, because they place too great a focus on business (...) aspects and not enough on involvement of the right sorts of researchers, in particular those that are able to see how the data and information relate to the entities of concern on the side of the patient. The lack of a central focus on the patient, and the associated focus on ‘concepts’, have spawned a variety of mutually incompatible terminologies exhibiting non-resolvable overlap. The predominance of the healthcare IT industry in the writing and selection of semantic interoperability standards mitigates against the benefits that standards, when well designed, can bring about. (shrink)

As is well known, speech acts such as acts of promising can have ontological consequences. For example an act of promising can give rise to a mutually correlated claim and obligation. Increasingly, speech acts in the narrow sense are being augmented by the use of documents of multiple different sorts. In this paper we analyze the results of this augmenta-tion from the ontological point of view, considering especially the domains of law and com-merce. We show how document acts are not (...) isolated phenomena, but rather form large and complex systems with other entities, including occurrent entities such as acts of signing and inspecting, as well as speech acts for example of instructing people to sign or complete a doc-ument. The paper concludes with a consideration of some of the special problems associated with the use of digital documents, for example as concerns issues of security and provenance. (shrink)

The ontology of language is concerned with the relations between uses of language, both overt and covert, and other entities, whether in the world or in the mind of the thinking subject. We attempt a first survey of the sorts of relations which might come into question for such an ontology, including: relations between referring uses of expressions and their objects, relations between the use of a (true) sentence and that in the world which makes it true, relations (...) between mental acts on the one hand and underlying mental states (attitudes, beliefs), on the other, relations between my acts and states, associated uses of language and overt actions on my part and on the part of those other subjects with whom I communicate. (shrink)

I argue that there are no physical singularities in space–time. Singular space–time models do not belong to the ontology of the world, because of a simple reason: they are concepts, defective solutions of Einstein’s field equations. I discuss the actual implication of the so-called singularity theorems. In remarking the confusion and fog that emerge from the reification of singularities I hope to contribute to a better understanding of the possibilities and limits of the theory of general relativity.