Eli Hirsch has argued in many places that non-commonsensical ontological claims just couldn't be true, since there is strong metasemantic pressure to charitably interpret natural language---correct interpretations must, unless all else is highly unequal, count a sentence (especially a perceptual sentence) as true if ordinary speakers regard it as being obviously true. In previous work I replied that ontologists can stipulatively introduce a new language, "Ontologese", that is exempt from this pressure toward charity. Hirsch has recently objected to this (...) proposal; this paper is my reply. (shrink)

In response to Hirsch's deflationary arguments, Sider attempts to introduce a special Ontologese quantifier to preserve the substantivity of fundamental debates in metaphysics. He claims that this strategy can be effected by two distinct means, one of which is a list of instructions for metaphysicians, which he argues suffice to give the new quantifier a meaning that carves nature at the joints. I argue that these instructions will not allow someone to start speaking Ontologese if their prior language (...) is sufficiently deviant with respect to it, and that natural languages may be in just such a position. (shrink)

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

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

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

Mirdamad, a prominent philosopher of the Late Medieval Period active in the Islamic world, regards existence as nothing in reality. In this paper, I employ methods devised by contemporary analytic...