Robert Sibley examines how Watson, Grant, and Taylor found in Hegel the theoretical tools needed to respond to Canada's uncertain existence.

For the first time in English, this anthology offers a comprehensive selection of primary sources in the history of philosophy of language. Beginning with a detailed introduction contextualizing the subject, the editors draw out recurring themes, including the origin of language, the role of nature and convention in fixing form and meaning, language acquisition, ideal languages, varieties of meanings, language as a tool, and the nexus of language and thought, linking them to representative texts. The handbook moves on to offer (...) seminal contributions from philosophers ranging from the pre-Socratics up to John Stuart Mill, preceding each major historical section with its own introductory assessment. With all of the most relevant primary texts on the philosophy of language included, covering well over two millennia, this judicious, and generous, selection of source material will be an indispensable research tool for historians of philosophy, as well as for philosophers of language, in the twenty-first century. A vital tool for researchers and contemporary philosophers, it will be a touchstone for much further research, with coverage of a long and varied tradition that will benefit today's scholars and enhance their awareness of earlier contributions to the field. (shrink)

The purpose of this article is to invigorate debate concerning the nature of analogy, and to broaden the scope of current conceptions of analogy. We argue that analogizing is not a single or even a fundamental cognitive process. The argument relies on an analysis of the history of the concept of analogy, case studies on the use of analogy in scientific problem solving, cognitive research on analogy comprehension and problem solving, and a survey of computational mechanisms of analogy comprehension. Analogizing (...) is regarded as a macrocognitive phenomenon having a number of supporting processes. These include the apperception of resemblances and distinctions, metaphor, and the balancing of semantic flexibility and inference constraint. Psychological theories and computational models have generally relied on (a) a sparse set of ontological concepts (a property called “similarity” and a structuralist categorization of types of semantic relations), (b) a single form category (i.e., the classic four-term analogy), and (c) a single set of morphological distinctions (e.g., verbal vs. pictorial analogies). This article presents a classification based on a “naturalistic” exploration of the variety of uses of analogical reasoning in pragmatically distinct contexts. The resultant taxonomy distinguishes pre-hoc, ad-hoc, post-hoc, pro-hoc, contra-hoc, and trans-hoc analogy. Each will require its own macrocognitive modeling, and each presents an opportunity for research on phenomena of reasoning that have been neglected. (shrink)

This volume explores the rich history of philosophy of language in the Western tradition, from Plato and Aristotle to the twentieth century. A team of leading experts focus in particular on key metaphysical debates about linguistic content, including questions of ontological status and metaphysical grounding.

Genomic research—including whole genome sequencing and whole exome sequencing—has a growing presence in contemporary biomedical investigation. The capacity of sequencing techniques to generate results that go beyond the primary aims of the research—historically referred to as “incidental findings”—has generated considerable discussion as to how this information should be handled—that is, whether incidental results should be returned, and if so, which ones.Federal regulations governing most human subjects research in the United States require the disclosure of “the procedures to be followed” in (...) the research as part of the informed consent process. It seems reasonable to assume—and indeed, many commentators have concluded—that genomic investigators will be expected to inform participants about, among other procedures, the prospect that incidental findings will become available and the mechanisms for dealing with them. Investigators, most of whom will not have dealt with these issues before, will face considerable challenges in framing meaningful disclosures for research participants.To help in this task, we undertook to identify the elements that should be included in the informed consent process related to incidental findings. We did this by surveying a large number of genomic researchers (n = 241) and by conducting in‐depth interviews with a smaller number of researchers (n = 28) and genomic research participants (n = 20). Based on these findings, it seems clear to us that routine approaches to informed consent are not likely to be effective in genomic research in which the prospect of incidental findings exists. Ensuring that participants’ decisions are informed and meaningful will require innovative approaches to dealing with the consent issue. We have identified four prototypical models of a consent process for return of incidental findings. (shrink)

We report on the small-scale (0.5 13 h - 1M, a large-scale bias of ~2.0 and a satellite fraction of 12 ± 2 per cent. Thus, these galaxies occupy haloes with average masses in between those of the higher redshift BOSS CMASS sample and the original SDSS I/II luminous red galaxy sample © 2012 The Authors Published by Oxford University Press on behalf of the Royal Astronomical Society © doi:10.1093/mnras/sts314.

Reply to a commentary by Felicitas Holzer and Ignacio Mastroleoon “Models of Consent to Return of Incidental Findings in Genomic Research.”.

We present a one per cent measurement of the cosmic distance scale from the detections of the baryon acoustic oscillations in the clustering of galaxies from the Baryon Oscillation Spectroscopic Survey, which is part of the Sloan Digital Sky Survey III. Our results come from the Data Release 11 sample, containing nearly one million galaxies and covering approximately 8500 square degrees and the redshift range 0.2 < z < 0.7. We also compare these results with those from the publicly released (...) DR9 and DR10 samples. Assuming a concordance Λ cold dark matter cosmological model, the DR11 sample covers a volume of 13 Gpc3 and is the largest region of the Universe ever surveyed at this density. We measure the correlation function and power spectrum, including density-field reconstruction of the BAO feature. The acoustic features are detected at a significance of over 7σ in both the correlation function and power spectrum. Fitting for the position of the acoustic features measures the distance relative to the sound horizon at the drag epoch, rd, which has a value of rd,fid = 149.28 Mpc in our fiducial cosmology. We find DV = at z = 0.32 and DV = at z = 0.57. At 1.0 per cent, this latter measure is the most precise distance constraint ever obtained from a galaxy survey. Separating the clustering along and transverse to the line of sight yields measurements at z = 0.57 of DA = and H =. Our measurements of the distance scale are in good agreement with previous BAO measurements and with the predictions from cosmic microwave background data for a spatially flat CDM model with a cosmological constant. © 2014 The Author Published by Oxford University Press on behalf of the Royal Astronomical Society. (shrink)

Causal essentialists hold that a property essentially bears its causal and nomic relations. Further, as many causal essentialists have noted, the main motivations for causal essentialism also motivate holding that properties are individuated in terms of their causal and nomic relations. This amounts to a kind of identity of indiscernibles thesis; properties that are indiscernible with respect to their causal and nomic relations are identical. This can be compared with the more well-known identity of indiscernibles thesis, according to which particulars (...) that are qualitatively indiscernible are identical. Robert Adams has developed a well-known objection to this thesis by considering a series of possibilities involving nearly qualitatively indiscernible particulars that naturally leads to a possibility involving qualitatively indiscernible particulars. I argue that we can construct parallel cases involving a series of possibilities involving properties that are nearly indiscernible with respect to their causal and nomic relations that naturally lead to possibilities involving properties that are indiscernible with respect to their causal and nomic relations. The same features that make Adams’ argument forceful also carry over to my cases, giving us a powerful objection to the causal essentialist identity of indiscernibles thesis. (shrink)

Philosophers and cognitive scientists have worried that research on animal mind-reading faces a ‘logical problem’: the difficulty of experimentally determining whether animals represent mental states (e.g. seeing) or merely the observable evidence (e.g. line-of-gaze) for those mental states. The most impressive attempt to confront this problem has been mounted recently by Robert Lurz. However, Lurz' approach faces its own logical problem, revealing this challenge to be a special case of the more general problem of distal content. Moreover, participants in (...) this debate do not agree on criteria for representation. As such, future debate should either abandon the representational idiom or confront underlying semantic disagreements. (shrink)

_A collection of inspiring essays by the photographer Robert Adams, who advocates the meaningfulness of art in a disillusioned society _ In _Art Can Help_, the internationally acclaimed American photographer Robert Adams offers over two dozen meditations on the purpose of art and the responsibility of the artist. In particular, Adams advocates art that evokes beauty without irony or sentimentality, art that “encourages us to gratitude and engagement, and is of both personal and civic consequence.” Following an introduction, (...) the book begins with two short essays on the works of the American painter Edward Hopper, an artist venerated by Adams. The rest of this compilation contains texts—more than half of which have never before been published—that contemplate one or two works by an individual artist. The pictures discussed are by noted photographers such as Julia Margaret Cameron, Emmet Gowin, Dorothea Lange, Abelardo Morell, Edward Ranney, Judith Joy Ross, John Szarkowski, and Garry Winogrand. Several essays summon the words of literary figures, including Virginia Woolf and Czeslaw Milosz. Adams’s voice is at once intimate and accessible, and is imbued with the accumulated wisdom of a long career devoted to making and viewing art. This eloquent and moving book champions art that fights against disillusionment and despair. (shrink)

In _Art Can Help_, the internationally acclaimed American photographer Robert Adams offers over two dozen meditations on the purpose of art and the responsibility of the artist. In particular, Adams advocates art that evokes beauty without irony or sentimentality, art that “encourages us to gratitude and engagement, and is of both personal and civic consequence.” Following an introduction, the book begins with two short essays on the works of the American painter Edward Hopper, an artist venerated by Adams. The (...) rest of this compilation contains texts—more than half of which have never before been published—that contemplate one or two works by an individual artist. The pictures discussed are by noted photographers such as Julia Margaret Cameron, Emmet Gowin, Dorothea Lange, Abelardo Morell, Edward Ranney, Judith Joy Ross, John Szarkowski, and Garry Winogrand. Several essays summon the words of literary figures, including Virginia Woolf and Czeslaw Milosz. Adams’s voice is at once intimate and accessible, and is imbued with the accumulated wisdom of a long career devoted to making and viewing art. This eloquent and moving book champions art that fights against disillusionment and despair. Distributed for the Yale University Art Gallery. (shrink)

_A collection of inspiring essays by the photographer Robert Adams, who advocates the meaningfulness of art in a disillusioned society _ In _Art Can Help_, the internationally acclaimed American photographer Robert Adams (b. 1937) offers over two-dozen meditations on the purpose of art and the responsibility of the artist. In particular, Adams advocates art that evokes beauty without irony or sentimentality, art that “encourages us to gratitude and engagement, and is of both personal and civic consequence.” Following an (...) introduction, the book begins with two short essays on the works of the American painter Edward Hopper, an artist venerated by Adams. The rest of this compilation contains essays—more than half of which have never before been published—that contemplate one work or a small group of works by an individual artist. Many of the objects discussed are by noted photographers such as Julia Margaret Cameron, Emmet Gowin, Dorothea Lange, Abelardo Morell, Edward Ranney, Judith Joy Ross, John Szarkowski, and Garry Winogrand. Several essays beckon the words of literary figures, including Virginia Woolf and Czesław Miłosz. Adams’s voice is at once intimate and accessible, and is imbued with the accumulated wisdom of a long career devoted to making and viewing art. This eloquent and moving book champions art that fights against disillusionment and despair. (shrink)

Ancient Egypt, by L. Bull.--Ancient Mesopotamia, by E.A. Speiser.--Ancient Persia, by G.G. Cameron,--Ancient Israel, by M. Burrows.--The Hellenistic Orient, by C.B. Welles.--Earliest Christianity, by E. Dinkler.--Patristic Christianity, by R.H. Bainton.--Early Islam, by J. Obermann.--The twentieth-century West and the ancient Near East, by P. Schubert.

This article identifies three distinct temporal notions in Hume’s aesthetics: passing the test of time, repeated viewing of a work, and the personal aging of the critic. It applies these ideas to the evaluation and enjoyment of films. It characterizes positive, negative, and ambivalent film aging, which are associated with nostalgia, boredom, and comic amusement, respectively, and which bear on our enjoyment, not evaluation, of film. The paper discusses Allen’s Zelig, Antonioni’s La Notte, Cameron’s The Terminator, Lucas’s Star Wars, (...) Scorsese’s Taxi Driver, Spielberg’s E.T.: The Extra-Terrestrial, and Renoir’s La Règle du Jeu. (shrink)

Despite the fact that Ayn Rand did not influence the best artists, she did leave an important legacy for the American imagination and literary establishment. Rand's influence is arguably more multi-genre than any other author. Some multi-genre authors who were possibly influenced by Rand include: John Steinbeck (literature), Mickey Spillane and Ian Fleming (detective fiction), Ira Levin, Cameron Hawley, Erika Holzer and Kay Nolte Smith (popular fiction) and Terry Goodkind (science fiction). Her influence represents an important balance between many (...) various types of American Literature and is a credit to the hybrid and versatile nature of her fiction. (shrink)

Our image of Herbert Spencer is that of a bald, dyspeptic bachelor, spending his days in rooming houses, and fussing about government interference with individual liberties. Beatrice Webb, who knew him as a girl and young woman recalls for us just this picture. In her diary for January 4, 1885, she writes: Royal Academy private view with Herbert Spencer. His criticisms on art dreary, all bound down by the “possible” if not probable. That poor old man would miss me on (...) the whole more than any other mortal. Has real anxiety for my welfare—physical and mental. Told him story of my stopping cart horse in Hyde Park and policeman refusing to come off his beat to hold it. Want of public spirit in passers-by not stopping it before. “Yes, that is another instance of my first principle of government. Directly you get state intervention you cease to have public spirit in individuals; that will be a constantly increasing tendency and the State, like the policeman, will be so bound by red-tape rules that it will frequently leave undone the simplest duties.”1 Spencer appears a man whose strangled emotions would yet cling to a woman whose philosophy would be completely alien to his own, as Webb’s Fabian Socialism turned out to be. Our image of Darwin is more complex than our image of Spencer. We might think of him nestled in the bosom of his large family, kindly, and just a little sad. The photo of him taken by Julia Cameron reveals the visage of an Old Testament prophet, though one, not fearsome, but made wise by contemplating the struggle of life on this earth. These images have deeply colored our reaction to the ideas of each thinker. The pictures are not false, but they are cropped portraits that tend to distort our reactions to the theories of each. If we examine the major features of their respective. (shrink)

Some argue that Lewisian realism fails as a reduction of modality because in order to meet some criterion of success the account needs to invoke primitive modality. I defend Lewisian realism against this charge; in the process, I hope to shed some light on the conditions of success for a reduction. In §1 I detail the resources the Lewisian modal realist needs. In §2 I argue against Lycan and Shalkowski’s charge that Lewis needs a modal notion of ‘world’ to ensure (...) that worlds correspond to possibilities. In §3 I respond to Divers and Melia’s objection that Lewis needs to invoke primitive modality to give a complete account of what worlds there are. In §4 I ask what it is for a notion to ‘involve’ modality. I conclude that the question is either in bad standing or at best offers little traction on the debate, and propose a different way of assessing when materials are appropriately included in a reductive base. (shrink)

Fran Brearton: Robert Graves and The White Goddess Joyce Hill: Authority and Intertextuality in the Works of Ælfric Michael Pennington: Barnardine's Straw: The Devil in Shakespeare's Detail David Womersley: Dulness and Pope Terence Cave: Montaigne Lord Moser: The Future of Our Universities Alexander Murray: The Inquisition and the Renaissance Robert Bagley: The Prehistory of Chinese Music Theory Edwin Cameron: Patents and Public Health: Principle, Politics and Paradox Mervyn King: What Fates Impose: Facing Up to Uncertainty Dominic Lieven: (...) Empire, History and the Contemporary Global Order Joan Oates: Archaeology in Mesopotamia: Digging Deeper at Tell Brak Timothy Besley: The New Political Economy Richard Gray: 'They Worship Death Here': William Faulkner, Sanctuary and Hollywood Lord Sutherland: Nomad's Progress James Piscatori: Imagining Pan-Islam: Religious Activism and Political Utopias. (shrink)

"Simone Weil's bibliography": p. [181]-194. Includes index. Introduction / George Abbott White -- The jagged edge / Michele Murray -- Simone Weil's mind / Robert Coles -- The life and death of Simone Weil / J.M. Cameron -- Simone Weil, last things / Michele Murray -- Simone Weil's Iliad / Michael K. Ferber -- Notes on Simone Weil's Iliad / Joseph H. Summers -- Patriotism and The need for roots / Conor Cruise O'Brien -- Marxism-Leninism and the language (...) of Politics magazine / Staughton Lynd -- Simone Weil's work experiences / George Abbott White. (shrink)

Utilitarianism, the great reforming philosophy of the nineteenth century, has today acquired the reputation for being a crassly calculating, impersonal philosophy unfit to serve as a guide to moral conduct. Yet what may disqualify utilitarianism as a personal philosophy makes it an eminently suitable guide for public officials in the pursuit of their professional responsibilities. Robert E. Goodin, a philosopher with many books on political theory, public policy and applied ethics to his credit, defends utilitarianism against its critics and (...) shows how it can be applied most effectively over a wide range of public policies. In discussions of such issues as paternalism, social welfare policy, international ethics, nuclear armaments, and international responses to the environment crisis, he demonstrates what a flexible tool his brand of utilitarianism can be in confronting the dilemmas of public policy in the real world. (shrink)

The United States Army’s Future Combat Systems Project, which aims to manufacture a “robot army” to be ready for deployment by 2012, is only the latest and most dramatic example of military interest in the use of artificially intelligent systems in modern warfare. This paper considers the ethics of a decision to send artificially intelligent robots into war, by asking who we should hold responsible when an autonomous weapon system is involved in an atrocity of the sort that would normally (...) be described as a war crime. A number of possible loci of responsibility for robot war crimes are canvassed; the persons who designed or programmed the system, the commanding officer who ordered its use, the machine itself. I argue that in fact none of these are ultimately satisfactory. Yet it is a necessary condition for fighting a just war, under the principle of jus in bellum, that someone can be justly held responsible for deaths that occur in the course of the war. As this condition cannot be met in relation to deaths caused by an autonomous weapon system it would therefore be unethical to deploy such systems in warfare. (shrink)

When a person at risk of having a child with a genetic illness or disease wishes to have an unaffected child, this can involve difficult choices. If the pregnancy is established by sexual intercourse, the fetus can be tested early in pregnancy, and if affected a decision can be made to abort in the hope that a future pregnancy with an unaffected fetus ensures. Alternatively, preimplantation genetic diagnosis can be used after in vitro fertilisation to select and implant an unaffected (...) embryo that hopefully will proceed to term and produce a healthy baby. We are aware that many individuals at risk regard the latter as ethically more acceptable than the former, and examine whether there is an ethical difference between these options. We conclude that PGD and implantation of an unaffected embryo is a more acceptable choice ethically than prenatal diagnosis followed by abortion for the following reasons: Choice after PGD is seen as ethically neutral because a positive result balances a negative result simultaneously . While there is usually the intention to establish a healthy pregnancy after an abortion, this is not simultaneous; A woman sees abortion as a personal physical violation of her integrity, and as the pregnancy proceeds she increasingly identifies with and gives ethical status to the embryo/fetus as it develops in utero and not in the laboratory; Many people see aborting a fetus as “killing”, whereas in the case of PGD the spare embryos are “allowed to die”. We argue that this difference of opinion gives further weight to our conclusion, but note that this has been addressed and debated at length by others. (shrink)

Robert Alexy develops his influential theory of legal reasoning exploring the nature of legal argumentation and its relation to practical reasoning. In doing so he sheds light on fundamental questions of law and rationality, which are as crucial to practising lawyers and law students as they are to scholars of legal theory.

A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an account (...) of what sort of thing a work of music is) which enables us to explain what such repeatability consists in, whilst doing maximal justice to the way in which we conceive of musical works in our reflective critical and appreciative practice. To this end, many have found it tempting to defend some version or other of the type-token theory : the thesis that a work is a type and its occurrences are its tokens. Much of the early debate prompted by the publication of Jerrold Levinson's seminal 'What a Musical Work Is' in 1980 has taken the type-token theory for granted, choosing to focus on how musical works, qua types, are individuated. (A key question here has been whether we should hold, with the sonicist , that works are identical just in case they sound exactly alike; or whether we should agree with Levinson's contextualist thesis that exact sound-alikes are distinct, if composed in distinct musico-historical contexts.) More recently, however, the type-token theory itself has been put under pressure, and alternatives have been suggested. So, e.g. Gregory Currie and David Davies have held versions of the thesis that musical works (and artworks generally) are acts of composition, whilst Guy Rohrbaugh has recommended that we think more innovatively about our metaphysical categories, and treat musical works (along with all repeatable artworks) as historical individuals . Historical individuals, like particular substances, come into and go out of existence, could have been somewhat different than they are, and can change through time; but such items, unlike particular substances, are nonetheless capable of having occurrences. In the last few years, ontologists of music have also stepped back to consider the very nature of their enterprise. In particular, a debate has ensued concerning the cogency of ontological proposals (such as those of Nelson Goodman, Nicholas Wolterstorff and Julian Dodd) that are substantially revisionary of our folk concept of a work of music. Amie Thomasson, David Davies and Andrew Kania occupy, to a greater or lesser degree, the descriptivist standpoint, according to which such revisionary ontologies are misconceived. The debate between revisionists and descriptivists in the ontology of music – if prosecuted against the backdrop of an awareness of developments in meta-ontology more generally – is a particularly fertile area in the philosophy of music at present. Author Recommends Wollheim, Richard. Art and its Objects . 2nd ed. Cambridge: Cambridge University Press, 1980. This seminal study nicely introduces and motivates the type-token theory, and in the course of doing so, helpfully, although perhaps contentiously, distinguishes types from both sets and properties. Wollheim's treatment was to a large part responsible for stimulating the subsequent debate as to the ontological nature of musical works. Levinson, Jerrold. 'What a Musical Work Is.' Journal of Philosophy 77 (1980); reprinted in his Music, Art and Metaphysics , 63–88. This paper has, perhaps, been the most influential account of the nature of musical works, post-Wollheim. Presuming the type-token theory to be correct, Levinson elaborates it by claiming musical works to be, not sound structures (i.e. structured patterns of sound-types), but a species of types he calls indicated structures . According to Levinson, a work of music is not to be identified with its sound structure, S ; it is, in fact, a compound of S and a performance-means structure, PM , as indicated (typically, via a score) by its composer on a certain occasion : something that we can represent as S/PM -as-indicated-by- X -at- t . Such indicated structures, Levinson argues, fit the bill for being what works of music are, because they come into being with their indication (i.e. their composition), are individuated in terms of the musico-historical context in which they were composed, and have their specified performance-means (i.e. their instrumentation) essentially. Wolterstorff, Nicholas. Works and Worlds of Art . Oxford: Clarendon Press, 1980. Part I of this book sees Wolterstorff defend a Platonistic version of the type-token theory (although Wolterstorff calls them 'kinds' rather than 'types'). According to Wolterstorff, considerations about the existence conditions of types commit us to the thesis that works of music, qua types, are entities that cannot come into or go out of existence. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. In this article, Kivy ingeniously (and wittily) defends a variety of Platonism about works of music against the animadversions of Levinson. Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Here Currie introduces and defends the thesis that works of music (and, indeed, all artworks) are compositional action-types. The book also contains some well-aimed criticisms of Levinson's account. Dodd, Julian. Works of Music: An Essay in Ontology . Oxford: Oxford University Press, 2007. In this book, Dodd defends the type-token theory, but argues that no version of it can escape the Platonisic consequence that musical works exist at all times (and hence, are discovered, rather than created, by their composers). Dodd also defends another controversial thesis, this time concerning musical works' individuation. According to Dodd, and pace Levinson and others, sonicism is correct: works that sound exactly alike are identical. Rohrbaugh, Guy. 'Artworks as Historical Individuals.' European Journal of Philosophy 11 (2003): 177–205. In this essay, Rohrbaugh makes some pointed criticisms of the type-token theory of repeatable artworks in the course of arguing that such works should be viewed, not as types, but as historical individuals (see above). Rohrbaugh suggests that treating musical works as historical individuals best captures our intuitions about such works' temporal and modal characteristics, and, in the course of elaborating his position, he makes some meta-ontological claims that see him endorsing a non-revisionary, descriptivist approach to the ontology of art. As Rohrbaugh sees it, ontologies of art are 'beholden to our artistic practices' (179), and 'aesthetics should not be beholden to the metaphysics on offer, but rather should drive new work in metaphysics' (197). Ridley, Aaron. 'Against Musical Ontology,' Journal of Philosophy 100 (2003): 203–220. This paper sees Ridley outlining a sceptical attitude towards the project of formulating ontological proposals. In his view, a 'serious philosophical engagement with music is orthogonal to, and may well in fact be impeded by, the pursuit of ontological issues' (203). Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics.' JAAC 63 (2005:221–9). Thomasson defends descriptivism in the ontology of art by arguing that such a position is a consequence of the only defensible solution to a problem in the theory of reference: the so-called 'qua' problem concerning how the reference of a term can be fixed. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Davies' position is characterised by two theses: one methodological, the other ontological. The methodological claim is that the ontology of art faces a pragmatic constraint : roughly speaking, the ontology of art is answerable to the epistemology of art. The ontological claim is that the rigorous enforcement of the pragmatic constraint commits us to the thesis that all artworks are compositional action-tokens. Online Materials http://www.blackwell-compass.com/subject/philosophy/article_view?article_id=phco_articles_bpL173 Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–34. doi: [DOI link] http://www3.interscience.wiley.com/journal/118557784/abstract Thomasson, Amie. 'Debates about the Ontology of Art: What are We Doing Here?' Philosophy Compass 1/3 (2006): 245–55. doi: [DOI link] http://www3.interscience.wiley.com/journal/122517227/abstract Davies, David. 'Works and Performances in the Performing Arts.' forthcoming in Philosophy Compass . doi: [DOI link] http://plato.stanford.edu/entries/music/ Kania, Andrew. 'The Philosophy of Music.' Stanford Encyclopedia of Philosophy . Sample Mini-Syllabus Week 1: The Type/Token Theory Introduced Wollheim, Richard. Art and its Objects , §§4–8, 21–3, 35–7. Kivy, Peter. Introduction to a Philosophy of Music , chapter 11. Oxford: Clarendon Press, 2002. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 1. Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Week 2: The Type/Token Theory and Platonism in Music Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Levinson, Jerrold. 'What a Musical Work Is'. Dodd, Julian. Works of Music: An Essay in Ontology , chapters 2–5. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. Kivy, Peter. 'Platonism in Music: Another Kind of Defence.' American Philosophical Quarterly 24 (1987): 245–52. Predelli, Stefano. 'Against Musical Platonism.' British Journal of Aesthetics 35 (1995): 338–50. Caplan, Ben and Carl Matheson. 'Can a Musical Work be Created?' British Journal of Aesthetics 44 (2004): 113–34. Week 3: Musical Works as Indicated Structures Levinson, Jerrold. 'What a Musical Work Is'. Levinson, Jerrold. 'What a Musical Work Is, Again', in his Music, Art and Metaphysics . Ithaca, NY: Cornell UP, 1990. 215–63. Dodd, Julian. 'Musical Works as Eternal Types.' British Journal of Aesthetics 40 (2000). Davies, Stephen. Musical Works and Performances: A Philosophical Account , chapter 2. Oxford: Oxford University Press, 2000. Howell, Robert. 'Types, Indicated and Initiated.' British Journal of Aesthetics 42 (2002): 105–27. Caplan, Ben and Carl Matheson. 'Fine Individuation.' British Journal of Aesthetics 47 (2007): 113–37. Week 4: Musical Work as Historical Individuals Rohrbaugh, Guy. 'Artworks as Historical Individuals'. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 6. Caplan, Ben and Carl Matheson. 'Defending Musical Perdurantism.' British Journal of Aesthetics 46 (2006): 59–69. Caplan, Ben and Carl Matheson. 'Defending "Defending Musical Perdurantism".' British Journal of Aesthetics 48 (2008): 331–37. Week 5: Musical Works as Compositional Actions Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 7. Week 6: Meta-ontology of Music: What are we Doing When we do the Ontology of Music? Ridley, Aaron. 'Against Musical Ontology'. Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics'. Thomasson, Amie. Ordinary Objects , chapter 11. OUP, 2007. Davies, David. 'The Primacy of Practice in the Ontology of Art.' Journal of Aesthetics and Art Criticism 67 (2009): 159–72. Kania, Andrew. 'Piece for the End of Time: In Defence of Musical Ontology,' British Journal of Aesthetics 48 (2008): 65–79. Kania, Andrew. 'The Methodology of Musical Ontology: Descriptivism and its Implications.' British Journal of Aesthetics 48 (2008): 426–44. Cameron, Ross. 'There are No Things That are Musical Works.' British Journal of Aesthetics 48 (2008): 295–314. Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–1134. doi: [DOI link] Focus Questions 1. Are musical works literally created by their composers? 2. Critically examine Levinson's thesis that musical works are 'indicated structures'. 3. What, if anything, is wrong with the thesis that musical works are identical just in case they sound exactly alike? 4. Should we immediately be sceptical of ontological proposals for works of music that are substantially revisionary of the way in which we ordinarily think of them? (shrink)

For most of the 20th century, it was possible to regard fertilisation as the identifiable point when life begins, because this moment could be defined unequivocally and was thought to be the single most essential biological step in the establishment of a new human entity. Since the successful reproductive cloning of Dolly and other mammals, it is clear that any human cell has the potential to supply the full genome of an embryo, and hence a person, without going through fertilisation. (...) At what point in time do such embryos acquire the respect accorded to human beings? The authors argue that the time of implantation is the most useful point at which the potential and the intention to create a new person are translated into reality, because from that point a new life develops. Implantation differentiates a somatic cell in culture from a human entity that has acquired its own identity and developmental potential. The authors examine the value of quickening or viability as alternative developmental stages in the process of acquiring respect for the Dolly embryo. (shrink)

In this paper I further elucidate and defend a metaontological position that allows you to have a minimal ontology without embracing an error-theory of ordinary talk. On this view 'there are Fs' can be strictly and literally true without bringing an ontological commitment to Fs. Instead of a sentence S committing you to the things that must be amongst the values of the variables if it is true, I argue that S commits you to the things that must exist as (...) truthmakers for S if it is true. I rebut some recent objections that have been levelled against this metaontological view. (shrink)