The Argument from Vagueness for Universalism contends that any non-arbitrary restriction on composition must be vague, but that vague composition leads to unacceptable count indeterminacy. One common response to the argument is that borderline cases of composition don’t necessarily lead to count indeterminacy because a determinately existing thing may be a borderline case of a presently existing concrete composite object. We can collectively refer to such views as versions of the Status Response. This paper argues that the Status Response cannot (...) handle count indeterminacy about various categories of things, such as events, states of affairs, tropes, holes, shadows, and created abstracta, when these are understood in the right way. This makes the Status Response objectionablfy ad hoc, which should lead us to look for alternative ways of resisting the Argument from Vagueness. (shrink)

I present two puzzles about the metaphysics of stores, restaurants, and other such establishments. I defend a solution to the puzzles, according to which establishments are not material objects and are not constituted by the buildings that they occupy.

Repeatable artworks like musical works have presented theorists in the ontology of art with a puzzle. They seem in some respects like eternal, immutable objects and in others like created, historical objects. Creationists have embraced the latter appearances and attempted to compel Platonists to follow them. I examine in detail each argument in a cumulative case for Creationism, showing how the Platonist can respond. The conclusion is that the debate between Platonists and Creationists is a stalemate. In order for progress (...) to be made in the first-order debate, second-order progress on the metaontology of art needs to come first. (shrink)

Repeatable artworks like musical works have presented theorists in the ontology of art with a puzzle. They seem in some respects like eternal, immutable objects and in others like created, historical objects. Creationists have embraced the latter appearances and attempted to compel Platonists to follow them. I examine in detail each argument in a cumulative case for Creationism, showing how the Platonist can respond. The conclusion is that the debate between Platonists and Creationists is a stalemate. In order for progress (...) to be made in the first-order debate, second-order progress on the metaontology of art needs to come first. (shrink)

Musical works change. Bruckner revised his Eighth Symphony. Ella Fitzgerald and many other artists have made it acceptable to sing the jazz standard “All the Things You Are” without its original verse. If we accept that musical works genuinely change in these ways, a puzzle arises: why can’t I change Bruckner’s Eighth Symphony? More generally, why are some individuals in a privileged position when it comes to changing musical works and other artifacts, such as novels, films, and games? I give (...) a view of musical works that helps to answer these questions. Musical works, on this view, are created abstract objects with no parts. The paradigmatic changes that musical works undergo are socially determined normative changes in how they should be performed. Due to contingent social practices, Bruckner, but not I, can change how his symphony should be performed. Were social practices radically different, I would be able to change his symphony. This view extends to abstract artifacts beyond music, including novels, films, words, games, and corporations. (shrink)

In ‘Against fictional realism’ Anthony Everett argues that fictional realism leads to indeterminate identity. He concludes that we should reject fictional realism. Everett’s paper and much of the ensuing literature does not discuss what exactly fictional characters are. This is a mistake. I argue that some versions of abstract creationism about fictional characters lead to indeterminate identity, and that some versions of Platonism about fictional characters lead only to indeterminate reference. In doing so I show that Everett’s argument poses a (...) more pressing problem for abstract creationism than for Platonism. The general lesson is that fictional realists should think more about the ontology of fictional characters in order to discern whether they are committed to indeterminate identity. (shrink)

Beach's Gaelic Symphony is plausibly an abstract object that Beach created. The view that people create some abstract objects is called abstract creationism. There are abstract creationists about many kinds of objects, including musical works, fictional characters, arguments, words, internet memes, installation artworks, bitcoins, and restaurants. Alternative theories include materialism and Platonism. This paper discusses some of the most serious objections against abstract creationism. Arguably, these objections have ramifications for questions in metaphysics pertaining to the abstract/concrete distinction, time, causation, vague (...) existence, vague identity, and inadvertent creation. (shrink)

Kurt Gödel’s version of the Ontological Proof derives rather than assumes the crucial Possibility Claim: the claim that it is possible that something God-like exists. Gödel’s derivation starts off with a proof of the Possible Instantiation of the Positive: the principle that, if a property is positive, it is possible that there exists something that has that property. I argue that Gödel’s proof of this principle relies on some implausible axiological assumptions but it can be patched so that it only (...) relies on plausible principles. But Gödel’s derivation of the Possibility Claim also needs a substantial axiological assumption, which is still open to doubt. (shrink)