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  1. Why Skeptics Paint, or Imagining “Skepoiesis”: Un-Knowing and Re-Knowing Aesthetics Martin Ovens.Martin Ovens - 2014 - Journal of Aesthetics and Phenomenology 1 (1):33-61.
    ABSTRACTTwo distinct domains of philosophic enquiry are selected in order to disclose the core dynamics and concerns of a particular mode of “aesthetic skepsis”. Aspects of philosophy of cosmology and philosophy of infinity are considered in ways that serve to discipline the diminution of “belief” and the cultivation of creativity. The journey begins with a skeptic ego that is phenomenologically “empty” but wedded to a rhetoric of “darkness and light.” The result is a skepsis that needs to recapture and reconfigure (...)
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  • Making Room for Particulars: Plato’s Receptacle as Space, Not Substratum.Christopher Buckels - 2016 - Apeiron 49 (3):303-328.
    The ‘traditional’ interpretation of the Receptacle in Plato’s Timaeus maintains that its parts act as substrata to ordinary particulars such as dogs and tables: particulars are form-matter compounds to which Forms supply properties and the Receptacle supplies a substratum, as well as a space in which these compounds come to be. I argue, against this view, that parts of the Receptacle cannot act as substrata for those particulars. I also argue, making use of contemporary discussions of supersubstantivalism, against a substratum (...)
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  • A Platonic Trope Bundle Theory.Christopher Buckels - 2020 - Ancient Philosophy Today 2 (2):91-112.
    This paper provides a rational reconstruction of a Platonic trope bundle theory that is a live alternative to contemporary bundle theories. According to the theory, Platonic particulars are composed of what Plato calls images of Forms; contemporary metaphysicians call these tropes. Tropes are dependent on Forms and the Receptacle, while trope bundles are structured by natural kinds using the Phaedo's principles of inclusion and exclusion and the Timaeus’ geometrised elements, as well as by co-location in the Receptacle. Key elements of (...)
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