Switch to: References

Add citations

You must login to add citations.
  1. A Philosophy of Cover Songs.P. D. Magnus - 2022 - Cambridge, UK: Open Book Publishers.
    Cover songs are a familiar feature of contemporary popular music. Musicians describe their own performances as covers, and audiences use the category to organize their listening and appreciation. However, until now philosophers have not had much to say about them. This book explores how to think about covers, appreciating covers, and the metaphysics of covers and songs. Along the way, it explores a range of issues raised by covers, from the question of what precisely constitutes a cover, to the history (...)
    Direct download  
     
    Export citation  
     
    Bookmark  
  • Spatial Music.John Dyck - 2022 - European Journal of Philosophy 30 (1):279-292.
    Everyone agrees that musical works are individuated by essential elements such as tone, harmony, and rhythm. Some argue that timbre or instrumentation can individuate musical works, too. I argue here that there can be a further element of musical works: spatial location. Some works of music are partly constituted by the location and motion of their sound sources. I begin by describing works of spatial music and arguing that they exist. I then consider the implications for the ontology of music. (...)
    No categories
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  • Types, Tokens, and Talk About Musical Works.Julian Dodd & Philip Letts - 2017 - Journal of Aesthetics and Art Criticism 75 (3):249-263.
    It has recently been suggested that the type/token theorist concerning musical works cannot come up with an adequate semantic theory of those sentences in which we purport to talk about such works. Specifically, it has been claimed that, since types are abstract entities, a type/token theorist can only account for the truth of sentences such as “The 1812 Overture is very loud” and “Bach's Two Part Invention in C has an F-sharp in its fourth measure” by adopting an untenable semantic (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   3 citations  
  • Paraphrasability and the Causal Status of Types.Alexey Aliyev - forthcoming - Theoria.
    Some are attracted to the view that repeatable artworks, such as films, novels, plays, symphonies, photographs, and the like, are a particular kind of abstracta—namely, types. This view, however, is not unproblematic. One of the most serious problems it faces is the so-called "creation problem." The core idea behind this problem is that, on the one hand, it seems reasonable to accept the claims that (1) repeatable artworks are types, (2) types cannot be created, and (3) repeatable artworks are created, (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  • Musical Types and Musical Flexibility.Peter Alward - forthcoming - Acta Analytica:1-15.
    A central motivation for the type-token model of music works is its ability to explain musical multiplicity—the fact that musical works are capable of having multiple performances through which they can be experienced and which cannot be individually identified with the works themselves. The type-token model explains multiplicity by identifying musical works with structural types and taking performances to be tokens of those types. In this paper, I argue that musical works are flexible in ways which permit performances which are (...)
    No categories
    Direct download (3 more)  
    Translate
     
     
    Export citation  
     
    Bookmark  
  • Judging Covers.P. D. Magnus, Cristyn Magnus & Christy Mag Uidhir - 2013 - Journal of Aesthetics and Art Criticism 71 (4):361-370.
    Cover versions form a loose but identifiable category of tracks and performances. We distinguish four kinds of covers and argue that they mark important differences in the modes of evaluation that are possible or appropriate for each: mimic covers, which aim merely to echo the canonical track; rendition covers, which change the sound of the canonical track; transformative covers, which diverge so much as to instantiate a distinct, albeit derivative song; and referential covers, which not only instantiate a distinct song, (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   6 citations  
  • Everyone Can Change a Musical Work.Caterina Moruzzi - 2022 - British Journal of Aesthetics 62 (1):1-13.
    This paper explores how a new theory on the ontology of musical works, Musical Stage Theory, can address the problem of change in musical works. A natural consequence of the ontological framework of this theory is that musical works change intrinsically through a change in the sonic-structural properties of performances. From this a surprising consequence follows: everyone can change a musical work. Still, it seems that some changes matter more than others. The article offers a revisionary reply to this concern (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  • Adventures in the Metaontology of Art: Local Descriptivism, Artefacts and Dreamcatchers.Julian Dodd - 2013 - Philosophical Studies 165 (3):1047-1068.
    Descriptivism in the ontology of art is the thesis that the correct ontological proposal for a kind of artwork cannot show the nascent ontological conception of such things embedded in our critical and appreciative practices to be substantially mistaken. Descriptivists believe that the kinds of revisionary art ontological proposals propounded by Nelson Goodman, Gregory Currie, Mark Sagoff, and me are methodologically misconceived. In this paper I examine the case that has been made for a local form of descriptivism in the (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   16 citations  
  • The Property Theory of Musical Works.Philip Letts - 2018 - Journal of Aesthetics and Art Criticism 76 (1):57-69.
    The property theory of musical works says that each musical work is a property that is instantiated by its occurrences, that is, the work's performances and playings. The property theory provides ontological explanations very similar to those given by its popular cousin, the type/token theory of musical works, but it is both simpler and stronger. However, type/token theorists often dismiss the property theory. In this essay, I formulate a version of the property theory that identifies each type with a unique (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   8 citations  
  • The Assumptions Behind Musical Stage Theory: A Reply to Letts.Caterina Moruzzi - 2020 - Journal of Aesthetics and Art Criticism 78 (3):362-366.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  • Is Moruzzi's Musical Stage Theory Advantaged?Philip Letts - 2020 - Journal of Aesthetics and Art Criticism 78 (3):357-362.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  • On Experiencing Installation Art.Elisa Caldarola - 2020 - Journal of Aesthetics and Art Criticism 78 (3):339-343.
    This paper contrasts the experience of works of installation art with sculptural and architectural experience and argues that installation art is an interactive art form.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  • Supervenience and Realization: Aesthetic Objects and Their Properties.Michael Watkins - 2021 - British Journal of Aesthetics 61 (2):229-245.
    Aestheticians generally agree that the aesthetic features of an object depend upon the non-aesthetic features of an object, and that this dependence can be captured by some formulation of the supervenience relation. I argue that the aesthetic depends upon the non-aesthetic in various and importantly different ways; that these dependence relations cannot be explained by supervenience; that appeals to supervenience create puzzles that aestheticians have neither fully appreciated nor resolved; and that appealing to various realization relations avoids these puzzles and (...)
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  • Contemporary Art: Ontology.Sherri Irvin - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics, 2nd ed., Vol. 2. Oxford University Press. pp. 170-172.
    The ontology of visual artworks might be thought comparable to the ontology of other sorts of artifacts: a work of painting seems to be materially constituted by a particular canvas with paint on it, just as a spoon is constituted by a particular piece of metal. But recent developments have complicated the situation, requiring a new account of the ontology of contemporary art. These developments also shed light on the ontology of works from earlier historical eras. This article discusses Artworks (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  • In Advance of the Broken Theory: Philosophy and Contemporary Art.Sherri Irvin & Julian Dodd - 2017 - Journal of Aesthetics and Art Criticism 75 (4):375-386.
    We discuss how analysis of contemporary artworks has shaped philosophical theories about the concept of art, the ontology of art, and artistic media. The rapid expansion, during the contemporary period, of the kinds of things that can count as artworks has prompted a shift toward procedural definitions, which focus on how artworks are selected, and away from definitions that focus exclusively on artworks’ features or effects. Some contemporary artworks challenge the traditional art–ontological dichotomy between physical particulars and repeatable entities whose (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  • Artworks, Objects and Structures.Sherri Irvin - 2012 - In Anna Christina Ribeiro (ed.), The Continuum Companion to Aesthetics. Continuum. pp. 55-73.
    This essay examines the difficulties faced by the claim that artworks are simple physical objects (or, in the case of non-visual art forms, simple structures of another sort) and examines alternative proposals regarding their ontological nature.
    Direct download  
     
    Export citation  
     
    Bookmark  
  • Worlds Without End: A Platonist Theory of Fiction.Patrick Grafton-Cardwell - 2021 - Dissertation, University of Massachusetts, Amherst
    I first ask what it is to make up a story. In order to answer that question, I give existence and identity conditions for stories. I argue that a story exists whenever there is some narrative content that has intentionally been made accessible. I argue that stories are abstract types, individuated by the conditions that must be met by something in order to be a properly formed token of the type. However, I also argue that the truth of our story (...)
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  • Works and Performances in the Performing Arts.David Davies - 2009 - Philosophy Compass 4 (5):744-755.
    The primary purpose of the performing arts is to prepare and present 'artistic performances', performances that either are themselves the appreciative focuses of works of art or are instances of other things that are works of art. In the latter case, we have performances of what may be termed 'performed works', as is generally taken to be so with performances of classical music and traditional theatrical performances. In the former case, we have what may be termed 'performance-works', as, for example, (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   3 citations  
  • Musical Works: Ontology and Meta-Ontology.Julian Dodd - 2008 - Philosophy Compass 3 (6):1113-1134.
    The ontological nature of works of music has been a particularly lively area of philosophical debate during the past few years. This paper serves to introduce the reader to some of the most fertile and interesting issues. Starting by distinguishing three questions – the categorial question, the individuation question, and the persistence question – the article goes on to focus on the first: the question of which ontological category musical works fall under. The paper ends by introducing, and briefly considering, (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   8 citations  
  • Intuitions in the Ontology of Musical Works.Elzė Sigutė Mikalonytė - forthcoming - Review of Philosophy and Psychology:1-20.
    An impressive variety of theories of ontology of musical works has been offered in the last fifty years. Recently, the ontologists have been paying more attention to methodological issues, in particular, the problem of determining criteria of a good theory. Although different methodological approaches involve different views on the importance and exact role of intuitiveness of a theory, most philosophers writing on the ontology of music agree that intuitiveness and compliance with musical practice play an important part when judging theories. (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  • The Ontology of Musical Versions: Introducing the Hypothesis of Nested Types.Nemesio García-Carril Puy - 2019 - Journal of Aesthetics and Art Criticism 77 (3):241-254.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   7 citations  
  • Debugging the Case for Creationism.Patrick Grafton-Cardwell - 2019 - Philosophical Studies:1-19.
    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 (...)
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  • What Instances of Novels Are.Alexey Aliyev - 2017 - Philosophia 45 (1):163-183.
    The consensus is that novels can be fully appreciated only through an experiential engagement with their well-formed instances. But what are the entities that serve as such instances? According to the orthodox view, these entities are primarily inscriptions—concrete texts written or printed on something or displayed on the screen of some electronic device. In this paper, I argue that this view is misguided, since well-formed instances of a novel must manifest certain sonic properties, but such properties cannot be manifested by (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  • Conception, Sense, and Reference in Peircean Semiotics.Risto Hilpinen - 2015 - Synthese 192 (4):1-28.
    In his Logical Investigations Edmund Husserl criticizes John Stuart Mill’s account of meaning as connotation, especially Mill’s failure to separate the distinction between connotative and non-connotative names from the distinction between the meaningful and the meaningless. According to Husserl, both connotative and non-connotative names have meaning or “signification”, that is, what Gottlob Frege calls the sense (“Sinn”) of an expression. The distinction between connotative and non-connotative names is a distinction between two kinds of meaning (or sense), attributive and non-attributive meaning (...)
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  • Debugging the Case for Creationism.Patrick Grafton-Cardwell - 2020 - Philosophical Studies 177 (11):3509-3527.
    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 (...)
    Direct download (2 more)  
    Translate
     
     
    Export citation  
     
    Bookmark   1 citation  
  • Aesthetic Opacity.Emanuele Arielli - 2017 - Proceedings of the European Society for Aesthetics.
    Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...)
    No categories
    Direct download  
     
    Export citation  
     
    Bookmark  
  • Some Ideas About the Metaphysics of Stories.Wesley D. Cray - 2019 - British Journal of Aesthetics 59 (2):147-160.
    Aaron Smuts has argued that attempts to offer a plausible distinction between stories and tellings will likely face insurmountable difficulties. Here, I offer a distinction between stories and tellings that does not face these difficulties. In doing so, I propose an ontology of stories according to which such entities are ideas for narrative manifestation. In developing this ontology, I also consider parallels between stories and musical compositions.
    Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  • Ontologia da Arte.António Lopes - 2013 - Compêndio Em Linha de Problemas de Filosofia Analítica.
    Este artigo aborda as principais teorias sobre a natureza metafísica das obras de arte, cobrindo as propostas eliminativistas, monistas e pluralistas. Entre estas últimas, é dado destaque ao trabalho sobre a ontologia das artes performativas, e em particular, da música. Termina-se com uma referência à recente viragem da discussão para o campo da meta-ontologia e a polémica sobre a plausibilidade do revisionismo ontológico no caso de artefactos ou objectos sociais.
    Direct download (3 more)  
    Translate
     
     
    Export citation  
     
    Bookmark  
  • Musical Works: Category and Identity.Philip Edward Letts - unknown
    The aim of this thesis is to increase our ontological understanding of musical works in two ways. We’ll increase our understanding of their categorial nature and we’ll increase our understanding of what the identity of each musical work consists in. In chapter 1, I introduce the basic question of the thesis: what are musical works? This question is broken down into four separate questions which guide the structure and argument of the thesis. One question asks if musical works exist, the (...)
    Direct download  
     
    Export citation  
     
    Bookmark  
  • The Methodology of Musical Ontology: Descriptivism and its Implications.Andrew Kania - 2008 - British Journal of Aesthetics 48 (4):426-444.
    I investigate the widely held view that fundamental musical ontology should be descriptivist rather than revisionary, that is, that it should describe how we think about musical works, rather than how they are independently of our thought about them. I argue that if we take descriptivism seriously then, first, we should be sceptical of art-ontological arguments that appeal to independent metaphysical respectability; and, second, we should give ‘fictionalism’ about musical works—the theory that they do not exist—more serious consideration than it (...)
    Direct download (7 more)  
     
    Export citation  
     
    Bookmark   24 citations  
  • The Role of Expectation in the Constitution of Subjective Musical Experience.Elisa Negretto - unknown
    The present study is a theoretical discussion concerning some of the important processes that characterize human perception, which is understood as a fundamental structure of consciousness. The aim is to acquire new insights for a better comprehension of the human experience in the world and the way individual subjects become familiar with their environment. To accomplish this task, the experience of listening to music is analysed due to the widespread acceptance of music as an important aspect of human life. With (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  • Hume e l’immaginazione ricreativa.Fabian Dorsch - 2013 - Rivista di Estetica 53:25-54.
  • Unfit to Print: Contra Mag Uidhir on the Ontology of Photographic Artworks.Alexey Aliyev - 2016 - Estetika 53 (1):3-13.
    According to the orthodox view, photographic artworks are abstract objects. This view, however, has recently been challenged by Christy Mag Uidhir. In his article ‘Photographic Art: An Ontology Fit to Print’, he argues in favour of a nominalist construal of photographic artworks. My goal is to show that Mag Uidhir’s argument is unpersuasive.
    Direct download  
     
    Export citation  
     
    Bookmark  
  • Modality, Individuation, and the Ontology of Art.Carl Matheson & Ben Caplan - 2008 - Canadian Journal of Philosophy 38 (4):491-517.
    In 1988, Michael Nyman composed the score for Peter Greenaway’s film Drowning by Numbers (or did something that we would ordinarily think of as composing that score). We can think of Nyman’s compositional activity as a “generative performance” and of the sound structure that Nyman indicated (or of some other abstract object that is appropriately related to that sound structure) as the product generated by that performance (ix).1 According to one view, Nyman’s score for Drowning by the Numbers—the musical work—is (...)
    Direct download (8 more)  
     
    Export citation  
     
    Bookmark   3 citations  
  • Noël Carroll.Maisie Knew - 2008 - In Paisley Livingston & Carl R. Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge. pp. 196.
    Direct download  
     
    Export citation  
     
    Bookmark  
  • Fictionalism About Musical Works.Anton Killin - 2018 - Canadian Journal of Philosophy 48 (2):266-291.
    The debate concerning the ontological status of musical works is perhaps the most animated debate in contemporary analytic philosophy of music. In my view, progress requires a piecemeal approach. So in this article I hone in on one particular musical work concept – that of the classical Western art musical work; that is, the work concept that regulates classical art-musical practice. I defend a fictionalist analysis – a strategy recently suggested by Andrew Kania as potentially fruitful – and I develop (...)
    Direct download (8 more)  
     
    Export citation  
     
    Bookmark   4 citations  
  • A Return to Musical Idealism.Wesley D. Cray & Carl Matheson - 2017 - Australasian Journal of Philosophy 95 (4):702-715.
    In disputes about the ontology of music, musical idealism—that is, the view that musical compositions are ideas—has proven to be rather unpopular. We argue that, once we have a better grip on the ontology of ideas, we can formulate a version of musical idealism that is not only defensible, but plausible and attractive. We conclude that compositions are a particular kind of idea: they are completed ideas for musical manifestation.
    Direct download (6 more)  
     
    Export citation  
     
    Bookmark   11 citations  
  • In Support of Content Theories of Art.John Dilworth - 2007 - Australasian Journal of Philosophy 85 (1):19 – 39.
    A content theory of art would identify an artwork with the meaningful or representational content of some concrete artistic vehicle, such as the intentional, expressive, stylistic, and subject matter-related content embodied in, or resulting from, acts of intentional artistic expression by artists. Perhaps surprisingly, the resultant view that an artwork is nothing but content seems to have been without theoretical defenders until very recently, leaving a significant theoretical gap in the literature. I present some basic arguments in defence of such (...)
    Direct download (6 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  • Installation Art and Performance: A Shared Ontology.Sherri Irvin - 2013 - In Christy Mag Uidhir (ed.), Art and Abstract Objects. Oxford University Press. pp. 242-262.
    This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   6 citations  
  • The Matter of Serial Fiction.Chris Tillman - 2016 - Res Philosophica 93 (2):425-439.
    Recent work on the problem of truth in serial fiction has focused on the semantics of certain sentences used to talk about serial fictions, as in Ross Cameron’s “How to Be a Nominalist and a Fictional Realist” and Andrew McGonigal’s “Truth, Relativism, and Serial Fiction,” or semantic properties of works themselves, as in Ben Caplan’s “Serial Fiction, Continued.” Here I argue that these proposed solutions are mistaken, and, more importantly, that the general approach to the problem is mistaken: the problem (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  • Multiplicity, Audibility, and Musical Continuity.Peter Alward - 2020 - Dialogue 59 (1):101-121.
    ABSTRACTMusical works are both multiple — they have a plurality of instances — and audible — they can be heard by listening to their instances. Two prominent approaches to musical ontology designed to explain these features of musical works are the type-token model and the continuant-stage model. Julian Dodd has argued that the type-token model has an advantage over the continuant-stage model because it can offer a direct explanation of the audibility of musical works in terms of their ontological category. (...)
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  • The Vagueness Argument Against Abstract Artifacts.Daniel Z. Korman - 2014 - Philosophical Studies 167 (1):57-71.
    Words, languages, symphonies, fictional characters, games, and recipes are plausibly abstract artifacts— entities that have no spatial location and that are deliberately brought into existence as a result of creative acts. Many accept that composition is unrestricted: for every plurality of material objects, there is a material object that is the sum of those objects. These two views may seem entirely unrelated. I will argue that the most influential argument against restricted composition—the vagueness argument—doubles as an argument that there can (...)
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark   7 citations  
  • Why Can’T I Change Bruckner’s Eighth Symphony?David Friedell - 2020 - Philosophical Studies 177 (3):805-824.
    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 (...)
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark   12 citations  
  • Invisible Images and Indeterminacy: Why We Need a Multi-Stage Account of Photography.Dawn M. Wilson - 2021 - Journal of Aesthetics and Art Criticism 79 (2):161-174.
    Some photographs show determinate features of a scene because the photographed scene had those features. This dependency relation is, rightly, a consensus in philosophy of photography. I seek to refute many long-established theories of photography by arguing that they are incompatible with this commitment. In Section II, I classify accounts of photography as either single-stage or multi-stage. In Section III, I analyze the historical basis for single-stage accounts. In Section IV, I explain why the single-stage view led scientists to postulate (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  • The Philosophy of Music.Andrew Kania - 2008 - Stanford Encyclopedia of Philosophy.
    This is an overview of analytic philosophy of music. It is in five sections, as follows: 1. What Is Music? 2. Musical Ontology 3. Music and the Emotions 4. Understanding Music 5. Music and Value.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   16 citations  
  • Historical Individuals Like Anas Platyrhynchos and 'Classical Gas'.P. D. Magnus - 2013 - In Christy Mag Uidhir (ed.), Art and Abstract Objects. Oxford University Press. pp. 108.
    In this paper, I explore and defend the idea that musical works are historical individuals. Guy Rohrbaugh (2003) proposes this for works of art in general. Julian Dodd (2007) objects that the whole idea is outré metaphysics, that it is too far beyond the pale to be taken seriously. Their disagreement could be seen as a skirmish in the broader war between revisionists and reactionaries, a conflict about which of metaphysics and art should trump the other when there is a (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   5 citations  
  • History of the Ontology of Art.Paisley Nathan Livingston - 2011 - Stanford Encyclopedia of Philosophy.
    First critical survey devoted to the history of philosophical contributions to this topic. Brings to light neglected contributions prior to the second half of the 20th century including works in Danish, German, and French. Provides a division of issues and clarifies key ambiguities related to modality.
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark   4 citations  
  • Musical Ontology and the Question of Persistence.Peter Alward - 2020 - Acta Analytica 35 (2):213-227.
    According to certain models of the musical work-performance relationship, musical works persist through time. Dodd and Thomasson argue that perdurantist accounts of musical persistence—according to which musical works persist by having temporal parts at every time they exist—are untenable, and Tillman argues that musical endurantism—according to which persisting works are wholly present at each time they exist—avoids Dodd’s worries. In this paper, I argue that both Dodd’s and Thomasson’s arguments—and Tillman’s response—rely on assumptions linking theories of persistence to common-sense views (...)
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   3 citations  
  • Musical Perdurantism and the Problem of Intermittent Existence.Alexey Aliyev - 2017 - Grazer Philosophische Studien 94 (1-2):83-100.
    Recently, a number of philosophers have defended a novel, materialist view on the nature of musical works—musical perdurantism. According to this view, musical works are a peculiar kind of concreta, namely perduring mereological sums of performances and/or other concrete entities. One problem facing musical perdurantism stems from the thought that if this view is correct, then virtually no musical work can exist in a continuous, non-intermittent fashion. The aim of this paper is to expound this problem and show that it (...)
    Direct download (6 more)  
     
    Export citation  
     
    Bookmark   7 citations  
  • On Fictional Characters as Types.Enrico Terrone - 2017 - British Journal of Aesthetics 57 (2):161-176.
    Conceiving of fictional characters as types allows us to reconcile intuitions of sameness and difference about characters such as Batman that appear in different fictional worlds. Sameness occurs at the type level while difference occurs at the token level. Yet, the claim that fictional characters are types raises three main issues. Firstly, types seem to be eternal forms whereas fictional characters seem to be the outcome of a process of creation. Secondly, the tokens of a type are concrete particulars in (...)
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark   7 citations