The debate about cinematic motion revolves around the question of whether the movement of cinematic images is real. That the movement we perceive in film should be construed as the movement of images is taken for granted. But this is a mistake. There is no reason to suppose that cinematic images of moving objects are themselves perceived to be moving. All that is necessary is to perceive these images as continuously changing images of one and the same object.

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, (...) in free improvisations. Where we have performances of performed works, a number of distinctive philosophical questions arise: What kind of thing is a performed work? How is it appreciated through its performances? Is 'authenticity' an artistically relevant quality of performances of performed works, and, if so, why? How much of what goes on in the performing arts is rightly viewed as the performance of performed works? Artistic performances, whether or not they are of performed works, raise philosophical questions of their own. Can a performance itself be rightly viewed as a work of art? How do improvisation and rehearsal enter into the performing arts, and how do they bear on the appreciation of artistic performances? What role does the audience play in such performances? Does the performer's use of her own body as an artistic medium, as for example in dance performance, generate special constraints on appreciation? How, finally, does what is usually classified as 'performance art' relate to activities in the performing arts more generally construed? I critically survey the ways in which these questions have been addressed by principal theorists in the field. (shrink)

In this paper I show that we have strong empirical and theoretical reasons to treat the verbs we use in our semantic theorizing—particularly ‘refers to ’, ‘applies to ’, and ‘is true of ’—as intensional transitive verbs. Stating our semantic theories with intensional vocabulary allows us to partially reconcile two competing approaches to the nature and subject-matter of semantics: the Chomskian approach, on which semantics is non-relational, internalistic, and concerns the psychology of language users, and the Lewisian approach, on which (...) semantics is fully relational, specifies truth-conditions, and has metaphysical implications. ITVs have two readings: an intensional, de dicto reading, and a relational, de re reading. A semantic theory stated with the de dicto readings of our semantic verbs captures the core insights of the Chomskian approach to semantics, in part because it allows us to assign extremely fine-grained semantic values to expressions, even when those expressions are empty. On the other hand, the de re reading yields a theory that is fully relational, and issues in truth-conditions. The resulting theories are related—and compatible—in that they are expressed by two different readings of the very same semantic vocabulary, and plausibly, the distinction between these two readings is one of scope. (shrink)

We argue that sensitivity to the distinction between the tensed notion of being something and the tensed notion of being located at the present time serves as a good antidote to confusions in debates about time and existence, in particular in the debate about how to characterise presentism, and saves us the trouble of going through unnecessary epicycles. Both notions are frequently expressed using the tensed verb ‘to exist’, making it systematically ambiguous. It is a commendable strategy to avoid using (...) that verb altogether in these contexts and to use quantification and a location predicate instead. (shrink)

'Ontological dependence' is a term of philosophical jargon which stands for a rich family of properties and relations, often taken to be among the most fundamental ontological properties and relations. Notions of ontological dependence are usually thought of as 'carving reality at its ontological joints', and as marking certain forms of ontological 'non-self-sufficiency'. The use of notions of dependence goes back as far as Aristotle's characterization of substances, and these notions are still widely used to characterize other concepts and to (...) formulate metaphysical claims. This paper first gives an overview of the varieties of these notions, and then discusses some of their main applications. (shrink)

The paper presents an accommodation problem for extant semantic accounts of fiction. Some accounts of fiction are designed to accommodate one or another form of fictive statement exclusively, what I shall call in-fiction and out-fiction. Thus, typically, the accounts fail to do justice to their respective excluded form. A natural response, entertained by Kripke and in a different fashion by latter-day Meinongians, is to let the two different kinds of fiction have their respective accounts. It is very easy, however, to (...) mix in and out predicates, which amounts to a species of copredication, where a single nominal receives simultaneous distinct interpretations relative to distinct predicates without creating ambiguity. Copredication is a perfectly general phenomenon that arises for any nominal. The simple problem now is that copredication appears to render all extant accounts of fiction either essentially partial, in dealing with one kind of simple form of fiction but not another, or merely wrong in imagining that fiction comes in categorically distinct forms, for the coherence of copredication is enough to show that this is not so. The aim of the paper is to show to resolve this accommodation problem by the radical expedient of suggesting that the fiction/non-fiction distinction is not really a semantic one, but more one between different ways in which sentences are made true or false. (shrink)

I contend that mathematical domains are freestanding institutional entities that, at least typically, are introduced to serve representational functions. In this paper, I outline an account of institutional reality and a supporting metaontological perspective that clarify the content of this thesis. I also argue that a philosophy of mathematics that has this thesis as its central tenet can account for the objectivity, necessity, and atemporality of mathematics.

Stereotypes of social construction suggest that the existence of social constructs is accidental and that such constructs have arbitrary and subjective features. In this paper, I explore a conception of social construction according to which it consists in the collective imposition of function onto reality and show that, according to this conception, these stereotypes are incorrect. In particular, I argue that the collective imposition of function onto reality is typically non-accidental and that the products of such imposition frequently have non-arbitrary (...) and objective features. These conclusions are interesting in and of themselves since they debunk important aspects of our socially constructed conception of social construction. Yet, additionally, they have important implications for the viability of mathematical social constructivism since resistance to such constructivism is frequently grounded in the observation that mathematics is non-accidental, non-arbitrary, and objective. As a secondary focus, I explore these implications in this paper. (shrink)

Fictional realists maintain that fictional characters are part of the world’s ontology. In an influential article, Anthony Everett argues that the fictional realist is thereby committing herself to problematic entities. Among these are entities that are indeterminately identical. Recently, Ross Cameron and Richard Woodward have answered Everett’s worry using the same strategy. They argue that the fictional realist can bypass the problematic identities by contending that they are merely semantically indeterminate. This paper concisely surveys Everett’s original argument, Cameron’s and Woodward’s (...) responses, and then argues that the strategy employed by Cameron and Woodward fails to satisfactorily answer Everett’s worries. (shrink)

Paradigmatic uses of negative existentials such as ‘Vulcan does not exist’ are problematic because they present the interpreter with a pragmatic paradox: a speaker who uses such a sentence seems to be asserting something that is incompatible with what she presupposes. An adequate solution must therefore explain why we interpret paradigmatic uses of negative existentials as saying something true, even though such uses present us with a pragmatic paradox. I provide such an explanation by analyzing paradigmatic uses of negative existentials (...) as corrections of previous assertions that are judged to suffer from referential presupposition failure. I present the explanation within the framework of a simple version of segmented discourse representation theory. (shrink)

When I say ‘Hesperus is Phosphorus’, I seem to express a proposition. And when I say ‘Joan believes that Hesperus is Phosphorus’, I seem to ascribe to Joan an attitude to the same proposition. But what are propositions? And what is involved in ascribing propositional attitudes?

In this paper, I argue that there are universals. I begin (Sect. 1) by proposing a sufficient condition for a thing’s being a universal. I then argue (Sect. 2) that some truths exist necessarily. Finally, I argue (Sects. 3 and 4) that these truths are structured entities having constituents that meet the proposed sufficient condition for being universals.

According to the traditional bundle theory, particulars are bundles of compresent universals. I think we should reject the bundle theory for a variety of reasons. But I will argue for the thesis at the core of the bundle theory: that all the facts about particulars are grounded in facts about universals. I begin by showing how to meet the main objection to this thesis (which is also the main objection to the bundle theory): that it is inconsistent with the possibility (...) of distinct qualitative indiscernibles. Here, the key idea appeals to a non-standard theory of haecceities as non-well-founded properties of a certain sort. I will then defend this theory from a number of objections, and finally argue that we should accept it on the basis of considerations of parsimony about the fundamental. (shrink)

In an addendum to Naming and Necessity, Saul Kripke argues against his earlier view that Sherlock Holmes is a possible person. In this paper, I suggest a nonstandard interpretation of the addendum. A key feature of this non-standard interpretation is that it attempts to make sense of why Kripke would be rejecting the view that Sherlock Holmes is a possible person without asserting that it is not the case that Sherlock Holmes is a possible person.

Fictionalism about fictional characters is a view according to which all claims ostensibly about fictional characters are in fact claims about the content of a story. Claims that appear to refer to or quantify over fictional objects contain an implicit prefix of the form “according to such-and-such story. In.

John Stuart Mill (1843) thought that proper names denote individuals and do not connote attributes. Contemporary Millians agree, in spirit. We hold that the semantic content of a proper name is simply its referent. We also think that the semantic content of a declarative sentence is a Russellian structured proposition whose constituents are the semantic contents of the sentence’s constituents. This proposition is what the sentence semantically expresses. Therefore, we think that sentences containing proper names semantically express singular propositions, which (...) are propositions having individuals as constituents. For instance, the sentence ‘George W. Bush is human’ semantically expresses a proposition that has Bush himself as a constituent. Call this theory Millianism. Many philosophers initially find Millianism quite appealing, but find it much less so after considering its many apparent problems. Among these problems are those raised by non-referring names, which are sometimes (tendentiously) called empty names. Plausible examples of empty names include certain names from fiction, such as ‘Sherlock Holmes’, which I shall call fictional names, and certain names from myth and false scientific theory, such as ‘Pegasus’ and ‘Vulcan’, which I shall call mythical names. I have defended Millianism from objections concerning empty names in previous work (Braun 1993). In this paper, I shall re-present those objections, along with some new ones. I shall then describe my previous Millian theory of empty names, and my previous replies to the objections, and consider whether the theory or replies need revision. I shall next consider whether fictional and mythical names are really empty. I shall argue that at least some utterances of mythical names are. (shrink)

Typically, if I understand a sentence, then it expresses a proposition that I entertain. Nonsensical sentences don’t express propositions, but there are contexts in which we talk about understanding nonsensical sentences. For example, we accept various kinds of semantically defective sentences in fiction, philosophy, and everyday life. Furthermore, it is a standard assumption that if a sentence is nonsensical, then it makes no sense to say that it implies anything or is implied by other sentences. Semantically uninterpreted sentences don’t have (...) logical characteristics. Hence, the riddle of understanding nonsense arises. We seem to use nonsensical sentences in reasoning, thinking, judging, and drawing conclusions, but they convey no propositions, which are the vehicles of their semantic properties. In this article, I propose the pretence theory of understanding nonsense to explain the riddle of understanding nonsense, and discuss alternative frameworks that are insufficient to solve it. -/- . (shrink)

Consider the opening sentence of Tolkien’s The Hobbit: In a hole in the ground there lived a hobbit. By writing this sentence, Tolkien is making a fictional statement. There are two influential views of the nature of such statements. On the pretense view, fictional discourse amounts to pretend assertions. Since the author is not really asserting, but merely pretending, a statement such as Tolkien’s is devoid of illocutionary force altogether. By contrast, on the alternative make-believe view, fictional discourse prescribes that (...) the reader make-believe the content of the statement. In this paper, we argue that neither of these views is satisfactory. They both fail to distinguish the linguistic act of creating the fiction, for instance Tolkien writing the sentence above, from the linguistic act of reciting it, such as reading The Hobbit out loud for your children. As an alternative to these views, we propose that the essential feature of the author’s speech act is its productive character, that it makes some state of affairs obtain in the fiction. Tolkien’s statement, we argue, has the illocutionary force of a declaration. (shrink)

We outline a neo-Meinongian framework labeled as Modal Meinongian Metaphysics (MMM) to account for the ontology and semantics of fictional discourse. Several competing accounts of fictional objects are originated by the fact that our talking of them mirrors incoherent intuitions: mainstream theories of fiction privilege some such intuitions, but are forced to account for others via complicated paraphrases of the relevant sentences. An ideal theory should resort to as few paraphrases as possible. In Sect. 1, we make this explicit via (...) two methodological principles, called the Minimal Revision and the Acceptability Constraint. In Sect. 2, we introduce the standard distinction between internal and external fictional discourse. In Sects. 3–5, we discuss the approaches of (traditional) Meinongianism, Fictionalism, and Realism—and their main troubles. In Sect. 6 we propose our MMM approach. This is based upon (1) a modal semantics including impossible worlds (Subsect. 6.1); (2) a qualified Comprehension Principle for objects (Subsect. 6.2); (3) a notion of existence-entailment for properties (Subsect. 6.3). In Sect. 7 we present a formal semantics for MMM based upon a representation operator. And in Sect. 8 we have a look at how MMM solves the problems of the three aforementioned theories. (shrink)

Drawing on different suggestions from the literature, we outline a unified metaphysical framework, labeled as Modal Meinongian Metaphysics (MMM), combining Meinongian themes with a non-standard modal ontology. The MMM approach is based on (1) a comprehension principle (CP) for objects in unrestricted, but qualified form, and (2) the employment of an ontology of impossible worlds, besides possible ones. In §§1–2, we introduce the classical Meinongian metaphysics and consider two famous Russellian criticisms, namely (a) the charge of inconsistency and (b) the (...) claim that naïve Meinongianism allows one to prove that anything exists. In §3, we have impossible worlds enter the stage and provide independent justification for their use. In §4, we introduce our revised comprehension principle: our CP has no restriction on the (sets of) properties that can characterize objects, but parameterizes them to worlds, therefore having modality explicitly built into it. In §5, we propose an application of the MMM apparatus to fictional objects and defend the naturalness of our treatment against alternative approaches. Finally, in §6, we consider David Lewis’ notorious objection to impossibilia, and provide a reply to it by resorting to an ersatz account of worlds. (shrink)

Surface presentism is the combination of a general relativistic physics with a presentist metaphysics. In this paper, we provide an argument against this combination based on black holes. The problem focuses on the notion of an event horizon. We argue that the present locations of event horizons are ontologically dependent on future black hole regions, and that this dependence is incompatible with presentism. We consider five responses to the problem available to the surface presentist, and argue that none succeed. Surface (...) presentism thus faces the prospect of refutation based on evidence that confirms the existence of black holes. (shrink)

Beginning with Aristotle, philosophers have taken artifacts to be ontologically deficient. This paper proposes a theory of artifacts, according to which artifacts are ontologically on a par with other material objects. I formulate a nonreductive theory that regards artifacts as constituted by - but not identical to - aggregates of particles. After setting out the theory, I rebut a number of arguments that disparage the ontological status of artifacts.

A feature of agnostic views—views that officially express ignorance about the existence of something —is that they are widely perceived to be epistemically more cautious than views that are committed to the entities in question. This is often seen as giving agnostics a debating advantage: all things being equal, fence-sitters have smaller argumentative burdens. Otávio Bueno argues in this way for what he calls “agnostic nominalism,” the view that we don’t know whether ontologically-independent Platonic objects exist. I show that agnostic (...) nominalism, so called, can be sustained only in ways that don’t give agnostic nominalists debating advantages: the position must either be deduced from antecedently-held broader sceptical assumptions or it requires manufacturing potential referents for one’s terms that artificially generate grounds for scepticism. Neither maneuver leads to an agnostic nominalism with a debating advantage over its nominalist opponents. (shrink)

An extensive exploration of the special properties of ‘exist’ is here undertaken. Two of several results are: Denying that `exist’ has associated with it a set of necessary and sufficient conditions has seemed to a number of philosophers to imply metaphysical nihilism . This is because it has seemed that without such conditions the target domain of `existence’ is arbitrarily open. I show this is wrong. Second, my analysis sheds light on the puzzling question of what we are asking when (...) we ask of something, `Does it exist?’ and mean that question in an ontically relevant way. (shrink)

The thesis that nothing is true has long been thought to be a self-refuting position not worthy of serious philosophical consideration. Recently, however, the thesis of alethic nihilism—that nothing is true—has been explicitly defended (notably by David Liggins). Nihilism is also, I argue, a consequence of other views about truth that have recently been advocated, such as fictionalism about truth and the inconsistency account. After offering an account of alethic nihilism, and how it purports to avoid the self-refutation problem, I (...) argue that it avoids the problem at the expense of changing the subject. I then present other arguments against nihilism and responses to the considerations offered in defense of it. The only tenable position is that something is indeed true. (shrink)

Philosophy Compass, Volume 1. Oxford: Blackwell, 2006.

Nathan Salmon has defended what might be called “weak modal anti-realism”—the view that possible-object names can refer to possible objects that neither exist nor are otherwise real. But rather than adopting a similar view in the fictional case, he instead defends fictional creationism—the view that fictional characters are existent but abstract entities created by authors of fiction. In this paper, I first argue that if weak modal antirealism is defensible then weak fictional antirealism is defensible as well. Second, I argue (...) that there is no reason to prefer fictional creationism over weak fictional antirealism but there is very good reason to prefer the latter over the former. And third, I defend weak fictional antirealism against the charge that it cannot provide a satisfactory account of statements that prima facie involve reference to or quantification over fictional characters. (shrink)

In this paper, a theory of the contents of fictional names — names of fictional people, places, etc. — will be developed.1 The fundamental datum that must be addressed by such a theory is that fictional names are, in an important sense, empty: the entities to which they putatively refer do not exist.2 Nevertheless, they make substantial contributions to the truth conditions of sentences in which they occur. Not only do such sentences have truth conditions, sentences differing only in the (...) fictional names they contain differ in their truth conditions. It is, after all, commonplace to note such things as, for example, thatBilbo Baggins is a hobbitis true, andSherlock Holmes is a hobbitis false, while acknowledging at .. (shrink)

Social ontology is the study of the nature and properties of the social world. It is concerned with analyzing the various entities in the world that arise from social interaction. -/- A prominent topic in social ontology is the analysis of social groups. Do social groups exist at all? If so, what sorts of entities are they, and how are they created? Is a social group distinct from the collection of people who are its members, and if so, how is (...) it different? What sorts of properties do social groups have? Can they have beliefs or intentions? Can they perform actions? And if so, what does it take for a group to believe, intend, or act? -/- Other entities investigated in social ontology include money, corporations, institutions, property, social classes, races, genders, artifacts, artworks, language, and law. It is difficult to delineate a precise scope for the field (see section 2.1). In general, though, the entities explored in social ontology largely overlap with those that social scientists work on. A good deal of the work in social ontology takes place within the social sciences (see sections 5.1–5.8). -/- Social ontology also addresses more basic questions about the nature of the social world. One set of questions pertains to the constituents, or building blocks, of social things in general. For instance, some theories argue that social entities are built out of the psychological states of individual people, while others argue that they are built out of actions, and yet others that they are built out of practices. Still other theories deny that a distinction can even be made between the social and the non-social. -/- A different set of questions pertains to how social categories are constructed or set up. Are social categories and kinds produced by our attitudes? By our language? Are they produced by causal patterns? And is there just one way social categories are set up, or are there many varieties of social construction? -/- The term ‘social ontology’ has only come into wide currency in recent years, but the nature of the social has been a topic of inquiry since ancient Greece. As a whole, the field can be understood as a branch of metaphysics, the general inquiry into the nature of entities. (shrink)

The challenge of handling fictional discourse is to find the best way to resolve the apparent inconsistencies in our ways of speaking about fiction. A promising approach is to take at least some such discourse to involve pretense, but does all fictional discourse involve pretense? I will argue that a better, less revisionary, solution is to take internal and fictionalizing discourse to involve pretense, while allowing that in external critical discourse, fictional names are used seriously to refer to fictional characters. (...) I then address two objections to such realist theories of fiction: One, that they can’t adequately account for the truth of singular nonexistence claims involving fictional names, and two, that accepting that there are fictional characters to which we refer is implausible or ontologically profligate. (shrink)

Software is a ubiquitous artifact, yet not much has been done to understand its ontological nature. There are a few accounts offered so far about the nature of software. I argue that none of those accounts give a plausible picture of the nature of software. I draw attention to the striking similarities between software and musical works. These similarities motivate to look more closely on the discussions regarding the nature of the musical works. With the lessons drawn from the ontology (...) of musical works I offer a novel account of the nature of software. In this account, software is an abstract artifact. I elaborate the conditions under which software comes into existence; how it persists; how and on which entities its existence depends. (shrink)

Abstract In this paper I criticise a recent account of fictional discourse proposed by Nathan Salmon. Salmon invokes abstract artifacts as the referents of fictional names in both object- and meta-fictional discourse alike. He then invokes a theory of pretence to forge the requisite connection between object-fictional sentences and meta-fictional sentences, in virtue of which the latter can be assigned appropriate truth-values. I argue that Salmon's account of pretence renders his appeal to abstract artifacts as the referents of fictional names (...) in object-fictional discourse explanatorily redundant. I further argue that his account is therefore no improvement over those he criticises, thus leaving his own account unmotivated. (shrink)

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 (...) identity attributions---sentences like, "Peter Jackson's Lord of the Rings is the same story as JRR Tolkien's Lord of the Rings''---are relative to their context of use, so that the same attribution of identity might be true in one context or false in another because of a change in what's being said about the works in the differing contexts. From those existence and identity conditions, I draw the conclusions that story is best understood to be a phase sortal of some abstract types, and that what it is to make up a story is to identify a type of narrative representation and its content, such that the content is neither based on actual events nor on the content of other stories to an objectionable degree. In chapter 2, I ask what it is for a story to be complete. I argue for the general meta-thesis I call "Completion Pluralism", viz. that there are many kinds of artwork completeness, many corresponding senses of 'complete', and no kind of artwork completeness is objectively more important than any other. I give a pair of arguments against those who would deny Completion Pluralism, endorsing Completion Monism instead. First, I show how Monistic analyses of the one (or one most important) kind of artwork completeness fail. I also show that each Monistic theory's failure is contingent on the assumption of Completion Monism: the denial of Completion Monism dissolves each argument against the extensional adequacy of extant theories of artwork completeness. I argue that this is all best explained by the idea that Completion Pluralism is true. Second, I argue that Completion Pluralism fits best with the variety of interests that we bring to questions about artwork completeness: there is no single or overriding concern we have when we want to know whether an artwork is complete. We shouldn't expect completeness to be a single sort of thing, then. I show how to put Completion Pluralism to work by identifying different kinds of artwork completeness in artworks. Finally, I introduce a new kind of completeness particular to stories, what I call "narrative completion", and show how it's distinct from other kinds of completeness discussed. In chapter 3, I argue that the distinction between fictional and non-fictional stories is the degree to which stories are made-up. In short, a fictional story is a made-up story. I first provide a couple desiderata for thinking about theories of fiction, then show how the two most popular extant theories of fiction---the prop theory and the genre theory---fall short in meeting one or more of those desiderata to some extent. I then show how the theory that fictions are made-up stories better meets the desiderata, using my account of what it is to make up a story from chapter 1. I turn to explicitly ontological matters in chapter 4. Addressing the question of what stories are, I show that both the theses that they are eternal and immutable and that they are created and historical seem plausible for independent reasons. I discuss a schema of an argument some philosophers who hold to the latter view (those I call "Creationists") attempt to give for their view. However, I show how those who hold to the view that stories are eternal and immutable ("Platonists") can account for all the same appearances as the Creationists, usually at least as well and sometimes with a better accounting. Similar, deductive arguments for Platonism will give rise to similar responses from the Creationist, however. In the end, then, the style of argument in particular is unlikely to advance the discussion much. Finally, I attempt to advance the discussion by building an abductive case for Platonism. First, I vindicate a particular metaontological methodology for the debate at hand, a methodology that allows for "revisionary" outcomes in our ontologies of art objects. Second, I build a case for Platonism by arguing that it best explains a number of features of stories discussed in the previous chapters. Moreover, I argue that Creationism is committed to an implausible account of how some abstract objects come into existence. Given the combination of those facts, I argue that we should prefer Platonism to Creationism. (shrink)

A popular way for irrealists to explain co-identification—thinking and talking ‘about the same thing’ when there is no such thing—is by appeal to causal, historical or informational chains, networks or practices. Recently, however, this approach has come under attack by philosophers who contend that it cannot provide necessary and/or sufficient conditions for co-identification. In this paper I defend the approach against these objections. My claim is not that the appeal to such practices can provide necessary and sufficient conditions for co-identification, (...) but rather that it is a mistake to seek these in the first place. -/- . (shrink)

The parceling of land into real estate is more than a simple geometrical affair. Real estate is a historical product of interaction between human beings, political, legal and economic institutions, and the physical environment. And while many authors, from Jeremy Bentham to Hernando de Soto, have drawn attention to the ontological (metaphysical) aspect of property in general, no comprehensive analysis of landed property has been attempted. The paper presents such an analysis and shows how landed property differs from other types (...) of property in a way which implies a special role for political and economic philosophy of property rights in land. This is the Chinese translation of "The Metaphysics of Real Estate", Topoi, 20: 2 (September 2001), 161–172. (shrink)

The question of how people change artworks is important for the metaphysics of art. It’s relatively easy for anyone to change a painting or sculpture, but who may change a literary or musical work is restricted and varies with context. Authors of novels and composers of symphonies often have a special power to change their artworks. Mary Shelley revised Frankenstein, and Tchaikovsky revised his Second Symphony. I cannot change these artworks. In other cases, such as those involving jazz standards and (...) folk songs, performers and ordinary folks have more power to change artworks. My preferred explanation of these facts is the created-abstract-simples view, according to which literary and musical works, unlike paintings and sculptures, are created abstract objects that have no parts. On this view, the way to change a literary or musical work is for an individual, empowered by social practices, to change rules about how a literary work should be published or a musical work should be performed. A. R. J. Fisher and Caterina Moruzzi object that the created-abstract-simples view doesn’t allow for literary and musical works to genuinely change, and Nemesio Garcia-Carríl Puy objects that the view doesn’t allow for these artworks to be repeatable. This paper clarifies the created-abstract-simples view and defends the view against these objections. -/- . (shrink)

This chapter is a work in applied metaphysics. Recent discussions of monism and metaphysical dependence are deployed to develop a view—the doctrine of divine priority (DDP)—that is a viable alternative to the doctrine of divine simplicity (DDS). DDS and the traditional motivation for it are discussed, then DDP is introduced by way of an analogy involving Jonathan Schaffer’s distinction between two forms of monism. It is argued that DDP is an alternative to DDS by showing that it is consistent with (...) the traditional motivation for the latter view, and argued that DDP is a viable alternative by showing that objections to its peculiar implications rest on assumptions that can reasonably be rejected. In the concluding section, the findings of the main discussion are summarized and DDP’s potential theological import is illustrated with a brief discussion of a possible solution to the Problem of the Trinity it affords. (shrink)

Existence as reflected in natural language is not a univocal notion, but divides into different modes of being, such as existence (as, roughly, endurance) and occurrence. One aim of the paper is to distinguish sharply between abstract artifacts and non-existent objects (e.g., plans vs. planned events that fail to occur); another is to argue for validity as a mode of being distinct from existence, as well as for corresponding distinctions among non-being.

I present a condensed exposé of systemic materialism, a synthesis of materialism and systemism originally proposed by Mario Bunge. Matter is identified with mutability of propertied particulars, and a concrete or material system is defined as an object with composition, structure, mechanism, and environment. I review different aspects of this ontology, and discuss some of its implications for epistemology, ethics, and aesthetics. I also try to identify some problems of this view and offer some ways to overcome the difficulties. I (...) conclude that systemic materialism is a promising philosophical project still in the making. (shrink)

This is a prepublication version of my book Objects and Attitudes. The book develops a novel semantics of attitude reports, modal sentences, and quotation based on the view that sentences semantically act as predicates of various attitudinal and modal objects, entities like claims, requests, promises, obligations, and permissions, rather than standing for abstract propositions playing the role of objects. The approach develops truthmaker semantics for attitudinal and modal objects and has a wide range of applications to issues in philosophy of (...) language, semantics, and philosophy of mind. (shrink)

This book addresses how our revisionary practices account for relations between texts and how they are read. It offers an overarching philosophy of revision concerning works of fiction, fact, and faith, revealing unexpected insights about the philosophy of language, the metaphysics of fact and fiction, and the history and philosophy of science and religion. It will be of interest to a wide range of scholars and advanced students working in philosophy of language, metaphysics, philosophy of literature, literary theory and criticism, (...) and history and philosophy of science and religion. (shrink)

My goal is to reflect on the phenomenon of inadvertent creation and argue that—various objections to the contrary—it doesn’t undermine the view that fictional characters are abstract artifacts. My starting point is a recent challenge by Jeffrey Goodman that is originally posed for those who hold that fictional characters and mythical objects alike are abstract artifacts. The challenge: if we think that astronomers like Le Verrier, in mistakenly hypothesizing the planet Vulcan, inadvertently created an abstract artifact, then the “inadvertent creation” (...) element turns out to be inescapable yet theoretically unattractive. Based on considerations about actually existing concrete objects featured in fictional works (as Napoleon is in Tolstoy’s War and Peace), I argue that independently of one’s stand on mythical objects, admitting fictional characters as abstract artifacts is enough to give rise to the challenge at hand; yet this very point serves to undermine the challenge, indicating that inadvertent creation is not nearly as worrisome as Goodman suggests. Indeed, the inadvertent creation phenomenon’s generality extends far beyond objects of fiction and myth, and I will use this observation to counter a further objection. Taking fictional characters (and mythical objects) to be abstract artifacts therefore remains a viable option. (shrink)

In developing resemblance nominalism, Rodriguez-Pereyra attempts to meet the challenge that truths involving abstract nouns pose to the doctrine. He holds that one can render sentences containing abstract nouns without invoking attributes and defends this view by giving nominalistic sentences that express the truthmakers of two such sentences: ‘Scarlet is a colour’ and ‘Carmine resembles vermillion more than it resembles French blue.’ This article argues that his renderings have serious problems and fall far short of meeting the challenge posed by (...) truths involving abstract nouns. (shrink)

Anthony Everett () argues that those who embrace the reality of fictional entities run into trouble when it comes to specifying criteria of character identity. More specifically, he argues that realists must reject natural principles governing the identity and distinctness of fictional characters due to the existence of fictions which leave it indeterminate whether certain characters are identical and the existence of fictions which say inconsistent things about the identities of their characters. Everett's critique has deservedly drawn much attention and (...) a number of defensive moves have been made by, or on the behalf of, fictional realists. My goal in this paper is to move this debate on a further step. I have three goals: to clarify the importance of Everett's discussion of identity criteria within the context of fictional realism, to reassess Everett's objections to realism in light of the resultant literature, and to develop a novel strategy for responding to Everett's concerns. On the approach to be developed, the problems emerge due to an indeterminacy inherent in the concept of a fictional character itself. (shrink)

Is arguing over ontology a mistake? A recent proposal by Karen Bennett suggests that some metaphysical disputes, such as those over constitution and composition, can be dismissed on epistemic grounds. Given that both sides in a dispute try to minimize the differences between them, there are no good metaphysical grounds for choosing between them. In this paper, I expand on her epistemic dismissivism, arguing that given the Quinean conception of the task and method of metaphysics, we are warranted in believing (...) that all ontological disputes will end in a draw, even if they have not yet done so. By a draw, I mean that while both sides in a dispute are genuinely disagreeing about what there is and there are still moves open to them, there are no moves remaining that will advance the discourse further. (shrink)