A transcript of three lectures, given at Princeton University in 1970, which deals with (inter alia) debates concerning proper names in the philosophy of language.

In ‘A New Route to the Necessity of Origin’, Rohbraugh and deRosset offer an argument for the Necessity of Origin appealing neither to Suffciency of Origin nor to a branching-times model of necessity. What is doing the crucial work in their argument is instead the thesis they name ‘Locality of Prevention’. In this response, we object that their argument is question-begging by showing, first, that the locality of prevention thesis is not strong enough to satisfactorily derive from it the intended (...) conclusion, and, second, that the argument is not sound unless the Necessity of Origin is operating as an implicit premiss. (shrink)

It is my aim in this paper to show that the contemporary assimilation of essence to modality is fundamentally misguided and that, as a consequence, the corresponding conception of metaphysics should be given up. It is not my view that the modal account fails to capture anything which might reasonably be called a concept of essence. My point, rather, is that the notion of essence which is of central importance to the metaphysics of identity is not to be understood in (...) modal terms or even to be regarded as extensionally equivalent to a modal notion. The one notion is, if I am right, a highly refined version of the other; it is like a sieve which performs a similar function but with a much finer mesh. (shrink)

Davies argues that the ontology of artworks as performances offers a principled way of explaining work-relativity of modality. Object oriented contextualist ontologies of art (Levinson) cannot adequately address the problem of work-relativity of modal properties because they understand looseness in what counts as the same context as a view that slight differences in the work-constitutive features of provenance are work-relative. I argue that it is more in the spirit of contextualism to understand looseness as context-dependent. This points to the general (...) problem—the context of appreciation is not robust enough to ground modal intuitions about objective entities. In general, when epistemology dictates ontology there is always a threat of anti-realism, scepticism and relativism. Davies also appeals to the modality principle—an entity’s essential properties are all and only its constitutive properties. Davies understands essentiality in a traditional way: a property P is an essential property of an object o iff o could not exist and lack P. Kit Fine has recently made a convincing case for the view that the notion of essence is not to be understood in modal terms. I explore some of the implications of this view for Davies’ modal argument for the performance theory. (shrink)

In his absorbing book Art as Performance, David Davies argues that artworks should be identified, not with artistic products such as paintings or novels, but instead with the artistic actions or processes that produced such items. Such a view had an earlier incarnation in Currie’s widely criticized “action type hypothesis”, but Davies argues that it is instead action tokens rather than types with which artworks should be identified. This rich and complex work repays the closest study in spite of some (...) basic objections to be raised concerning Davies’s central concept of an action token. (shrink)

A New Route to the Necessity of Origin’ (2004, henceforth ‘NR’), we offered an argument for the thesis that there are necessary connections between material things and their material origins. Much of the philosophical interest lay in our claim that the argument did not depend on so-called sufficiency principles for crossworld identity. It has been the verdict of much recent work on the necessity of origin that valid arguments for the thesis require some such sufficiency principle as a premise but (...) that such principles are deeply problematic.1 Finding an argument free of such principles would advance both our understanding and the plausibility of that thesis. These claims are now the subject of a pair of insightful critiques by Teresa Robertson and Graeme Forbes (2006, henceforth ‘RF’) and by Ross Cameron and Sonia Roca (2006, henceforth ‘CR’), and we welcome the opportunity to clarify and improve our account of the matter. (shrink)

Could a work of art actually authored by one artist have been authored, instead, by another? This is the question of the necessity of authorship. After distinguishing this question from another, regarding individuation, with which it is often confused, this paper offers an argument that authorship is indeed a necessary feature of most artworks. The argument proceeds from ‘independence principles’, which govern the processes by which artworks are produced. Independence principles are motivated, in turn, by metaphysical reflections on what it (...) takes to prevent an artist from producing a particular work of art. (shrink)

Saul Kripke has claimed that there are necessary connections between material things and their material origins. The usual defences of such necessity of origin theses appeal to either a sufficiency of origin principle or a branching-times model of necessity. In this paper we offer a different defence. Our argument proceeds from more modest ‘independence principles’, which govern the processes by which material objects are produced. Independence principles are motivated, in turn, by appeal to a plausible metaphysical principle governing such processes, (...) their invulnerability to non-local prevention. We outline the new argument, and distinguish it from both of the usual defences. (shrink)

In 1907, Alfred Stieglitz took what was to become one of his signature photographs, The Steerage. Stieglitz stood at the rear of the ocean liner Kaiser Wilhelm II and photographed the decks, first-class passengers above and steerage passengers below, carefully exposing the film to their reflected light. Later, in the darkroom, Stieglitz developed this film and made a number of prints from the resulting negative. The photograph is a familiar one, an enduring piece of social commentary, but what exactly is (...) The Steerage which Stieglitz has given us? It is clearer what The Steerage is not. It is distinct from each of its prints and from its negative. These may be dusty or torn without The Steerage being so, and any one of these could be destroyed without thereby destroying The Steerage itself. Nor is The Steerage the set of its prints. The set could not have had different members, while The Steerage could have had more, fewer, or different prints.1 Similar reasoning rules out the mereological sum of parts of its actual prints, for The Steerage’s prints might not have comprised just these parts. We are left with a puzzle, what sort of thing is a photograph? This puzzle is not unique to photography. Similar reasoning generates an analogous puzzle for any repeatable work of art. Novels, poems, plays, symphonies, songs, and the rest share an ontological predicament and create a 1 general puzzle concerning the ontological status of repeatable works of art. It is widely held that the puzzle has an equally general solution, one which I will argue fails for systematic reasons. Although my target here is the supposed solution to the general problem, photography will remain the central case under scrutiny. I offer it as a model for our thinking about the wider class in order to reap the benefits of thinking in terms of concrete cases. Although this risks a trade-off with the generality of my conclusions—there are important differences of detail between the cases—I hope it is clear that the considerations I appeal to in photography are not idiosyncratic but shared by the wider class.. (shrink)

A New Route to the Necessity of Origin’, Guy Rohrbaugh and Louis deRossett argue for the Necessity of Origin in a way that they believe avoids use of any kind of transworld constitutional sufficiency principle. In this discussion, we respond that either their arguments do imply a sufficiency principle, or else they entirely fail to establish the Necessity of Origin.

Jerrold Levinson argues that musical works are individuated by their context of origin. But one could just as well argue that musical works are individuated by their context of reception. Moderate contextualism, according to which musical works are individuated by context of origin but not by context of reception, thus appears to be an unstable position. And, although a more thoroughgoing contextualism, according to which musical works are individuated both by context of origin and by context of reception, faces a (...) number of problems, it is nonetheless supported (at least to some extent) by critical practice. (shrink)

Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: that musical works possess perceptual properties and universals do not; that musical works are created and universals cannot be; that universals cannot be destroyed and musical works can; that parts of tokens of the same type can be interchanged (...) and still yield tokens of that type, whereas we cannot interchange parts of performances of the same work and still get performances of the work. Of these claims, and seem to be true, but are not incompatible with a Platonistic construal of the musical work, whereas and just seem to be false and, therefore, of no concern to the musical Platonist. (shrink)

Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: (1) that musical works possess perceptual properties and universals do not; (2) that musical works are created and universals cannot be; (3) that universals cannot be destroyed and musical works can; (4) that parts of tokens of the same (...) type can be interchanged and still yield tokens of that type, whereas we cannot interchange parts of performances of the same work and still get performances of the work. Of these claims, (1) and (2) seem to be true, but are not incompatible with a Platonistic construal of the musical work, whereas (3) and (4) just seem to be false and, therefore, of no concern to the musical Platonist. (shrink)

Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: (1) that musical works possess perceptual properties and universals do not; (2) that musical works are created and universals cannot be; (3) that universals cannot be destroyed and musical works can; (4) that parts of tokens of the same (...) type can be interchanged and still yield tokens of that type, whereas we cannot interchange parts of performances of the same work and still get performances of the work. Of these claims, (1) and (2) seem to be true, but are not incompatible with a Platonistic construal of the musical work, whereas (3) and (4) just seem to be false and, therefore, of no concern to the musical Platonist. (shrink)

This welcome new volume of essays in æsthetics represents work by Jerrold Levinson since the publication of his 1990 collection Music, Art & Metaphysics, and is thus a sequel to it, developing many of the themes first expressed in that book. It also stands on its own; Levinson's work is uniformly lucid and his essays characteristically canvas in detail, and then respond critically to, recent work in analytic æsthetics. As a result, this collection introduces the reader not only to Levinson's (...) own ideas, but to the growing body of work which analytic philosophers have produced in æsthetics in the past dozen years. (shrink)

This chapter contains section titled: The Structure of the Focus of Appreciation Performance and Appreciation Ontology After Empiricism.

A review of David Davies, _Art as Performance_ (Blackwell, 2004).

_Interpretation and Construction _examines the interpretation and products of intentional human behavior, focusing primarily on issues in art, law, and everyday speech. Focuses on artistic interpretation, but also includes extended discussion of interpretation of the law and everyday speech and communication. Written by one of the leading theorists of interpretation. Theoretical discussions are consistently centered around examples for ease of comprehension.