Horgan believes that the truth of the statement “Beethoven’s fifth symphony has four movements” does not require that there be some “dedicated object” answering to the term “Beethoven’s fifth simphony”. To the contrary, the relevant language/world correspondence relation is less direct than this. Especially appropriate is the behavior by Beethoven that we would call “composing his fifth symphony”. Our objections go along two directions: (1) is the process ontology (a) really a right kind of ontology for artworks (symphonies, novels) and, (...) (b) more important, is this kind of ontology compatible with Parmenidian approach to ontology? The answer to (a) is negative. With reference to point (1b) we might say that Parmenides was a typical staunch advocate of substance metaphysics rather than process metaphysics. Traditionally, substances are individuated by their properties, namely, there are assumed two sorts of properties: primary and secondary. Primary properties describe the substance as it is in and by itself; secondary properties underlie the impact of substances upon others and the responses they elicit from them. (2) The claim that it is most unlikely to suppose that we can have some kind of cognitive contact “with an entity which has no spatio-temporal location and does not causally interact with anything” does not hold. We underpin the claim that there is some cognitive access to entity such as Beethoven’s fifth symphony with Bender’s theory of realization relation between musical work and performance. (shrink)

There is widespread view among numerous aestheticians that aesthetic and value properties are response-dependent. According to some philosophers the dependence has a rich and multilayered structure: value qualities (e.g. beauty) depend on our response to aesthetic properties (e.g. harmonious), which in turn depend on our response to a pattern of primary and secondary qualities (shapes and colors). Secondary qualities are themselves response-dependent. The basic dependence relation is thus iterated. The resulting structure is one of iterated response-dependence. The integral part of (...) such a position is a relational view, best captured by the response-dispositional analysis: My states of being appeared to magnificently in front of a painting manifests the disposition of painting to induce such experience in the normal viewer.There are two main objections against the dispositional analysis: (1) argument from circularity and (2) argument from introducing two kinds of quality, one categorical, for experiential states, and one dispositional for objects. In this paper we will suggest the arguments against second objection. (shrink)

The paper deals with the topic of empty terms as considered in chapter six of Devitt’s book Designation. Devitt’s proposal is that a statement about fiction is (usually) implicitly preceded by a fiction operator roughly paraphrasable by “it is pretended that” or “in fiction”. The causal chain that forms the network for a fictitious name are not d(esignational)-chains, for they are not grounded in an object. Nevertheless, although the fictitious name does not designate, we could say that it stands in (...) some other referential relationship to the world: it ‘F(ictionally)-designates’. It seem that we could then state truth conditions of a F-sentence using F-designation: the F-operator direct us to look not for the designatum of name but for its F-designatum. The name (for example, “Napoleon” in War and Peace), though nonempty, is just like a fictitious name. In proposing that nonempty names in fiction refer to real items, I argue against the view that “Napoleon” in the War and Peace designates the famous general, Napoleon, and F-designates parts of War and Peace. The referent of F-designation is Napoleon, famous general, too. At the end of the paper I claim that Devitt, if he wants to remain a modal fictionalist, has to renounce the view of one-world metaphysics. (shrink)

Pregledujem sedanje slepe ulice zahodne filozofije in predlagam nov začetek. V sedanjem trenutku prevladujejo tri najmočnejše pojmovne opcije; skepticizem, kognitivni privilegij in historicizem. Prvi je škandal, drugega zavračajo vse strani, tretji pa je trenutno dokaj zanemarjen. Historicizem ali zgodovinskost - pojem, daje mišljenje notranje historizirano, da je mišljenje zgodovina - je edini velik nov prispevek moderne filozofije k glavnim pojmovnim virom zahodne tradicije. Sodobna filozofija, posebno angloameriška analitična filozofija, je v bistvu nadaljevanje filozofije 17. stoletja in predkantovske filozofije 18. stoletja, (...) ki ju begajo »nepomembnosti« 19. stoletja; kontinentalna filozofija, v glavnem francoska in nemška, pa se je zdaj pripravljena prilagoditi ahistoricizmu analitične filozofije. Predlagam ponovno odkritje historicizma in prepoznam številne različne strategije, ki dajejo prednost taki politiki, za katero napovedujem, da bo še enkrat prišla na vrsto v naslednjem stoletju. Še posebej skrbno raziskujem vidike prve filozofije, zaprtih sistemov, rešitev problemov reference in predikacije, odnos med naravo in kulturo, odnos med realizmom in idealizmom in naravo ter funkcijo osebe ali sebstva. Ugotavljam, da se sodobna filozofija mora spoprijeti s prispevki Kantovega konstruktivizma in Heglove simbioze in iti preko obeh. Med dokazovanjem orišem splošno krivuljo zahodne filozofije vse do današnjih časov. (shrink)

The topic of this paper is the role played by context in art. In this regard I examine three theories linked to the names of J. Levinson, G. Currie and D. Davies. Levinson’s arguments undermine the structural theory. He finds it objectionable because it makes the individuation of artworks independent of their histories. Secondly, such a consequence is unacceptable because it fails to recognise that works are created rather than discovered. But, if certain general features of provenance are always work-constitutive, (...) as it seems that Levinson is willing to claim, these features must always be essential properties of works. On the other hand, consideration of our modal practice suggests that whether a given general feature of provenance is essential or non-essential depends upon the particular work in question or is “work relative”. D. Davies builds his performance theory on the basis of the critical evaluation of Currie’s action-type hypotheses (ATH). Performances, says Davies, are not to be identified with “basic actions” to which their times belong essentially, but with “doings” that permit of the sorts of variation in modal properties required by the work-relativity of modality. He is also a fierce critic of the contextualist account. Contextualism is in his view unable to reflect the fact that aspects of provenance bear upon our modal judgements with variable force. In the second part of the paper I consider Davies’s “modality principle”. Davies is inclined to defend the claim that labels used for designation of works are rigid designators. Such a view offers a ground for discussion about the historicity of art. What has been meant when people claim that art is an historical concept? I argue that any historical theory implies a two-dimensional notion of “art”. At the end of the paper I suggest that Davies should embrace the theory of contingent identity and not the colocationist view about the relationship that exists between a particular artwork and its physical bearer. (shrink)