Both Franz Brentano and Edmund Husserl addressed sound while trying to explain the inner consciousness of time and gave to it the status of a supporting example. Although their inquiries were not aimed at clarifying in detail the nature of the auditory experience or sounds themselves, they made some interesting observations that can contribute to the current philosophical discussion on sounds. On the other hand, in analytic philosophy, while inquiring the nature of sounds, their location, auditory experience or the (...) audible qualities and so on, the representatives of that trend of thought have remained silent about the depiction of sound and the auditory phenomena in the phenomenological tradition. The paper’s intention is to relate both endeavours, yet the perspective carried out is that of analytic philosophy and, thus, I pay special attention to conceptual analysis as a methodological framework. In this sense, I first explain what sound ontology is in the context of analytic philosophy and the views that it encompasses— namely, the Property View (PV), the Wave View (WV) and the Event View (EV)—. Secondly, I address the problems it entails, emphasising that of sound individuation. In a third section, I propose the possibly controversial conjunction of a “Brentano-Husserl Analysis of the Consciousness of Time” (for short “Brentano-Husserl analysis”) and outline the commonalities of both authors, without ignoring its discrepancies. My main focus is Husserl’s 1905 Vorlesungen zur Phänomenologie des Inneren Zeitbewusstseins. While addressing the Brentano-Husserl analysis, I elaborate on the problem of temporal and spatial extension (Raumlichkeit and Zeitlichkeit, respectively) of both consciousness and sound. Such comparison is a key one, since after these two developments, one can notice some theoretical movements concerning the shift of attention from sounds to the unity of consciousness, and how they mirror each other. After examining the controversial claims concerning the temporal and spatial extension of both consciousness and sound, I argue in the concluding paragraphs that while considering the accounts of sound ontology, the Brentano-Husserl analysis would probably endorse a Property View and that this could have interesting consequences for the issue of Sound Individuation. (shrink)

According to a popular approach to the ontology of music, the identity conditions for a musical work include the specification of properties of sound, which constrain the class of its correct performances. This essay argues that the resulting invariantist view of the work–performance relation is inadequate and defends a contextualist alternative.

Music is said to consist of melody, rhythm, and harmony. Sound is assumed to be something that automatically follows once musical structure is determined. Sound, which is what actually impinges on our eardrums, has been so long forgotten in the history of musical theory. It is ironic that we do not talk about the music which we hear every day but rather are exclusively concerned about the abstracted structure behind it. This is a legacy of ancient Greek ideas (...) about music, which most contemporary musical discourses are based on. Under this tradition, imperceptible music has priority over perceptible music in reality. On the contrary, music was explained in the framework of sound, tone, and music in ancient China. Although different thinkers tried to define music in a variety of ways, sound was never completely expelled from their musical theorizations. On one hand, music was regarded as a continuum of sound and tone, namely, perceptible music and intelligible music in its structure. On the other hand, music was considered as something that could not be reduced to its structure or notation but could be associated with much broader contexts. This article explores two different traditions in ancient Greece and China in terms of their musical ontology. By answering the question, “What is music as such?” differently, they developed different views on issues such as the relationship of music and emotion, the role of music in society, the symbolization of music, and so on. (shrink)

This book provides a unique approach to some of philosophy’s fundamental issues. It points to music as a model for exploring such questions as, “What does it mean to value?” This is not a musical study, per se, but a philosophical text that uses music as a vehicle for investigating these and other metaphysical, axiological, and aesthetic matters.

This book is an interdisciplinary project that brings together ideas from aesthetics, philosophy, psychology, and music sociology as an expansion of German philosopher Hans-Georg Gadamer’s theory on the aesthetics of play. This way of thinking focuses on an ontology of the process of musicking rather than an ontology of discovering fixed and static musical objects. In line with this idea, the author discusses the importance of participation and involvement in this process of musicking, whether as a listener or (...) as a performer. Christensen then goes on to critique and update Gadamer's theory by presenting incompatibilities between it and recent theories of aesthetic emotions and embodiment. He proposes that emotions are ‘constructed’ rather than ‘caused’, that the mind uses a system of ‘filters’ to respond to sonic stimuli and thus constructs aesthetic feelings and experiences. In turn, this approach provides music with a route into the development of social capital and inter-subjective communication. This work builds on the hermeneutical steps already taken by Gadamer and those before him, continuing his line of thought beyond his work. It will be of great interest to scholars in music aesthetics as well as a variety of other music related fields, including music psychology, philosophy and science and technology studies. (shrink)

This paper develops an ontology of sound from Merleau-Ponty’s accounts of linguistic expression and political communication framed in terms of the instituted-instituting character of the “flesh.” The analysis explores the role of sound and hearing in experiencing and making sense of a world in order to explain two problems: first, the impact of hearing loss on a person’s relations with others and with their environment and, second, the impact of “trump talk” on the fabric of political community. (...) The argument is that hearing loss and “trump talk” weaken or erase what Merleau-Ponty refers to as the “spirit” of communication and intersubjectivity. (shrink)

This paper develops an ontology of sound from Merleau-Ponty’s accounts of linguistic expression and political communication framed in terms of the instituted-instituting character of the “flesh.” The analysis explores the role of sound and hearing in experiencing and making sense of a world in order to explain two (arguably related) problems: first, the impact of hearing loss on a person’s relations with others and with their environment and, second, the impact of “trump talk” on the fabric of (...) political community. The argument is that hearing loss and “trump talk” weaken or erase what Merleau-Ponty refers to as the “spirit” of communication and intersubjectivity. (shrink)

Ontological nihilism is the radical-sounding thesis that there is nothing at all. This chapter first discusses how the most plausible forms of this thesis aim to be slightly less radical than they sound and what they will have to do in order to succeed in their less radical ambitions. In particular, they will have to paraphrase sentences of best science into ontologically innocent counterparts. The chapter then points out the defects in two less plausible strategies, before going on to (...) argue that strategies that look more promising, including one based on Quine's predicate-functor language, face the same defects. (shrink)

This article deals with the question of existence by considering the way in which phenomenology has faced this issue. To provide an argument against the ontological certainties typical of idealism and realism, I try to show the possibility of a subjective reduction of the question of existence and to highlight the way in which the concept of existence may be “undermined” by this reduction. A prominent place is given to the concept of infinity for radically reassessing the content and scope (...) of the concept of existence. I try to integrate some of the main themes of Husserlian phenomenology without being restrictively committed to it. I include some discussion of foundational mathematics and of quantum physics. (shrink)

Sounds and Perception brings together original essays on auditory perception and the nature of sounds - an emerging area of interest in the philosophy of mind and perception, and in the metaphysics of sensible qualities. The essays discuss a wide range of issues, including the nature of sound, the spatial aspects of auditory experience, hearing silence, musical experience, and the perception of speech; a substantial introduction by the editors serves to contextualise the essays and make connections between them. The (...) collection serves both as an introduction to the nature of auditory perception and as the definitive resource for coverage of the main questions that constitute the philosophy of sounds and audition. (shrink)

Taxonomies and ontologies for the characterization of everyday sounds have been developed in several research fields, including auditory cognition, soundscape research, artificial hearing, sound design, and medicine. Here, we surveyed 36 of such knowledge organization systems, which we identified through a systematic literature search. To evaluate the semantic domains covered by these systems within a homogeneous framework, we introduced a comprehensive set of verbal sound descriptors, which we used to manually label the surveyed descriptor classes. We reveal that (...) most taxonomies and ontologies were developed to characterize higher-level semantic relations between sound sources in terms of the sound-generating objects and actions involved, or in terms of the environmental context. This indicates the current lack of a comprehensive ontology of everyday sounds that covers simultaneously all semantic aspects of the relation between sounds. Such an ontology may have a wide range of applications and purposes, ranging from extending our scientific knowledge of auditory processes in the real world, to developing artificial hearing systems. (shrink)

A scientific theory is successful, according to Stanford (2000), because it is suficiently observationally similar to its corresponding true theory. The Ptolemaic theory, for example, is successful because it is sufficiently similar to the Copernican theory at the observational level. The suggestion meets the scientific realists' request to explain the success of science without committing to the (approximate) truth of successful scientific theories. I argue that Stanford's proposal has a conceptual flaw. A conceptually sound explanation, I claim, respects the (...) ontological order between properties. A dependent property is to be explained in terms of its underlying property, not the other way around. The applicability of this point goes well beyond the realm of the debate between scientific realists and antirealists. Any philosophers should keep the point in mind when they attempt to give an explanation of a property in their field whatever it may be. (shrink)

This paper addresses the problem of sound individuation (SI) and its connection to sound ontology (SO). It is argued that the problems of SI, such as aspatiality, extreme individuation, indexical perplexity and duration puzzles are due to SO’s uncertainties. Besides, I describe the views in SO, including the wave view (WV), the property view (PV), and the event view (EV), as Casey O’Callaghan defends it. According to O’Callaghan, EV offers clear standards to individuate sounds. However, this claim (...) is countered by the consideration that any view could also defend the standards in SO, and thus, EV does not solve any of the problems mentioned above. As a way of showing the difficulties inherited by sound’s inner ontology, the problem of its linguistic representation is also addressed. The problem of SI can be developed within the frame of the philosophy of language and, specifically, regarding the discussion about mass vs count-­sortal terms. Is the term sound a mass or a count­-sortal? It is shown that, for reasons pertaining SO, the decision regarding the case of sound as a mass or count-­sortal term remains open. SI is, thus, covered from the SO to the philosophy of language. (shrink)

In the realm of the philosophy of sounds and auditory experience there is an ongoing discussion concerned with the nature of sounds. One of the contestant views within this ontology of sound is that of the Property View, which holds that sounds are properties of the sounding objects. A way of developing this view is through the idea of dispositionalism, namely, by sustaining the theory according to which sounds are dispositional properties (Pasnau 1999; Kulvicki 2008; Roberts 2017). That (...) portrayal, however, is not sufficient, as it has not inquired the metaphysical debates about dispositions beyond the conditional analysis. In this paper, I try to advance this view by including recent developments (for instance Bird 2007; Vetter 2015) in the field of dispositionalism and I analyse whether this new version can sort out known and new objections to Property View. (shrink)

This chapter contains sections titled: The Validity of Anselm's Ontological Argument The Truth of the Anselmian Premises On Whether Anselm's Ontological Argument Begs the Question On Parodies The Validity of the Ontological Argument of Descartes and Leibniz On the Truth of the Descartes–Leibniz Premises Critiques of the Descartes–Leibniz Ontological Argument Ontological Arguments of the Twentieth Century Gödel's Ontological Argument On Whether Gödel's Argument is Sound The Modal Perfection Argument The Temporal‐Contingency Argument Conclusion References Appendix 1. Logic Matters Appendix 2. (...) Formal Proofs of Some Modal Arguments. (shrink)

Software application ontologies have the potential to become the keystone in state-of-the-art information management techniques. It is expected that these ontologies will support the sort of reasoning power required to navigate large and complex terminologies correctly and efficiently. Yet, there is one problem in particular that continues to stand in our way. As these terminological structures increase in size and complexity, and the drive to integrate them inevitably swells, it is clear that the level of consistency required for such navigation (...) will become correspondingly difficult to maintain. While descriptive semantic representations are certainly a necessary component to any adequate ontology-based system, so long as ontology engineers rely solely on semantic information, without a sound ontological theory informing their modeling decisions, this goal will surely remain out of reach. In this paper we describe how Language and Computing nv (L&C), along with The Institute for Formal Ontology and Medical Information Sciences (IFOMIS), are working towards developing and implementing just such a theory, combining the open software architecture of L&C’s LinkSuiteTM with the philosophical rigor of IFOMIS’s Basic Formal Ontology. In this way we aim to move beyond the more or less simple controlled vocabularies that have dominated the industry to date. (shrink)

Ontology is currently perceived as the solution of first resort for all problems related to biomedical terminology, and the use of description logics is seen as a minimal requirement on adequate ontology-based systems. Contrary to common conceptions, however, description logics alone are not able to prevent incorrect representations; this is because they do not come with a theory indicating what is computed by using them, just as classical arithmetic does not tell us anything about the entities that are (...) added or subtracted. In this paper we shall show that ontology is indeed an essential part of any solution to the problems of medical terminology – but only if it is understood in the right sort of way. Ontological engineering, we shall argue, should in every case go hand in hand with a sound ontological theory. (shrink)

In this paper, we shall show that the following translation \(I^M\) from the propositional fragment \(\bf L_1\) of Leśniewski's ontology to modal logic \(\bf KTB\) is sound: for any formula \(\phi\) and \(\psi\) of \(\bf L_1\), it is defined as (M1) \(I^M(\phi \vee \psi) = I^M(\phi) \vee I^M(\psi)\), (M2) \(I^M(\neg \phi) = \neg I^M(\phi)\), (M3) \(I^M(\epsilon ab) = \Diamond p_a \supset p_a. \wedge. \Box p_a \supset \Box p_b.\wedge. \Diamond p_b \supset p_a\), where \(p_a\) and \(p_b\) are propositional variables (...) corresponding to the name variables \(a\) and \(b\), respectively. In the last, we shall give some comments including some open problems and my conjectures. (shrink)

The book develops a philosophical foundation to the field of management education using the work of Martin Heidegger as a guiding philosophy. It asks the questions ‘what is a corporation?’ and ‘what is corporate management?’ These two questions are foundational for management thought in general and management ethics in particular. Most other academic fields are in some way defined and guided by a philosophical discourse. This philosophical discourse is largely missing in the field of management thought and education. Without this (...) foundation it can never be clear what actually belongs into a certain academic discipline and what does not. It also therefore lacks a sound and well articulated ontological foundation critical for developing approaches to ethical management. This book seeks to fill this gap and consequently represents an interdisciplinary effort between the academic field of management/business administration and philosophy, which is vital for business ethics. Intended as required reading for an elective on philosophy of management that is offered annually at the Wits Business School / University of the Witwatersrand / Johannesburg. The structure of the course will be largely based on the structure of the book. (shrink)

Medical terminology collects and organizes the many different kinds of terms employed in the biomedical domain both by practitioners and also in the course of biomedical research. In addition to serving as labels for biomedical classes, these names reflect the organizational principles of biomedical vocabularies and ontologies. Some names represent invariant features (classes, universals) of biomedical reality (i.e., they are a matter for ontology). Other names, however, convey also how this reality is perceived, measured, and understood by health professionals (...) (i.e., they belong to the domain of epistemology). We analyze terms from several biomedical vocabularies in order to throw light on the interactions between ontological and epistemological components of these terminologies. We identify four cases: 1) terms containing classification criteria, 2) terms reflecting detectability, modality, uncertainty, and vagueness, 3) terms created in order to obtain a complete partition of a given domain, and 4) terms reflecting mere fiat boundaries. We show that epistemology-loaded terms are pervasive in biomedical vocabularies, that the “classes” they name often do not comply with sound classification principles, and that they are therefore likely to cause problems in the evolution and alignment of terminologies and associated ontologies. (shrink)

In Interstitial Soundings, Cynthia R. Nielsen brings music and philosophy into a fruitful and mutually illuminating dialogue. Topics discussed include the following: music's dynamic ontology, performers and improvisers as co-composers, the communal character of music, jazz as hybrid and socially constructed, the sociopolitical import of bebop, Afro-modernism and its strategic deployments, jazz and racialized practices, continuities between Michel Foucault's discussion of self-making and creating one's musical voice, Alasdair MacIntyre on practice, and how one might harmonize MacIntyre's notion of virtue (...) development with Foucauldian resistance strategies. (shrink)

This essay consists of two parts. In the first part, I focus my attention on the remarks that Frege makes on consistency when he sets about criticizing the method of creating new numbers through definition or abstraction. This gives me the opportunity to comment also a little on H. Hankel, J. Thomae—Frege’s main targets when he comes to criticize “formal theories of arithmetic” in Die Grundlagen der Arithmetik (1884) and the second volume of Grundgesetze der Arithmetik (1903)—G. Cantor, L. E. (...) J. Brouwer and D. Hilbert (1899). Part 2 is mainly devoted to Hilbert’s proof theory of the 1920s (1922–1931). I begin with an account of his early attempt to prove directly, and thus not by reduction or by constructing a model, the consistency of (a fragment of) arithmetic. In subsequent sections, I give a kind of overview of Hilbert’s metamathematics of the 1920s and try to shed light on a number of difficulties to which it gives rise. One serious difficulty that I discuss is the fact, widely ignored in the pertinent literature on Hilbert’s programme, that his language of finitist metamathematics fails to supply the conceptual resources for formulating a consistency statement qua unbounded quantification. Along the way, I shall comment on W. W. Tait’s objection to an interpretation of Hilbert’s finitism by Niebergall and Schirn, on G. Gentzen’s allegedly finitist consistency proof for Peano Arithmetic as well as his ideas on the provability and unprovability of initial cases of transfinite induction in pure number theory. Another topic I deal with is what has come to be known as partial realizations of Hilbert’s programme, chiefly advocated by S. G. Simpson. Towards the end of this essay, I take a critical look at Wittgenstein’s views about (in)consistency and consistency proofs in the period 1929–1933. I argue that both his insouciant attitude towards the emergence of a contradiction in a calculus and his outright repudiation of metamathematical consistency proofs are unwarranted. In particular, I argue that Wittgenstein falls short of making a convincing case against Hilbert’s programme. I conclude with some philosophical remarks on consistency proofs and soundness and raise a question concerning the consistency of analysis. (shrink)

This article evaluates the theoretical and practical grounds of recent debates around Christoph Cox’s realist project of a ‘sonic materialism’ by returning to Gilles Deleuze, a key theoretical resource for Cox. It argues that a close engagement with Deleuze’s work in fact challenges many of the precepts of Cox’s sonic materialism, and suggests a rethinking of materialism in the context of music. Turning to some aspects of Deleuze’s work neglected by Cox, the ‘realist’ ontological inquiry Cox affirms is challenged through (...) the ‘onto-ethology’ that Deleuze and Félix Guattari develop in their A Thousand Plateaus, with this diversely constructive theory of relations explicated through musical examples from John Cage and Pauline Oliveros. To conclude, this article suggests that Deleuze can indeed be understood as subscribing to a materialism, but a materialism that is practical rather than doctrinal. (shrink)

A fundamental concept of a philosophy of music is that of sound. Any investigation of this concept has to be ontologically as well as epistemically adequate. The main proposition of the article is that sounds can only be understood ontologically if we take into consideration their main characteristic of being strictly shapeless and lacking content, an insight that we can learn from Kant. In contradiction to Kant, sounds can be epistemologically characterized as objects that can only be re-presented if (...) the hearer co-presents their temporal extension. The argument is developed through a discussion of the work of P. F. Strawson, G. Evans, R. Scruton, and H. Riemann. (shrink)

There are a number of existing classifications and staging schemes for carcinomas, one of the most frequently used being the TNM classification. Such classifications represent classes of entities which exist at various anatomical levels of granularity. We argue that in order to apply such representations to the Electronic Health Records one needs sound ontologies which take into consideration the diversity of the domains which are involved in clinical bioinformatics. Here we outline a formal theory for addressing these issues in (...) a way that the ontologies can be used to support inferences relating to entities which exist at different anatomical levels of granularity. Our case study is the colon carcinoma, one of the most common carcinomas prevalent within the European population. (shrink)

I do not by any means with to take on the philosophy or aesthetics of music as a whole. In his review of Edward Lippman’s Humanistic Philosophy of Music, Monroe Beardsley lists six areas in which an ideal philosophy of music ought to provide guidance: an ontology of music, an answer to the question What is a musical work of art? a taxonomy of music, a categorical scheme for the basic and universal aspects of music; a hermeneutics or semiotics (...) of music, an answer to the question What, if anything, can music refer to? an epistemology of music; a theory of music criticism, an answer to the question What makes one musical work better than another? the foundations of a social philosophy of music.4 My subject here is the third item. I want most particularly to separate it from the fifth item, for to arrive at an interpretation of a particular piece is not to arrive at an evaluation of it. I shall also try, particularly in my discussion of Nelson Goodman’s seminal Languages of Art, to avoid the first item.5 And I shall try throughout to avoid embroilment in the question of how the aesthetic experience can be separated from the nonaesthetic.My subject is in fact only a part of the third item above, namely, current theories of musical expression. “Expression” is not equivalent to “meaning”; I understand and shall use the word “expression” to indicate a kind of meaning that entails some kind of reference outside the internal syntax of the artwork itself. As Goodman remarks, “rather obviously, to express is to refer in some way to what is expressed.”6 How this reference is made by the artwork is interaction with the listener, and what sort of purpose it serves—these concerns will be the focus of this essay. To choose this focus is not to deny something of which I have no doubt, both from Peter Faltin’s careful arguments and from my own experience: there is a kind of musical meaning that is purely syntactic, that operates without reference outside the internal operations or procedures of musical systems themselves.7 But through this may be ontologically the most fundamental kind of musical meaning, it is not the only kind. To listen for this alone is not the only way to approach music. Indeed, I should guess it is not the most fundamental way for many listeners. 4. I paraphrase and abbreviate from Monroe C. Beardsley, review of A Humanistic Philosophy of Music by Edward A. Lippman, Musical Quarterly 66 : 305.5. See Nelson Goodman, Languages of Art: An Approach to a Theory of Symbols ; all further references to this work, abbreviated LA, will be included in the text.6. Goodman, “Reply to Beardsley,” Erkenntnis 12, pt. 1 : 171; and see Edward T. Cone: “Expressive values in any art … cannot arise from analytical values alone. How could they? Unless one wishes to explain what it could possibly mean for a work of art to ‘express itself,’ then one must agree that expression, by its very definition, implies a relationship between the work of art and something else; while analytical values are derivable purely from internal structure” . Anthony Newcomb, professor of music at the University of California, Berkeley, is the author of The Madrigal at Ferrara. He is currently at work on a book on musica ficta, Understood Accidentals in Renaissance Vocal Polyphony, 1450-1600, and a study of the relationship between structure and expression in nineteenth-century music. (shrink)

In this article, I will argue that while Marion’s criticism of Heidegger’s project of fundamental ontology is in many ways sound, Marion remains bound to the conceptual opposition that existential phenomenology has successfully overcome. Namely, I will argue that Marion remains dependent upon the transcendental dilemma according to which we must rely on the strict differentiation between explanans and explanandum. Marion sees no way of departing from Heidegger’s project other than reversing the order of explanation and switching the (...) places of the explanans and explanandum, which means that phenomena start appearing as explanans. I will demonstrate how existential phenomenology has overcome this conceptual dilemma, and then I will argue that we could make a much better account of saturated phenomena, if we ground our insights in the idea of being-in-the-world. (shrink)

In Ontological Aspects of Early Jewish Anthropology, Tyson L. Putthoff combines contemporary theory and sound exegesis to understand early Jewish beliefs about how the human self reacts ontologically in God s presence.".

A bewildering array of accounts of the ontology of musical works is available. Philosophers have held that works of music are sets of performances, abstract, eternal sound-event types, initiated types, compositional action types, compositional action tokens, ideas in a composer’s mind and continuants that perdure. This paper maintains that questions in the ontology of music are, in Rudolf Carnap’s sense of the term, pseudo-problems. That is, there is no alethic basis for choosing between rival musical ontologies. While (...) we have no alethic basis for choosing any ontology of music, pragmatic reasons can be given for favoring certain ontologies of musical works over others. (shrink)

In this paper, I develop a criticism to a method for metaontology, namely, the idea that a discourse’s or theory’s ontological commitments can be read off its sentences’ truth- conditions. Firstly, I will put forward this idea’s basis and, secondly, I will present the way Quine subscribed to it. However, I distinguish between two readings of Quine’s famous ontological criterion, and I center the focus on the one currently dubbed “ontological minimalism”, a kind of modern Ockhamism applied to the mentioned (...) metaontological view. I show that this view has a certain application via Quinean thesis of reference inscrutability but that it is not possible to press that application any further and, in particular, not for the ambitious metaontological task some authors try to employ. The conclusion may sound promising: having shown the impossibility of a semantic ontological criterion, intentionalist or subjectivist ones should be explored. (shrink)

Everyone knows what noise is. Or do they? Can we in fact say that one man's noise is another teenager's music? Is noise in fact only an auditory phenomenon or does it extend far beyond this realm? If our common definitions of noise are necessarily subjective and noise is not just unpleasant sound, then it merits a closer look (or listen). Greg Hainge sets out to define noise in this way, to find within it a series of operations common (...) across its multiple manifestations that allow us to apprehend it as something other than a highly subjective term that tells us very little. Examining a wide range of texts, including Sartre's novel Nausea and David Lynch's iconic films Eraserhead and Inland Empire, Hainge investigates some of the Twentieth Century's most infamous noisemongers to suggest that they're not that noisy after all; and it finds true noise in some surprising places. The result is a thrilling and illuminating study of sound and culture. (shrink)

Philosophical reflection on intellectual property (IP) is still very young. Whilst much has been written by lawyers on intellectual property, the vast majority of this writing is philosophically unsophisticated. This paper aims to at least partially remedy this philosophical deficit by examining what reflection on the ontology of intellectual property can add to our understanding of how to regulate IP. I argue that ontological reflection should bring us to an important basic fact, namely that ownership of intellectual property involves (...) the ownership of types rather than tokens. This difference in the ontological status of the objects owned makes a normative difference to how we should regulate ownership of intellectual property as compared to tangible property. The argument falls into three main parts. I begin by arguing that the type-token distinction is the best way to account for the ontology of intellectual property. I next argue that the realisation that we are dealing with ownership of types rather than tokens has important normative implications. In particular some of the standard arguments in favour of private ownership of physical property simply do not apply in the case of ownership of types, whilst some other arguments apply only in an attenuated way. The next section examines the limitations of ontology as a guide to the regulation of IP. I argue that whilst thinking through the normative implications of the type-token distinction is a necessary 1 condition for a sound regulatory approach to IP, it is certainly not sufficient. This is because many of the specific questions about the regulation of intellectual property that matter most in practice—such as how long the patent term should be, or how much someone should be able to quote from a book and it count as fair use—are not answerable by ontological reflection. Such questions concern the fair distribution of the burdens and benefits involved in the construction of public goods, rather than questions of ontology.. (shrink)

This paper is about the dilemma raised against musical ontology by Roger Scruton, in his The Aesthetics of Music: either musical ontology is about certain mind-independent “things” and so music is left out of the picture, or it is about an “intentional object” and so its puzzles are susceptible of an arbitrary answer. I argue the dilemma is merely apparent and deny that musical works can be identified with sound structures, whether or not conceived as abstract entities. (...) The general idea is this: both Platonism and nominalism about musical works are a kind of fetishism: musical works are not “things”, in Danto’s sense of “mere real things”; they rather involve complex relationships between objects, events, and different kinds of functional properties. For this, I draw on Levinson and Howell’s notion of indication, combined with Searle’s approach to institutional reality... with a little twist of my own. (shrink)

Applied ontology is the attempt to put to use the rigorous tools of philosophical ontology in the development of category systems which can be of use in the formalization and systematization of knowledge of a given domain. In what follows we shall sketch some elements of the ontology of legal and socio-political institutions, paying attention especially to the normativity involved in such institutions. We shall see that there is more than one type of normativity, but that this (...) fact that has often been ignored in standard attempts by philosophers to build ontologies of legal and other socio-political entities. In order to provide a sound system of categories for legal and socio-political institutions and entities, however, the manifold of normativity needs to be addressed. The classical examples of normative statements have been moral propositions; they do not merely describe states of affairs; they tell us how states of affairs ought to be. The distinction between how things are and how they ought to be is the basis of the distinction between fact and value. Analytic philosophers for a long time shunned discussions of normativity and ethics. They considered ethical statements as pseudo-propositions, or as expressions of pro- or con-attitudes of no theoretical significance.1 Nowadays, in contrast, prominent analytic philosophers discuss normative problems and there are important books written by such philosophers on topics such as law and justice. Here we pay attention to three seminal thinkers in this development: H. L. A. Hart, John Rawls, and John R. Searle in concerning ourselves especially with the way in which they deal with the issue of normativity. Hart is, within the context of recent analytic philosophy, the most important philosopher of law, Rawls the most.. (shrink)

This paper concerns the development and use of ontologies for electronically supporting and structuring the highest-level function of government: the design, implementation and evaluation of public policies for the big and complex problems that modern societies face. This critical government function usually necessitates extensive interaction and collaboration among many heterogeneous government organizations (G2G collaboration) with different backgrounds, mentalities, values, interests and expectations, so it can greatly benefit from the use of ontologies. In this direction initially an ontology of public (...) policy making, implementation and evaluation is described, which has been developed as part of the project ICTE-PAN of the Information Society Technologies (IST) Programme of the European Commission, based on sound theoretical foundations mainly from the public policy analysis domain and contributions of experts from the public administrations of four European Union countries (Denmark, Germany, Greece and Italy). It is a ‘horizontal’ ontology that can be used for electronically supporting and structuring the whole lifecycle of a public policy in any vertical (thematic) area of government activity; it can also be combined with ‘vertical’ ontologies of the specific vertical (thematic) area of government activity we are dealing with. In this paper is also described the use of this ontology for electronically supporting and structuring the collaborative public policy making, implementation and evaluation through ‘structured electronic forums’, ‘extended workflows’, ‘public policy stages with specific sub-ontologies’, etc., and also for the semantic annotation, organization, indexing and integration of the contributions of the participants of these forums, which enable the development of advanced semantic web capabilities in this area. (shrink)

Ontologically minimal truth law semantics are provided for various branches of formal logic (classical propositional logic, S5 modal propositional logic, intuitionistic propositional logic, classical elementary predicate logic, free logic, and elementary arithmetic). For all of them logical validity/truth is defined in an ontologically minimal way, that is, not via truth value assignments or interpretations. Semantical soundness and completeness are proved (in an ontologically minimal way) for a calculus of classical elementary predicate logic.

Daniel Dombrowski contends that: a number of versions of the ontological argument [OA] are sound; the deity whose existence is most well established by the OA is the deity picked out by Hartshorne’s neoclassical concept of God; skeptics who insist that the OA only shows that “if God exists, then God exists necessarily” are contradicting themselves, and the OA is worth a great deal since it effectively demonstrates the rationality of theism. I argue that theses and are clearly false (...) and offer a presumptive case for thinking that is false, since, absent an independent proof of God’s existence, the theist appears to be in no position to rationally assert. I also show that the Anselmian OA harmonizes rather poorly with a Hartshornean neoclassical conception of God. I conclude by assessing the philosophical and dialectical worth of ontological arguments vis-à-vis establishing the rationality of theism. (shrink)

Saint Anselm’s ontological argument is perhaps the most intriguing of all the traditional speculative proofs for the existence of God. Yet, his argument has been rejected outright by many philosophers. Most challenges stem from the basic conviction that no amount of logical analysis of a concept that is limited to the bounds of the "understanding" will ever be able to "reason" the existence in "reality" of any thing answering such a limited concept. However, it is not the intent of this (...) paper to prove or disprove Anselm’s argument. Rather, in this paper we concern ourselves with arriving at a sound interpretation of Anselm’s leading critic -- Immanuel Kant. Kant put forth perhaps the most vaunted criticism of Anselm’s argument. However, Kant has been perhaps the most misunderstood objector to Anselm’s argument. This paper confirms that charge, simultaneously offering what I believe to be a sound interpretation of Kant’s criticism. (shrink)

In this paper I wish to connect the recent debate in the philosophy of quantum mechanics concerning the nature of the wave function to the historical debate in the philosophy of science regarding the tenability of scientific realism. Being realist about quantum mechanics is particularly challenging when focusing on the wave function. According to the wave function ontology approach, the wave function is a concrete physical entity. In contrast, according to an alternative viewpoint, namely the primitive ontology approach, (...) the wave function does not represent physical entities. In this paper, I argue that the primitive ontology approach can naturally be interpreted as an instance of the so-called ‘explanationism’ realism, which has been proposed as a response to the pessimistic-meta induction argument against scientific realism. If my arguments are sound, then one could conclude that: (1) contrarily to what is commonly though, if explanationism realism is a good response to the pessimistic-meta induction argument, it can be straightforwardly extended also to the quantum domain; (2) the primitive ontology approach is in better shape than the wave function ontology approach in resisting the pessimistic-meta induction argument against scientific realism. (shrink)

I propose a metaphysical theory of mechanisms based on the notion of causation. In particular, I use causation to formulate existence, identity, and parthood conditions for mechanisms. These conditions provide a sound metaphysical basis for accounts of mechanistic explanation, mechanistic organization, and for more restrictive theories of mechanisms.

This article aims to provide a new ontological argument for the existence of God. A specific ‘modal’ version of the ontological argument—termed the Modal Realist Ontological Argument—is formulated within the modal realist metaphysical framework of David K. Lewis, Kris McDaniel and Philip Bricker. Formulating this argument within this specific framework will enable the plausibility of its central premise (i.e., the ‘Possibility Premise’) to be established, and allow one to affirm the soundness of the argument—whilst warding off two oft-raised objections against (...) this type of natural theological argument. (shrink)

In this paper, I shall present and defend an ontological argument for the existence of God. The argument has two premises: possibly, God exists, and necessary existence is a perfection. I then defend, at length, arguments for both of these premises. Finally, I shall address common objections to ontological arguments, such as the Kantian slogan, and Gaunilo-style parodies, and argue that they do not succeed. I conclude that there is at least one extant ontological argument that is plausibly sound.

This essay offers an introduction to Hegel's philosophy of sound as elaborated in the 1830 Encyclopaedia of the Philosophical Sciences in Basic Outline. The first section begins with essential context for interpreting the a priori status of nature and sound in Hegel's Philosophy of Nature. Next, I develop a general account of the Aristotelian character of Hegel's ‘Physics’, and a commentary on the categories of specific gravity and cohesion leading up to sound (and heat) in the ‘Physics (...) of Particular Individuality’. The second section provides an exegetical portrait of Hegel's metaphysics of sound. I first reconstruct Hegel's ontology of sound from the subsection on ‘Sound’ (Der Klang), and then outline his theory of auditory perception. The third section compares Hegel's philosophy of sound to leading views in contemporary philosophy of sound. I argue that Hegel offers a hylomorphic version of a located event theory of sound, which I suggest is more phenomenologically adequate than the modern acoustic view, and more metaphysically consistent than other distal event theories of sound. (shrink)

We present the details of a methodology for quality assurance in large medical terminologies and describe three algorithms that can help terminology developers and users to identify potential mistakes. The methodology is based in part on linguistic criteria and in part on logical and ontological principles governing sound classifications. We conclude by outlining the results of applying the methodology in the form of a taxonomy different types of errors and potential errors detected in SNOMED-CT.