David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
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Acta Analytica 20 (4):41-52 (2005)
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.
|Keywords||David Davies ,contextualism in art, the modaliity principle, modal argument, essentialism, Kit Fine|
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References found in this work BETA
Kit Fine (1994). Essence and Modality. Philosophical Perspectives 8:1-16.
David Davies (2004). Art as Performance. Blackwell Pub..
Jerrold Levinson (1990). Music, Art, and Metaphysics: Essays in Philosophical Aesthetics. Cornell University Press.
L. A. Paul (2004). The Context of Essence. [REVIEW] Australasian Journal of Philosophy 82 (1):170-184.
L. A. Paul (2004). The Context of Essence. Australasian Journal of Philosophy 82 (1):170 – 184.
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