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Profile: Guy Rohrbaugh (Auburn University)
  1. Guy Rohrbaugh, The Ontology of Art.
    Ontology is the study of what exists and the nature of the most fundamental categories into which those existents fall. Ontologists offer a map of reality, one divided into such broad, overlapping territories as physical and mental, concrete and abstract, universal and particular. Such a map provides the setting for further philosophical investigation. Ontologists of art seek to locate works of art in this wider terrain, to say where in our universe they fit in. Their governing question is, thus, “What (...)
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  2. Guy Rohrbaugh (2013). Anscombe, Zygotes, and Coming‐to‐Be. Noûs 48 (3).
    In some quarters, it is held that Anscombe proved that a zygote is not a human being on the basis of an argument involving the possibility of identical twins, but there is surprisingly little agreement on what her argument is supposed to be. I criticize several extant interpretations, both as interpretations of Anscombe and as self-standing arguments, and offer a different understanding of her conclusion on which the non-specificity of creation processes and their goals is at issue.
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  3. Guy Rohrbaugh (2009). Artworld Metaphysics by Kraut, Robert. Journal of Aesthetics and Art Criticism 67 (3):339-341.
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  4. Guy Rohrbaugh & Louis deRosset (2006). Prevention, Independence, and Origin. Mind 115 (458):375-386.
    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 (...)
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  5. Guy Rohrbaugh (2005). I Could Have Done That. British Journal of Aesthetics 45 (3):209-228.
    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 (...)
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  6. Ram Neta & Guy Rohrbaugh (2004). Luminosity and the Safety of Knowledge. Pacific Philosophical Quarterly 85 (4):396–406.
    In his recent Knowledge and its Limits, Timothy Williamson argues that no non-trivial mental state is such that being in that state suffices for one to be in a position to know that one is in it. In short, there are no “luminous” mental states. His argument depends on a “safety” requirement on knowledge, that one’s confident belief could not easily have been wrong if it is to count as knowledge. We argue that the safety requirement is ambiguous; on one (...)
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  7. Guy Rohrbaugh & Louis deRosset (2004). A New Route to the Necessity of Origin. Mind 113 (452):705-725.
    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, (...)
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  8. Guy Rohrbaugh (2003). Artworks as Historical Individuals. European Journal of Philosophy 11 (2):177–205.
    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 (...)
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  9. Guy Rohrbaugh (2001). Ontology of Art. In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
     
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