British Journal for the Philosophy of Science 62 (4):771-804 (2011)
AbstractThe ontological status of theories themselves has recently re-emerged as a live topic in the philosophy of science. We consider whether a recent approach within the philosophy of art can shed some light on this issue. For many years philosophers of aesthetics have debated a paradox in the (meta)ontology of musical works (e.g. Levinson ). Taken individually, there are good reasons to accept each of the following three propositions: (i) musical works are created; (ii) musical works are abstract objects; (iii) abstract objects cannot be created. However it seems clear that, if one wants to avoid inconsistency, one cannot commit to all three. Following up recent developments courtesy of Cameron ([2008a]), we consider how one might respond to the corresponding set of propositions in the (meta)ontology of scientific theories
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Citations of this work
Imagination in Scientific Practice.Steven French - 2020 - European Journal for Philosophy of Science 10 (3):1-19.
Authorship and Creation.Nurbay Irmak - 2021 - Journal of Aesthetics and Art Criticism 79 (2):175-185.
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A Neurocomputational Perspective: The Nature of Mind and the Structure of Science.Paul M. Churchland - 1989 - MIT Press.
Scientific Representation: Paradoxes of Perspective.Bas C. Van Fraassen - 2008 - Oxford University Press UK.
The Logic of Scientific Discovery.K. Popper - 1959 - British Journal for the Philosophy of Science 10 (37):55-57.