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Art, Metaphysics, & the Paradox of Standards

In Art & Abstract Objects. Oxford University Press (2013)

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  1. Abstract Objects.Gideon Rosen - 2014 - In Edward N. Zalta (ed.), The Stanford Encyclopedia of Philosophy. Stanford, CA: The Metaphysics Research Lab.
    It is widely supposed that every entity falls into one of twocategories: Some are concrete; the rest abstract. The distinction issupposed to be of fundamental significance for metaphysics andepistemology. This article surveys a number of recent attempts to sayhow it should be drawn.
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  • Ontological Innovation in Art.Amie L. Thomasson - 2010 - Journal of Aesthetics and Art Criticism 68 (2):119-130.
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  • Metaphysics as modeling: the handmaiden’s tale.L. A. Paul - 2012 - Philosophical Studies 160 (1):1-29.
    Critics of contemporary metaphysics argue that it attempts to do the hard work of science from the ease of the armchair. Physics, not metaphysics, tells us about the fundamental facts of the world, and empirical psychology is best placed to reveal the content of our concepts about the world. Exploring and understanding the world through metaphysical reflection is obsolete. In this paper, I will show why this critique of metaphysics fails, arguing that metaphysical methods used to make claims about the (...)
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  • Are There No Things That are Scientific Theories?Steven French & Peter Vickers - 2011 - British Journal for the Philosophy of Science 62 (4):771-804.
    The 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 [1980]). 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) (...)
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  • A subject with no object: strategies for nominalistic interpretation of mathematics.John P. Burgess & Gideon Rosen - 1997 - New York: Oxford University Press. Edited by Gideon A. Rosen.
    Numbers and other mathematical objects are exceptional in having no locations in space or time or relations of cause and effect. This makes it difficult to account for the possibility of the knowledge of such objects, leading many philosophers to embrace nominalism, the doctrine that there are no such objects, and to embark on ambitious projects for interpreting mathematics so as to preserve the subject while eliminating its objects. This book cuts through a host of technicalities that have obscured previous (...)
  • Debates about the Ontology of Art: What are We Doing Here?Amie L. Thomasson - 2006 - Philosophy Compass 1 (3):245-255.
    Philosophy Compass, Volume 1. Oxford: Blackwell, 2006.
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  • Fiction and Metaphysics.Amie Thomasson - 1999 - Journal of Aesthetics and Art Criticism 60 (2):190-192.
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  • Works of music: an essay in ontology.Julian Dodd - 2007 - New York: Oxford University Press.
    Introduction -- The type/token theory introduced -- Motivating the type/token theory : repeatability -- Nominalist approaches to the ontology of music -- Musical anti-realism -- The type/token theory elaborated -- Types I : abstract, unstructured, unchanging -- Types introduced and nominalism repelled -- Types as abstracta -- Types as unstructured entities -- Types as fixed and unchanging -- Types II : platonism -- Introduction : eternal existence and timelessness -- Types and properties -- The eternal existence of properties reconsidered -- (...)
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  • Abstract objects.Gideon Rosen - 2008 - Stanford Encyclopedia of Philosophy.
  • Fiction and Metaphysics.Amie L. Thomasson - 2002 - Philosophical Quarterly 52 (207):282-284.
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  • Abstract Objects.Bob Hale - 1987 - Revue Philosophique de la France Et de l'Etranger 179 (1):109-109.
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  • Works of Music: An Essay in Ontology.Julian Dodd - 2008 - Journal of Aesthetics and Art Criticism 66 (2):201-203.
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