In disputes about the ontology of music, musical idealism—that is, the view that musical compositions are ideas—has proven to be rather unpopular. We argue that, once we have a better grip on the ontology of ideas, we can formulate a version of musical idealism that is not only defensible, but plausible and attractive. We conclude that compositions are a particular kind of idea: they are completed ideas for musical manifestation.

Attributions of omnipresence, most familiar within the philosophy of religion, typically take the omnipresence of an entity to either consist in that entity's occupation of certain regions or be dependent upon other of that entity's attributes, such as omnipotence or omniscience. This paper defends an alternative conception of omnipresence that is independent of other purported divine attributes and dispenses with occupation. The resulting view repurposes the metaphysics of necessitism and permanentism, taking omnipresent entities to be those entities that exist at (...) all regions. This view is then shown to best accommodate attributions of omnipresence to a diverse range of metaphysical posits, like abstract entities, and a more diverse class of religious posits. (shrink)

Peter Goldie and Elisabeth Schellekens have recently articulated the Idea Idea, the thesis that “in conceptual art, there is no physical medium: the medium is the idea.” But what is an idea, and in the case of works such as Duchamp's Fountain, how does the idea relate to the urinal? In answering these questions, it becomes apparent that the Idea Idea should be rejected. After showing this, I offer a new ontology of conceptual art, according to which such artworks are (...) not ideas but artifacts imbued with ideas. After defending this view from objections, I briefly discuss some implications it has for the ontology of art in general. (shrink)

Stephen Davies’s Adornment lays an admirable foundation upon which much fruitful philosophical discussion about the topic of adornment can—and likely, will—be b.

Some artworks—works of music, theatre, dance, and the like—are works for performance. Some works for performance are, I contend, unperformable. Some such works are unperformable by beings like us; others are unperformable given our laws of nature; still others are unperformable given considerations of basic logic. I offer examples of works for performance—focusing, in particular, on works of music—that would fit into each of these categories, and go on to defend the claim that such ‘works’ really are genuine works, musical (...) works and works for performance. I then argue that the very possibility of such works is ontologically significant. In particular, the possibility of these works raises serious problems for type-theoretic accounts of the ontology of music as well as certain mereological or constitution-based accounts. (shrink)

Philosophers often talk about and engage with ideas. Scientists, artists, and historians do, too. But what is an idea? In this paper, we first motivate the desire for an ontology of ideas before discussing what conditions a candidate ontology would have to satisfy to be minimally adequate. We then offer our own account of the ontology of ideas, and consider various strategies for specifying the underlying metaphysics of the account. We conclude with a discussion of potential future work to be (...) done on the ontology of ideas. (shrink)

Aaron Smuts has argued that attempts to offer a plausible distinction between stories and tellings will likely face insurmountable difficulties. Here, I offer a distinction between stories and tellings that does not face these difficulties. In doing so, I propose an ontology of stories according to which such entities are ideas for narrative manifestation. In developing this ontology, I also consider parallels between stories and musical compositions.

At first glance, the properties being omniscient and being worthy of worship might appear to be perfectly co-instantiable. But there are reasons to be worried about this co-instantiability, as it turns out that, depending on our commitments with respect to certain kinds of knowledge and notions of personhood, it might be the case that no being—God included—could instantiate both. In this paper, I lay out and motivate this claim before going on to consider a variety of responses—some more plausible than (...) others—that may be offered by the theist. (shrink)

According to David Lewis, many de re modal predications – that is, sentences such as ‘John McCain could have won the 2008 U.S. Presidential election’ and ‘Dwight could receive a promotion’ – are inconstant insofar as their truth values can vary alongside changes in our interests. In this paper, I argue that previous accounts of this inconstancy, such as those offered by Lewis and Harold Noonan, are inadequate. Linguistic data, I claim – specifically, agreement and disagreement data – tell against (...) these views and in favor of a new, more radical approach. My goal in this paper is to present such data in an effort to offer some initial motivation for this new approach. (shrink)

In this paper, we discuss a team-taught, debate-style Philosophy of Religion course we designed and taught at The Ohio State University. Rather than tackling the breadth of topics traditionally subsumed under the umbrella of Philosophy of Religion, this course focused exclusively on the nuances of the atheism-theism debate, with the instructors openly identifying as atheist or theist, respectively. After discussing the motivations for designing and teaching such a course, we go on to detail its content and structure. We then examine (...) various challenges and hurdles we faced, as well as some benefits we encountered along the way. Next, we discuss some informal data collected from the students enrolled in the course, some of which suggest some rather surprising outcomes. We conclude with some considerations of the applicability of this style of teaching to other philosophical debates. (shrink)

When Vladimir Umanets entered the Tate Modern on October 7, 2012 and defaced Rothko's Black on Maroon, he was operating, not as an artist or a vandal, but as a Yellowist. Yellowism is neither art nor anti-art but is instead a supposedly new cultural element that exists for its own sake and is about nothing but the color yellow. It might be tempting to write Yellowism and the Rothko defacement off as a mere prank or as pseudo-intellectual fraud, but I (...) argue that, intentionally or not, the Yellowists have raised salient issues salient to those invested in both the ontology of art and social ontology more generally. In particular, their actions highlight issues pertaining to the relationship between stipulation and ontology. I explore these issues in this paper. (shrink)

It would be an almost comical understatement to say that, throughout my graduate study in philosophy and subsequent years of teaching and writing, I found myself engaging with the works of Jeremy Bentham somewhat infrequently. Beyond flavorful anecdotes about mummified heads and jabs about stilted nonsense in my undergraduate Intro to Ethics courses—as we segued into extended discussion of John Stuart Mill, of course—Bentham’s direct and recognized role in my philosophical activities has been pretty much nonexistent. With all that said: (...) as a sexual- and gender- nonconforming aesthetician and LGBTQIA+ educator and wellness professional living in what is now a post-Roe United States, I found Carrie D. Shanafelt’s Uncommon Sense: Jeremy Bentham, Queer Aesthetics, and the Politics of Taste (2021) to be rich, captivating, and at times, even genuinely comforting. -/- Shanafelt’s short book is equal parts history of philosophy, philosophical history, biography, and queer manifesto, written in an accessible manner that successfully balances scholarship with readability. I could easily see Uncommon Sense engendering rich discussion in graduate seminars as well as undergraduate courses of various sorts—though I can just as easily see portions of the book’s content generating various rumbles of controversy, at least at some of the institutions I’ve taught at before. (See, for example, Chapter Four, titled ‘Bentham’s Queer Christ.’) Any anticipatory worries of short-sighted reactionary takes aside, the book would absolutely serve well as the central focus on an entire course, supplemented by a range of literature and scholarly material from philosophical aesthetics, queer studies, political theory, and more. Honestly, I would love to teach that class. (shrink)

The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 126-129, Winter 2020.