Jiri Benovsky

When I say that I am a lot of things, I mean it literally and metaphysically speaking. The Self, or so I shall argue, is a plurality (notwithstanding the fact that ordinary language takes "the Self" to be a singular term – but, after all, language is only language). It is not a substance or a substratum, and it is not a collection or a bundle. The view I wish to advocate for is a kind of reductionism, in line with some – but not all – broadly Humean ideas. In short, I will defend the view there are the experiences and mental states we have, and that's it: no additional substances, and no bundles. This does not mean, however, that there is no Self – the Self simply is the experiences. I will try to articulate and defend this view by showing that it can accommodate what I take to be the three main desiderata for any theory of the Self to satisfy: first, that the Self is the subject of experience (a subject of mental states, in general); second, that there is a unity to the Self in the sense that our (conscious, phenomenal) experience is at least partly continuous or 'stream-like'; and third, that we do not die when we go to sleep or when we otherwise don't have any (conscious, phenomenal) experiences.

There are two traditionally rival views about the nature of time: substantivalism that takes time to be a substance that exists independently of events located in it, and relationism that takes time to be constructed out of events. In this paper, first, I want to make some progress with respect to the debate between these two views, and I do this mainly by examining the strategies they use to face the possibilities of ‘empty time’ and ‘time without change’. As we shall see, the two allegedly very different rival views are much less different than has been thought: their structure is extremely similar, their strategies are extremely similar, and they can both face the possibilities of ‘empty time’ and ‘time without change’ in the same way. Thus, I argue in favour of a certain kind of equivalence between the two views; I discuss a Strong and a Weak version of this claim; and I provide reasons for endorsing the former. I also discuss the parallel between this pair of views about the nature of time and another analogous pair of views: the bundle theory and the substratum theory about the nature of material objects, with respect to the problem with Identity of Indiscernibles.

In his book The Metaphysics of Beauty Nick Zangwill argues for the claim that aesthetic properties metaphysically necessarily depend on sensory properties. This claim plays a role in his argument against physicalist aesthetic realism as well as in the formulation of his own response- dependence view. In this article, I offer reasons to resist the aesthetic/ sensory dependence claim by a discussion of the case of theories, theorems, proofs, and similar theoretical objects, which do possess genuinely aesthetic properties, while these do not depend on any sensory properties. I argue against Zangwill’s claim that such attributions of aesthetic properties are merely metaphorical.

Sometimes, I like to write 'philosophical stories' that explain a philosophical problem, and this book is a compilation of five such stories. So this is a book for non-philosophers or for beginners in philosophy. There is a story of a bald punk that allows me to explain theories of vagueness, a story about brains in vats that gives rise to a discussion of scepticism about the external world, a story about a theft in a museum where the thief is condemned twice (once for stealing a statue, and once for stealing a piece of bronze of which the statue was made), a time travel story, and a ship od Theseus revisited story. I hope to have achieved something that is both fun and serious and that will give a good picture of what philosophy is to the general public. The book is also intented for first or second year philosophy students, who can find there a starting point for understanding some debates.

Depiction and imagination are intimately linked. In this article, I discuss the role imagination (as well as inference and knowledge/belief) plays in depiction, with a focus on photographic depiction. I partly embrace a broadly Waltonian view, but not always, and not always for Walton's own reasons. In Walton's view, imagination plays a crucial role in depiction. I consider the objection to his view that not all cases of depiction involve imagination – for instance, documentary photographs. From this discussion, two points will emerge: first, we will see that it is an unnecessary mistake to insist too heavily on the fact that photographs are produced in a mechanical way (as opposed to, say, paintings), and second, we will see that the notion of "imagining-seeing", as it is articulated by Walton, is perhaps too strong and does not entirely do justice to the external character of the role imagination plays here. Focusing mainly on photographs, I then illustrate the view I want to advocate by a series of different cases, where the nature of the role that imagination, knowledge/belief, and inference play in depiction will become apparent.

Metaphysical theories heavily rely on the use of primitives to which they typically appeal. I will start by examining and evaluating some traditional well-known theories and I will discuss the role of primitives in metaphysical theories in general. I will then turn to a discussion of claims of between theories that, I think, depend on equivalences of primitives, and I will explore the nature of primitives. I will then claim that almost all explanatory power of metaphysical theories comes from their primitives, and so I will turn to scrutinize the notion of "power" and "explanatory".

For the metaphysician, photographs are very puzzling entities indeed. And even from the non-philosopher's intuitive point of view, it is not that clear what sort of thing a photograph is. Typically, if a client wants to purchase a photograph, she can mean very different things by 'buying a photograph' : she can mean to buy a print or a number of prints, or she can mean to buy a negative (when traditional film photographs are concerned) or a file (when digital photography is concerned), or she can mean to buy a right to use a photograph a precisely determined number of times in a number of brochures or on a website, and so on. When facing a new client, I always, without exception, face the problem of explaining to her what it is that she is actually buying – and it is not always clear that she is ever buying a photograph. As a metaphysician, I face a much more difficult challenge : find out to what ontological category photographs belong to. Are they concrete spatio-temporal entities like prints, are they universals since there can be many 'prints-instances' of a same photograph, are they sets or aggregates of prints, or something even different? This is the task that I wish to undertake in this paper : examine all plausible metaphysical categories to which photographs could belong to, and see which one is the fittest. As we shall see, in this 'survival for the fittest' competition between traditional metaphysical categories, there will be no real winner : several categories will reveal themselves to be enlightening and useful when describing features of what photographs are, but none will prove to be entirely satisfactory. Photographs, it seems, are a sort of borderline entities that share some but not all aspects of several traditional metaphysical categories. Is it then justified to postulate a new ontological category to which photographs would properly belong? On mainly methodological grounds, I shall argue that it is not, and I will suggest a different way out of this metaphysician's trouble by defending a nihilism about photographs. To put it bluntly, I will defend the claim that photographs do not exist – but I will also argue that this is not a very revisionary or anti-commonsensical claim.

Eliminativism about macroscopic material objects claims that we do not need to include tables in our ontology, and that any job – practical or theoretical – they have to do can be done by 'atoms arranged tablewise'. This way of introducing eliminativism faces the worry that if there are no 'atoms', that is, if there are no simples and the world is 'gunky', there are no suitable entities to be 'arranged tablewise'. In this article, I discuss various strategies the eliminativist can have to face this objection, and I conclude by showing that the objection is actually misdirected and does not threaten eliminativism at all.

This paper is about what counts as a photograph and what does not. One way in which this question arises stems from new technologies that keep changing our way of producing photographs, such as digital photography, which not only has now widely replaced traditional film photography but also challenges the very limits of what we count as a photograph. I shall discuss below at some length different aspects of digital photography, but also want to focus here on a new striking type of photographic camera, announced in early 2012 by Lytro, Inc., namely, the so-called?Light Field Camera?, which is said to represent a revolution in the photographic world. Indeed, unlike in the case of any previously available cameras, the photographs produced by a Light Field Camera can be re-focused after the photograph has been taken, which harbours many interesting consequences with regard to the resulting image and the way we interact with it. But of course, the initial question also arises in the case of traditional film photography as well as?traditional? digital photography. The question amounts to asking about what the essential features of photographs are? in short, what their nature is.

How do ordinary objects persist through time and across possible worlds? How do they manage to have their temporal and modal properties? These are the questions adressed in this book which is a "guided tour of theories of persistence". The book is divided in two parts. In the first, the two traditional accounts of persistence through time (endurantism and perdurantism) are combined with presentism and eternalism to yield four different views, and their variants. The resulting views are then examined in turn, in order to see which combinations are appealing and which are not. It is argued that the 'worm view' variant of eternalist perdurantism is superior to the other alternatives. In the second part of the book, the same strategy is applied to the combinations of views about persistence across possible worlds (trans-world identity, counterpart theory, modal perdurants) and views about the nature of worlds, mainly modal realism and abstractionism. Not only all the traditional and well-known views, but also some more original ones, are examined and their pros and cons are carefully weighted. Here again, it is argued that perdurance seems to be the best strategy available.

The eternalist endurantist and perdurantist theories of persistence through time come in various versions, namely the two versions of perdurantism: the worm view and the stage view, and the two versions of endurantism: indexicalism and adverbialism. Using as a starting point the instructive case of what is depicted by photographs, I will examine these four views, and compare them, with some interesting results. Notably, we will see that two traditional enemies—the perdurantist worm view and the endurantist theories—are more like allies : they are much less different than what is usually thought, and some alleged points of central disagreement fall prey to closer scrutiny. The aim of this paper is to examine carefully all those points, and to call attention to the places where the real differences between these views lie. I will then turn to the perdurantist stage view, and claim that with respect to some central issues it is the view that is the most different from the other three, but that in some places the reason why it different is also the reason why it is less satisfactory.

At a first glance, and even at a second one, it seems that if time is linear the threat of determinism is more severe than if time is branching, since in the latter case the future is open in a way it is not in the former one where, so to speak, there exists only one branch – one future. In this paper, I want to give a 'third glance' at this claim. I acknowledge that such a claim is intuitive (this is the first glance) and that it is also meaningfully and interestingly defended in recent literature where branching time is either said to imply indeterminism or at least to be compatible with it. To try to make my third glance as precise and as fleshed out as possible, I shall first concentrate on what 'branching' is or could be, and I shall discuss various versions and interpretations of this view. I shall then (more quickly) turn my attention to what determinism is or could be, and I will distinguish three (well-known) kinds of it – focusing mainly on 'metaphysical determinism'. Having these tools in hand, I will then ask (and answer) the question whether branching time helps with avoiding determinism or not. As we shall see, it is incorrect to think that under the branching hypothesis the threat of determinism is any smaller – rather, I will argue that if one has reasons to think that determinism is true, branching will not help, and that the issue of branching versus linear time is then actually neutral with respect to the question whether determinism or indeterminism is true.

Metaphysical theories are beautiful. At the end of this book, Jiri Benovsky defends the view that metaphysical theories possess aesthetic properties and that these play a crucial role when it comes to theory evaluation and theory choice.Before we get there, the philosophical path the author proposes to follow starts with three discussions of metaphysical equivalence. Benovsky argues that there are cases of metaphysical equivalence, cases of partial metaphysical equivalence, as well as interesting cases of theories that are not equivalent. Thus, claims of metaphysical equivalence can only be raised locally. The slogan is: the best way to do meta-metaphysics is to do first-level metaphysics.To do this work, Benovsky focuses on the nature of primitives and on the role they play in each of the theories involved. He emphasizes the utmost importance of primitives in the construction of metaphysical theories and in the subsequent evaluation of them.He then raises the simple but complicated question: how to make a choice between competing metaphysical theories? If two theories are equivalent, then perhaps we do not need to make a choice. But what about all the other cases of non-equivalent "equally good" theories? Benovsky uses some of the theories discussed in the first part of the book as examples and examines some traditional meta-theoretical criteria for theory choice (various kinds of simplicity, compatibility with physics, compatibility with intuitions, explanatory power, internal consistency,...) only to show that they do not allow us to make a choice.But if the standard meta-theoretical criteria cannot help us in deciding between competing non-equivalent metaphysical theories, how then shall we make that choice? This is where Benovsky argues that metaphysical theories possess aesthetic properties – grounded in non-aesthetic properties – and that these play a crucial role in theory choice and evaluation. This view, as well as all the meta-metaphysical considerations discussed throughout the book, then naturally lead the author to a form of anti-realism, and at the end of the journey he offers reasons to think better of the kind of anti-realist view he proposes to embrace. www.jiribenovsky.org.

Is the self a substance, as Descartes thought, or is it 'only' a bundle of perceptions, as Hume thought? In this paper I will examine these two views, especially with respect to two central features that have played a central role in the discussion, both of which can be quickly and usefully explained if one puts them as an objection to the bundle view. First, friends of the substance view have insisted that only if one conceives of the self as a substance is it possible to account for genuine particularity of selves and genuine persistence through time of them. I will discuss in detail this claim as well as a special case of persistence - the case of a fission of a self - and I will ask, as Shoemaker (1997) did, how such a case can be handled by the two competing theories. The second central point of traditional disagreement concerns independence : it is often said that only a substance, but not a mere bundle, is independent enough of its properties to play properly the role of a self, and I will have something to say about this. Concerning all these points, my thesis will be a meta-theoretical one : contrary to appearances, both views can accommodate all of them (particularity at a time, persistence, fission, independence) in the same way, and I will examine two possible conclusions to be drawn from this : either that the differences between the two views are no more than terminological and that they turn out to be equivalent views, or that the differences are metaphysical but that it is epistemically under-determined which one of the views we should choose.

In this article, I want to understand the nature of aesthetic experiences of landscapes. I offer an understanding of aesthetic appreciation of landscapes based on a notion of a landscape where landscapes are perspectival observer-dependent entities, where the 'creator' of the landscape necessarily happens to be the same person as the spectator, and where her scientific (and other) knowledge and beliefs matter for the appreciation to be complete. I explore the idea that appreciating a landscape in this sense has quite a lot in common with taking and appreciating a photograph. On our way, we will see how imagination plays a crucial role in the story.

In this paper, I explore several versions of the bundle theory and the substratum theory and compare them, with the surprising result that it seems to be true that they are equivalent (in a sense of 'equivalent' to be specified). In order to see whether this is correct or not, I go through several steps : first, I examine different versions of the bundle theory with tropes and compare them to the substratum theory with tropes by going through various standard objections and arguing for a tu quoque in all cases. Emphasizing the theoretical role of the substratum and of the relation of compresence, I defend the claim that these views are equivalent for all theoretical purposes. I then examine two different versions of the bundle theory with universals, and show that one of them is, here again, equivalent to the substratum theory with universals, by examining how both views face the famous objection from Identity of Indiscernibles in a completely parallel way. It is only the second, quite extreme and puzzling, version of the bundle theory with universals that is not be equivalent to any other view; and the diagnosis of why this is so will show just how unpalatable the view is. Similarly, only a not-so-palatable version of the substratum theory is genuinely different from the other views; and here again it's precisely what makes it different that makes it less appealing.

Is there an entity such that it can be in two places at the same time? According to one traditional view, properties can, since they are immanent universals. But what about objects such as a person or a table? Common sense seems to say that, unlike properties, objects are not multiply locatable. In this paper, I will argue first of all that endurantism entails a consequence that is quite bizarre, namely, that objects are universals, while properties are particulars. I then conclude by examining and rejecting two theories according to which objects can wholly be in two places at the same time.