Jiri Benovsky

There are three main traditional accounts of vagueness : one takes it as a genuinely metaphysical phenomenon, one takes it as a phenomenon of ignorance, and one takes it as a linguistic or conceptual phenomenon. In this paper I first very briefly present these views, especially the epistemicist and supervaluationist strategies, and shortly point to some well-known problems that the views carry. I then examine a 'statistical epistemicist' account of vagueness that is designed to avoid precisely these problems – it will be a view that provides an account of the phenomenon of vagueness as coming from our linguistic practices, while insisting that meaning supervenes on use, and that our use of vague terms does yield sharp and precise meanings, which we ignore, thus allowing bivalence to hold.

A widespread interpretation of Buddhist thought concerning the self makes a prominent place for the claim that there is no self. The idea is that this piece of Buddhist philosophy is best understood as being an eliminativist view about the self, sometimes called the "no-self view" or "non-self view". This claim is motivated, in Buddhist philosophy, by the idea that if there were a self, it would have to be a permanent entity that would be a "bearer" of individual psychological states. But since, according to this line of thought, there is no such permanent bearer, then there is no self.Consider the following statements: There...

In this paper, I explore the nature of photographs by comparing them to hand-made paintings, as well as by comparing traditional film photography with digital photography, and I concentrate on the question of realism. Several different notions can be distinguished here. Are photographs such that they depict the world in a 'realist' or a 'factive' way? Do they show us the world as it is with accuracy and reliability other types of pictures don't posses? Do they allow us, as some have suggested, to literally see the world through them? Below, I will distinguish three kinds of realism about photographs, reject two, and partly endorse one. Indeed, the label "realism", when concerning photographs, can stand for a variety of very different claims. The first (and quite obvious) distinction to start with concerns what the realist thesis is about : the claim that somehow photographs are more accurate or more reliable or that they somehow depict the world better than hand-made pictures can be a claim about the photographic image itself or alternatively a claim about the way in which photographs are produced. In the former case, realism is a thesis about how photographs look and what sort of information they contain, while in the latter case realism is a claim about the process of production of photographs. It is the latter claim that is the most discussed in the philosophical literature about photography. I will concentrate on this type of realism, of which I shall examine two varieties.

The main task of this paper is to understand if and how static images like photographs can represent and/or depict temporal extension (duration). In order to do this, a detour will be necessary to understand some features of the nature of photographic representation and depiction in general. This important detour will enable us to see that photographs (can) have a narrative content, and that the skilled photographer can 'tell a story' in a very clear sense, as well as control and guide the attention of the spectator of the photograph. The understanding and defence of this claim is a secondary aim of this paper, and it will then allow us to provide a good treatment of the particular case of photographic representation and depiction of temporal extension.

The recent debate in metaontology gave rise to several types of (more or less classical) answers to questions about "equivalences" between metaphysical theories and to the question whether metaphysical disputes are substantive or merely verbal (i.e. various versions of realism, strong anti-realism, moderate anti-realism, or epistemicism). In this paper, I want to do two things. First, I shall have a close look at one metaphysical debate that has been the target and center of interest of many meta-metaphysicians, namely the problem of how material objects persist through time : the endurantism vs. perdurantism controversy. It has been argued that this debate is a good example of a merely verbal one, where two allegedly competing views are in fact translatable one into each other – they end up, contrary to appearances, to be equivalent. In my closer look at this debate, I will conclude that this is correct, but only to some extent, and that there does remain room for substantive disagreement. The second thing that I wish to achieve in this paper, and that I hope will stem from my considerations about the persistence debate, is to defend a metaontological view that emphasizes that when asking the question "Are metaphysical debates substantive or verbal?" the correct answer is "It depends." Some debates are substantive, some debates are merely verbal, sometimes it is true that a problem or a question can be formulated in equally good frameworks where there is no fact of the matter as to which one is correct or where we just cannot know it. Furthermore, importantly, as my examination of the persistence debate will show, there is room for the view that a debate is largely merely verbal but not entirely and that some parts of it are substantive, and decidable by philosophical methods. It is possible, and it is the case with respect to the persistence debate, that inside a debate some points are merely verbal while other are places of substantive disagreement. A moral of this is that, at the end of the day, the best way to do meta-metaphysics is to do first-level metaphysics.

If ordinary particulars are bundles of properties, and if properties are said to be universals, then three well-known objections arise : no particular can change, all particulars have all of their properties essentially (even the most insignificant ones), and there cannot be two numerically distinct but qualitatively indiscernible particulars. In this paper, I try to make a little headway on these issues and see how the objections can be met, if one accepts a certain view about persistence through time and across possible worlds – namely, four-dimensionalism and its modal analogue. The paper is especially devoted to the second and third of the three objections.

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.