Jiri Benovsky

Mark Siderits has raised a number of interesting issues and objections concerning the "pluralist view" of the self I put forward in "Buddhist Philosophy and the No-Self View." In this short reply, I am going to focus on two main points he made, in the reverse order in which he made them.Here is a "metaphysical difficulty" that Siderits raises in the case of the pluralist view. It is useful to formulate the case from the first-person point of view, so let's consider me this morning: I wake up, have breakfast, and I am thinking about whether I should go skiing or whether I should go and start working on this reply. Siderits says that according to the pluralist view, there is a self that corresponds to the series of...

In this article, I am interested in an issue concerning eliminativism about ordinary objects that can be put as the claim that the eliminativist is guilty of postulating the existence of something (atoms arranged tablewise), but not of something that is identical to it (the table). But, as we will see, this turns out to be a problem for everybody except the eliminativist. Indeed, this issue highlights a more general problem about the relationship between an entity and the parts the compose it. Furthermore, I am not interested in this issue only for its own sake and for the sake of understanding and defending eliminativism, but also for the way it allows me to discuss the differences and relations between eliminativism and reductionism. What difference is there between eliminating an entity and reducing it to something else?

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.

In this article, I am interested in dual-aspect monism as a solution to the mind-body problem. This view is not new, but it is somewhat under-represented in the contemporary debate, and I would like to help it make its way. Dual-aspect monism is a parsimonious, elegant and simple view. It avoids problems with “mental causation”. It naturally explains how and why mental states are correlated with physical states while avoiding any mysteries concerning the nature of this relation. It fits well with our ordinary picture of the world, as well as with the scientific picture. It gives its rightful place to the phenomenal, qualitative, subjective character of experience, instead of reducing it or eliminating it. It does not unnecessarily multiply ontological categories. It can come in many versions, and is compatible with other interesting views, such as panpsychism.

The practice of attributing aesthetic properties to scientific and philosophical theories is commonplace. Perhaps one of the most famous examples of such an aesthetic judgement about a theory is Quine's in 'On what there is': "Wyman's overpopulated universe is in many ways unlovely. It offends the aesthetic sense of us who have a taste for desert landscapes". Many other philosophers and scientists, before and after Quine, have attributed aesthetic properties to particular theories they are defending or rejecting. One often hears that a view is "elegant", "attractive", "beautiful", or even "sexy". [...] The general claim that aesthetic properties supervene on non-aesthetic properties is a largely debated one. In this paper, I wish to address this issue from an angle which has not been really explored so far: I shall neither concentrate on cases of artefacts nor of natural objects, like the beauty of a painting or the beauty of a sunrise, rather, my main centre of attention will be the somewhat more special, theoretical case of the beauty of philosophical theories (with a focus on metaphysical theories). As we will see, there are some interesting issues concerning claims that attribute aesthetic properties to theories, in part because, even if such claims are commonplace in philosophy and in science, little has been said about the nature of the relevant supervenience basis – that is, about what it is exactly that the beauty of a theory is supposed to supervene on. Moreover, we shall see that aesthetic properties of theories play a crucial role in theory choice and evaluation. Indeed, it seems that the aesthetic properties of a theory can be appealed to in theory evaluation and when it comes to preferring one theory over another. But before we ask ourselves what role the attribution of aesthetic properties to theories can play, I will adress the question how theories come to have their aesthetic properties in the first place.

Merely rhetorically, and answering in the negative, Kendall Walton has asked: "Isn't photography just another method people have of making pictures, one that merely uses different tools and materials – cameras, photosensitive paper, darkroom equipment, rather than canvas, paint, and brushes? And don't the results differ only contingently and in degree, not fundamentally, from pictures of other kinds?" Contra Walton and others, I wish to defend in this article a resounding "Yes" as being the correct answer to these questions. It is a widely shared view that photographs are somehow special and that they fundamentally differ from hand-made pictures like paintings, both from a phenomenological point of view (in the way we experience them), and an epistemic point of view (since they are supposed to have a different – greater – epistemic value than paintings, giving us a privileged access to the world). In what follows, I shall reject almost the totality of these claims, and as a consequence there will remain little difference left between photographs and paintings. As we shall see, 'photographs are always partly paintings' – a claim that is true not only of retouched digital photographs but of all photographs, including traditional ones made using photosensitive film and development techniques.

This article discusses a familiar version of trope theory as opposed to a familiar version of the theory of universals, examining how these two rivals address the problem of “attribute agreement”—a problem that has been at the root of the very reason for developing these theories in the first place. The article shows that there is not much of a difference between the ways these two theories handle the problem, and in a more general way it argues that there is little reason for preferring one theory over the other. It is not interested in this claim only for the sake of the debate between trope theory and the theory of universals. Indeed, the reasons why it claims that it is so difficult to choose one theory over the other can be applied to other cases as well (where they might lead to claims of metaphysical equivalence).

Dans ce livre sur les photographies, l'auteur defend l'idee que les photographies n'existent pas. En effet, pour le philosophe, la nature des photographies est assez evasive. Quel type d'entites sont-elles? Des objets materiels concrets comme des tirages papier? Des types abstraits qui peuvent etre instanties dans de nombreuses formes tres diverses (tirages, fichiers, images a l'ecran,...)? Nous allons voir qu'aucune categorie metaphysique traditionnelle ne parvient a rendre compte de la nature des photographies, et je soutiendrai alors la these que les photographies n'existent pas. Mais qu'elles existent ou pas, les photographies soulevent un certain nombre de questions philosophiques importantes. En particulier, on peut se demander de quelle maniere une photographie represente le monde et en quoi la representation consiste. Nous allons voir que les photographies ont (ou peuvent avoir) un contenu narratif qui joue un role central dans la maniere dont elles representent. Nous allons egalement aborder le cas particulier de representation de la duree temporelle: une image statique, telle qu'une photographie, comment peut-elle representer un intervalle temporel non-instantane.

This paper is about persistence of material objects through time and across possible worlds. It starts with the well-known argument from undetached parts, that is put as an objection to endurantism raised by four-dimensionalists who claim to have a nice treatment of it themselves. While it will be acknowledged that, indeed, four-dimensionalism has a good explanatory power here, and has an advantage over endurantism, we will then see a modified (modalized) version of the argument that will not be so easily dismissed by the four-dimensionalist. To provide a solution to this second puzzle, a proposal will be made to use the four-dimensionalist's strategy in the case of modality and use this notion of perdurance across possible worlds to answer the modalized version of the objection. Finally, I examine some objections to this theory of modal perdurants, and try to answer them.

Finding an adequate definition of "life" has proven to be a tricky affair. In this article, I discuss the idea that nothing is really alive: we only say so. I shall argue that 'being alive' is not a genuine property of things, and that it only reflects the way we think and talk about things. An eliminativist strategy will then allow us to free ourselves from the burden of having to find a definition of life, and will allow us to focus on the genuinely interesting properties of living (and non-living) entities.

This paper is about our experience of change and movement, and thus about our experience of time – at least under the reasonable assumption that we (can only) experience time by having experiences of change. This assumption is shared by Locke, whose view on temporal experience, expounded in Book II, Chap.14 of his Essay, will be the main focal point of my paper. Some of the most influential accounts of temporal experience embrace the notion of a "specious present" as an explanatory tool in order to account for the continuous and unfolding aspect of our experiences. In this article, I will raise some points of dissatisfaction with the very notion of the specious present, and while I shall not reject the specious present theories, I will argue that more is needed in order to have a proper understanding and explanation of our temporal experience. I will then discuss and defend a view of temporal experience whose basis can be found in Locke's Essay, and which, given some amendments and further development within a contemporary framework, provides us with a very good analysis of our experience of movement, change, and time – a view that helps us to avoid some burdensome commitments incurred by specious present theories and that can be fruitfully combined with these theories in order to yield a complete and more informative picture of the phenomenon of temporal experience.

In this article, I am interested in four versions of what is often referred to as "the Humphrey objection". This objection was initially raised by Kripke against Lewis's modal counterpart theory, so this is where I will start the discussion. As we will see, there is a perfectly good answer to the objection. I will then examine other places where a similar objection can be raised: it can arise in the case of temporal counterpart theory (in fact, it can arise in the case of all kinds of counterpart theories, independently on modal realism), and a very similar worry can also arise against modal realism itself or against an ersatzist theory of possible worlds itself. For similar reasons, in similar situations, a similar objection will arise. What is interesting is that it is not the case that a similar response can be given in all of these similar cases. So, in the end, we will see what dissimilarities there are and how and why they are relevant. In particular, we will see the differences there are between alethic modalities and temporal modalities. In the case of alethic modalities (metaphysical necessity and possibility), the objection can be answered by appealing to the notion of representation, while this does not work very well in the case of temporal modalities.

In his "Two concepts of possible worlds", Peter Van Inwagen explores two kinds of views about the nature of possible worlds : abstractionism and concretism. The latter is the view defended by David Lewis who claims that possible worlds are concrete spatio-temporal universes, very much like our own, causally and spatio-temporally disconnected from each other. The former is the view of the majority who claims that possible worlds are some kind of abstract objects – such as propositions, properties, states of affairs, or sets of numbers. In this paper, I will develop this view in an 'extreme abstractionist' way, appealing to a 'modal bundle theory', and I will try to show that it is preferable to the standard abstractionist ones. Finally, I will compare this kind of abstractionism to concretism, only to find that the difference between the two is minimal.

In this paper, I examine various theories of persistence through time under presentism. In Part I, I argue that both perdurantist views (namely, the worm view and the stage view) suffer, in combination with presentism, from serious difficulties and should be rejected. In Part II, I discuss the presentist endurantist view, to see that it does avoid the difficulties of the perdurantist views, and consequently that it does work, but at a price that some may consider as being very high: its ontological commitments to platonic universals and to the substratum theory, that as we shall see follow from the combination of endurantism with presentism, will perhaps not be to everyone's taste.