Ross Cameron

I address an intuition commonly endorsed by metaphysicians, that there must be a fundamental layer of reality, i.e., that chains of ontological dependence must terminate: there cannot be turtles all the way down. I discuss applications of this intuition with reference to Bradley’s regress, composition, realism about the mental and the cosmological argument. I discuss some arguments for the intui- tion, but argue that they are unconvincing. I conclude by making some suggestions for how the intuition should be argued for, and discussing the ramifications of giving the justification I think best.

Works of music do not appear to be concrete objects; but they do appear to be created by composers, and abstract objects do not seem to be the kind of things that can be created. In this paper I aim to develop an ontological position that lets us salvage the creativity intuition without either adopting an ontology of created abstracta or identifying musical works with concreta. I will argue that there are no musical works in our ontology, but nevertheless the English sentences we want to hold true are literally true. I rely on a meta-ontological view whereby ‘a exists’ can be true without committing us to an entity that is a. This meta-ontological view is illustrated by its application to the familiar example of the statue and the clay. I argue that my account of musical ontology fares better on the balance of costs and benefits than its rivals

Consider two of my properties: my mass and my weight. There seems to be an interesting distinction between the reasons for my having these two properties. I have my mass solely in virtue of how I am, whereas I have my weight in virtue of both how I am and how my surroundings are. I have my weight as a result of the gravitational pull exerted by the Earth on a thing having my mass, whereas I have my mass independently of other things around me. If you change my surroundings, if you put me on the moon say, my weight will change, but my mass will stay the same

I attempt to accommodate the phenomenon of vagueness with classical logic and bivalence. I hold that for any vague predicate there is a sharp cut-off between the things that satisfy it and the things that don’t; I claim that this is due to the greater naturalness of one of the candidate meanings of that predicate. I extend the view to give an account of arbitrary reference and a solution to Benacerraf problems. I end by exploring the idea that it is ontically indeterminate what the most natural meanings are, and hence ontically indeterminate where the sharp cut-off in a sorites series is.