Ben Caplan

Thanks to David Kaplan, we all know how to handle indexicals like ‘I’. ‘I’ doesn’t refer to an object simpliciter; rather, it refers to an object only relative to a context. In particular, relative to a context C, ‘I’ refers to the agent of C. Since different contexts can have different agents, ‘I’ can refer to different objects relative to different contexts. For example, relative to a context c whose agent is Gottlob Frege, ‘I’ refers to Frege; relative to a context c* whose agent is Alexius Meinong, ‘I’ refers to Meinong.

Descriptivists say that every name is synonymous with some definite description, and Descriptivists who are Widescopers say that the definite description that a name is synonymous with must take wide scope with respect to modal adverbs such as “necessarily”. In this paper, I argue against Widescopism. Widescopers should be Super Widescopers: that is, they should say that the definite description that a name is synonymous with must take wide scope with respect to complementizers such as “that”. Super Widescopers should be Super Duper Widescopers: that is, they should say that the definite description that a name is synonymous with must take wide scope with respect to quotation marks. And Super Duper Widescopers should be Ultra Super Duper Widescopers: that is, they should say that, when the definite description that a name is synonymous with itself contains a name, the definite description that that name is synonymous with must take wide scope with respect to modal adverbs, complementizers, and quotation marks. But Descriptivists should not be Ultra Super Duper Widescopers. So Descriptivists should not be Widescopers either.

Millianism and Fregeanism agree that a sentence that contains a name expresses a structured proposition but disagree about whether that proposition contains the object that the name refers to (Millianism) or rather a mode of presentation of that object (Fregeanism). Various problems – about simple sentences, propositional‐attitude ascriptions, and sentences that contain empty names – beset each view. To solve these problems, Millianism can appeal to modes of presentation, and Fregeanism can appeal to objects. But this raises a further problem: namely, to explain why the proposition expressed by a sentence that contains a name matters in some cases but not in others.

In “Tropes and Ordinary Physical Objects”, Kris McDaniel argues that ordinary physical objects are fusions of monadic and polyadic tropes. McDaniel calls his view “TOPO”—for “Theory of Ordinary Physical Objects”. He argues that we should accept TOPO because of the philosophical work that it allows us to do. Among other things, TOPO is supposed to allow endurantists to reply to Mark Heller’s argument for perdurantism. But, we argue in this paper, TOPO does not help endurantists do that; indeed, we argue that anyone who accepts TOPO should reject endurantism

Jerrold Levinson argues that musical works are individuated by their context of origin. But one could just as well argue that musical works are individuated by their context of reception. Moderate contextualism, according to which musical works are individuated by context of origin but not by context of reception, thus appears to be an unstable position. And, although a more thoroughgoing contextualism, according to which musical works are individuated both by context of origin and by context of reception, faces a number of problems, it is nonetheless supported (at least to some extent) by critical practice.

In 1988, Michael Nyman composed the score for Peter Greenaway’s film Drowning by Numbers (or did something that we would ordinarily think of as composing that score). We can think of Nyman’s compositional activity as a “generative performance” and of the sound structure that Nyman indicated (or of some other abstract object that is appropriately related to that sound structure) as the product generated by that performance (ix).1 According to one view, Nyman’s score for Drowning by the Numbers—the musical work—is the product generated by Nyman’s compositional activity (namely, an abstract object) and, more generally, artworks are identified with the products generated by compositional or other creative activities. Let’s call this view The Product Theory. By contrast, according to another view, Nyman’s score for Drowning by Numbers is the generative performance itself (namely, Nyman’s compositional activity) and, more generally, artworks are identified with generative performances themselves. Following David Davies in Art as Performance, let’s call this view The Performance Theory (80). In that book, Davies argues for The Performance Theory and against The Product Theory.