I have recently defended two ideas (Puy 2022a). The first is that our modal claims about musical works do not imply that they are modally flexible entities, i.e.

This paper discusses methodological issues of two recent experiments conducted by Christopher Bartel, and Elzė S. Mikalonytė and Vilius Dranseika, respectively, about the repeatability and individuation of musical works. I argue, first, that the reliability of their results about people’s intuitions in our everyday musical practices can be questioned due to the use of descriptions instead of musical stimuli of the works and performances involved in the cases tested. This procedure is prone to place participants in an epistemic situation in (...) which their mental capacities for their everyday judgments are not deployed and makes their judgments more vulnerable to the problem of “filling in”. I provide empirical data of an experiment that implements musical stimuli, obtaining large effect sizes regarding the results obtained by Bartel, Mikalonytė and Dranseika. In addition, I argue that the results of three scenarios of the experiment conducted by Mikalonytė and Dranseika are suspicious of being influenced by presentation effects that favor the contextualist intuition that the composer is a relevant parameter in work-individuation. Formal and superficial aspects of the description of their cases would cause these effects. I supply empirical data of an experiment that neutralizes those effects, obtaining moderate and large effect sizes regarding the results of Mikalonytė and Dranseika. (shrink)

_Winner of the Fabian Dorsch ESA Essay Prize._ Julian Dodd defends the view that, in musical work-performance practice, interpretive authenticity is a more fundamental value than score compliance authenticity. According to him, compliance with a work’s score can be sacrificed in cases where it conflicts with interpretative authenticity. Stephen Davies and Andrew Kania reject this view, arguing that, if a performer intentionally departs from a work’s score, she is not properly instantiating that work and hence not producing an authentic performance (...) of it. I argue that this objection fails. A detailed analysis of work-performance practice reveals, first, that the normative scope of interpretive authenticity encompasses the practice of composing musical versions and that, second, when performers sacrifice score compliance to maximize interpretive authenticity, they are performing the target work by means of performing a version of it. By means of the nested types theory, I then show how performances produced in this way can be properly formed instances, and hence authentic performances, of their target work. (shrink)

Guy Rohrbaugh and Allan Hazlett have provided two arguments against the thesis that musical works are types. In short, they assume that, according to our modal talk and intuitions, musical works are modally flexible entities; since types are modally inflexible entities, musical works are not types. I argue that Rohrbaugh’s and Hazlett’s arguments fail and that the type/token theorist can preserve the truth of our modal claims and intuitions even if types are modally inflexible entities. First, I consider two alternatives (...) for the type/token theorist proposed in recent literature about the topic: the created types’ solution and the created abstract objects’ solution. I argue that none of them is attractive for the type/token theorist because they do not preserve the theoretical advantages of type/token theories to explain musical works’ repeatable nature. Then, I focus on the arguments’ common premise that musical works are modally flexible entities. A deeper analysis of musical practice will show that this premise is not true: our modal claims do not imply that musical works could have had different intrinsic but, instead, extrinsic properties. Finally, I show how the nested types theory may offer a satisfactory explanation of this fact and how it captures the truth of our modal talk about musical works. (shrink)

The determination thesis is the idea that art-ontological facts are determined by the folk ontological conception of artworks embedded in our artistic practices. From this thesis, descriptivism in the metaontology of art has been often characterized as the view that the task of art-ontology is to describe that folk conception. Amie Thomasson and Andrew Kania provide two paradigmatic accounts within this path. In this paper, I argue that this descriptivist approach is ungrounded because the determination thesis suffers from presupposition failure. (...) It presupposes that, whenever there is a practice of producing and appreciating artworks, there is also a folk ontological conception about those artworks. This presupposition, an implicit premise in Thomasson's and Kania's accounts, will be revealed as false, paying attention to the way artistic practices have evolved. I will conclude that descriptivism should abandon this approach and embrace metaontological realism if it aims to be a plausible view. (shrink)

According to the mainstream view in the philosophy of music, the only way to authentically perform works of past centuries is according to the ideal of Historically Authentic Performance (HAP). This paper aims to show that, despite recent defences of the mainstream view, it lacks motivation, and hence should be abandoned or revised. As we shall see, first, there is no plausible account of HAP as a final and intrinsic value consistent with the work-focused teleology of work-performance. Second, a plausible (...) account of the value of HAP in work-performance regards HAP as a way of performing works of past centuries convincingly. However, this approach does not support the mainstream view because this only leaves HAP as an interpretive option. Finally, an alternative defence of the value of HAP in the form of an indispensability argument is considered: HAP is indispensable to accurately comply with a work’s score, and thus to perform it faithfully. This strategy supports the demands of the mainstream view, but we will see that, if we take this option seriously, HAP must be understood in a substantively different manner than the mainstream view does, such that it ultimately amounts to the second option analysed above. (shrink)

Este artículo de investigación explora los factores relacionados con el cambio social por la educación en jóvenes en contextos de pobreza y marginación en Veracruz. Para tal efecto, recupera datos del levantamiento de información de un proyecto sobre jóvenes mediante un enfoque cualitativo realizado en ciudades medias de ese estado, en el cual se estudiaba la participación política de los jóvenes, pero el tema educativo era muy importante para comprender las trayectorias juveniles. Nuestro artículo es derivado de la investigación “Promover (...) espacios para la participación cívica, la inclusión y la reducción de la Violencia” patrocinado por el IDRC (Centro Internacional de Investigaciones para el Desarrollo de Canadá). La cual se enfocó en la inclusión social y la ciudadanía de los jóvenes en entornos de violencia, vulnerabilidad y exclusión en el estado de Veracruz. Se llevó a cabo en colaboración con la Universidad Veracruzana, el Centro de Servicios Municipales (CESEM) y el Movimiento de Apoyo a Niños Trabajadores y de la Calle (MATRACA-AC) durante al 2017 al 2020. El levantamiento del proyecto del cual recuperamos datos para este trabajo consistió en 20 grupos focales, 46 entrevistas a jóvenes y 14 a docentes en Xalapa, Coatzacoalcos, Veracruz y Poza Rica ciudades del Estado de Veracruz. Los datos indican que, al menos, existen cinco factores que constriñen los proyectos educativos juveniles: ingreso familiar, aspiraciones, contexto social, redes sociales y apoyo docente. Estos elementos de combinación contingente determinan las trayectorias juveniles individuadas en el campo escolar y pueden explicar tanto la permanencia como el abandono de la escuela en estas ciudades. (shrink)

info:eu-repo/semantics/publishedVersion.

Impure Eliminativism about Categories is the idea that ontological categories are not wholly eliminable insofar as they have epistemic value to understand the nature of ordinary and scientific objects. From the perspective of Impure Eliminativism, different criticisms have been addressed to substantialist approaches in metaphysics and, in particular, to John Heil’s substance-mode two-category ontology. The aim of this paper is to contribute to this critical project by extending its scope to C. B. Martin’s substantialism. The thesis I defend is that (...) Martin’s substratum-trope two-category ontology satisfies the elimination criterion of Impure Eliminativism for ontological categories because either it is inconsistent or else it supplies a non-exhaustive and non-exclusive categorization of ordinary and scientific objects and their properties. First, I introduce Impure Eliminativism and its novel elimination criterion for ontological categories, and I survey recent criticisms of substantialism from that perspective. Second, I show that nothing satisfies Martin’s definition of substratum in a way that is consistent with Martin’s view on tropes. Third, I note that the attempts to avoid the inconsistency make the categorization supplied by Martin’s ontology either non-exhaustive or non-exclusive. I then conclude that Martin’s substratum-trope categorial system should be eliminated in accordance with the criterion of categorial elimination of Impure Eliminativism. (shrink)

In this paper we deal with a classical question of western philosophy: Is it possible to know that there are things which do not exist? We begin with a brief analysis of some fragments of Parmenides, and later we study whether these arguments are valid using three kinds of epistemic logic: a classical style epistemic logic, where axiom holds, a free epistemic logic, where this axiom does not hold, and finally, we study Lenzen's proposal of using two kinds of quantifiers: (...) possibilistic and realistic quantifiers. We conclude that the last last one is the closest to our intuition and a good way to deal with this kind of problem. (shrink)

La belleza en Charles S. Peirce: Origen y alcance de sus ideas estéticas is a clearly written and well-structured book on Peirce’s aesthetics. Barrena’s thesis is that aesthetics, conceived as a normative science, is central to Peirce’s philosophical system, and especially to his pragmaticism. The goal of the book is twofold: it aims to offer an analysis of the biographical and theoretical aspects of Peirce’s interest in aesthetics and the arts and purports to elaborate a pragmaticist aesthetics. Both objectives can (...) be said to be well achieved. The book is divided into four chapters. The first is devoted to... (shrink)

This paper aims to shed light on the question of whether musical appropriation is ethically unobjectionable. James Young (2021) has recently advanced a position on this topic, according to which, whereas the appropriation of a whole work is uncontroversially non-permissible, the appropriation of parts of a work is usually permissible. He grounds this view in ontological matters and in a criterion of fair use in terms of economic harm to the source work’s composer. I argue that, pace Young, we cannot (...) make general ethical claims about musical appropriation because their truth is sensitive to the musical genres that the involved works belong to. First, I clarify the scope of musical appropriation by means of considerations on musical practices and ontology. This will reveal that versions and covers are not genuine cases of musical appropriation. In a second step, I consider a specific kind of musical appropriation: using the first measures of a source work as the first measures of a secondary work. I show that, even if we assume Young’s ontological framework and his criterion on fair use, the instances of this kind of musical appropriation count as fair or unfair depending on the musical genres of the involved works due to their normative implications for the composition and appreciation of those works. (shrink)

I defend in this paper the thesis that there is a complex relation between minimalist musical works and the metaphysics of time, involving ontological, epistemological and axiological issues. This relation is explained by means of three sub-theses. The first one is that minimalist musical works literally exemplify –in Goodman’s sense–the properties ascribed to time by the metaphysical static view: 1) minimalist works intrinsically possess those properties by being composed according to the technique of minimal repetition; 2) they extrinsically refer to (...) those properties in virtue of pragmatic processes of accommodation of disagreements on what is taken to be common ground in a particular musical context. The second sub-thesis is that, in exemplifying those properties, minimalist musical works are valuable from two perspectives: a formalist one, according to which minimalist works purify the concept of what a musical work is; and a cognitive one, insofar they allow us to obtain phenomenal knowledge of what it is like to experience time as the static view conceives it. The third sub-thesis is that each particular minimalist musical work is valuable insofar it achieves either the formalist or the cognitive goals in an original way. (shrink)

This paper is devoted to face recent views in the ontology of music that reject that musical works are repeatable in musical performances. It will be observed that musical works’ repeatability implies that they are audible and variable in their performances. To this extent, the aim here is to show that repeatability, audibility and variability are ontologically substantive features of musical works’ nature. The thesis that will be defended is that repeatability, audibility and variability are dispositional non-aesthetic properties of musical (...) works. The plausibility of the dispositional account of musical works’ repeatability, audibility and variability will lead us to the conclusion that they are ontologically substantive features of musical works’ nature, and consequently, any suitable explanation of the ontology of musical works must not ignore them. (shrink)

This article is devoted to examining the ontological foundations of computer-generated music scores. Specifically, we focus on the categorial question, i.e., the inquiry that aims to determine the kind of ontological category that musical works belong to. This task involves considerations concerning the existence and persistence conditions for musical works, and it has consequences for the determination of what it is to compose a musical work. Our contention is that not all the possible answers to the categorial question in the (...) ontology of music are equally compatible with the hypothesis that creative music systems compose musical works. The thesis defended here is that musical Platonism is the proposal that best accommodates this hypothesis. We claim that musical Platonism is the answer to the categorial question that offers the most straightforward explanation for the possibility of considering creative music systems as genuinely composing musical works. Moreover, we uphold that the notion of creative-evaluative discovery as the characterization of what it is to compose a musical work entailed by Platonism is the simplest explanation of the process developed by a computer in producing musical works. For this purpose, we will take as empirical data the features of the Iamus computer, a system that produces musical works autonomously using evolutionary algorithms and following an evo-devo strategy. The works generated by this computer have been recorded by the London Symphony Orchestra and other renowned international soloists, and its impact has been notable in the literature (Ball, 2012; Coghlan, 2012; Berger, 2013). (shrink)

Fanny Bré was a volunteer nurse in the International Brigades, who fought in the Spanish Civil War (1936–1939) on the side of the democratically elected Republican government. The objective of this study is to understand the relationship between Bré's antifascist ideas, her conception of care and the activities she carried out in the Spanish hospitals of Casa Roja (Murcia), Villa Paz (Selices, Cuenca) and Vic (Barcelona). We use narrative biography to describe Bré's personal, political and professional trajectory. To do so, (...) we conducted a content analysis of primary sources archived in Spain, Russia and France and secondary sources that emerged from a thorough literature review. We identified three thematic axes: (1) a concept of nursing in the service of the antifascist struggle, (2) nursing activity for high‐quality care and (3) political action for improving hospital organisation and care. The interest of Bré's texts transcends the war in Spain because, in them, Bré questions the neutrality of care by revealing that care can itself be a political act. (shrink)

Kurt Gödel (1906-1978) did groundbreaking work that transformed logic and other important aspects of our understanding of mathematics, especially his proof of the incompleteness of formalized arithmetic. This book on different aspects of his work and on subjects in which his ideas have contemporary resonance includes papers from a May 2006 symposium celebrating Gödel's centennial as well as papers from a 2004 symposium. Proof theory, set theory, philosophy of mathematics, and the editing of Gödel's writings are among the topics covered. (...) Several chapters discuss his intellectual development and his relation to predecessors and contemporaries such as Hilbert, Carnap, and Herbrand. Others consider his views on justification in set theory in light of more recent work and contemporary echoes of his incompleteness theorems and the concept of constructible set"--Provided by publisher. (shrink)

In this concise and accessible introductory text, Gómez-Lobo and Keown introduce a "human goods" approach to bioethics as an alternative to the dominant principle-based method in the field (best illustrated by Beauchamp and Childress, Principles of Biomedical Ethics, OUP). Following Aristotle and the natural law tradition, the authors demonstrate how an emphasis on human goods--such as health, life, family, friendship, work and play, the experience of beauty, knowledge, and integrity--provides a necessary context for medical decisions and can help us understand (...) critical issues at the beginning and end of life. The manuscript includes two parts: Foundations and Issues. In the Foundations section the authors explain how one can think about bioethics, offering definitions of ethics and ontology (the study of being) and prudential reasoning. In the Issues section they address genetics, abortion, infanticide, suicide and physician-assisted suicide, nutrition and hydration, and transplantation ethics. The book includes appendices featuring personal statements by Gómez-Lobo on the status of the human embryo and criteria for the determination of death. (shrink)

The book provides the first analysis of Karl Christian Friedrich Krause_s system of philosophy and his panentheism in English. Karl Christian Friedrich Krause has bequeathed to us a system of philosophy which is little recognised in contemporary philosophy. This is both surprising and unfortunate, because Krause_s philosophical system has much to offer: Through transcendental reflection on the nature of the human, Krause understands God as the one infinite and unconditioned reality, and the ultimate necessary condition of knowledge. God makes humanity, (...) nature, and reason ultimately comprehensible as the essential categories of the divine Essence. God is thus the single, primary, object of science that is already logically presupposed even before His discovery. Science presupposes theology, and theology is best read as panentheism. (shrink)

La crisis de la cultura occidental, que llega a niveles insospechados en latercera década del siglo XXI, exige un cuestionamiento serio acerca de losfundamentos del pensamiento y de la vida modernos. En este empeño, la obra delpensador colombiano Nicolás Gómez Dávila, aun poco conocida en su propio país,resulta de inmenso valor. El presente libro pretende aproximarse a la críticaque hace este filósofo al proceso de secularización, habida cuenta delantropocentrismo que lo caracteriza, en el cual encuentra una auténticareligión que intenta desplazar (...) al cristianismo y que sustenta la democraciamoderna, convirtiéndose en su fundamento teológico, pues, como enseñara elpensador colombiano siguiendo a Donoso Cortés: "toda política implica una ideade Dios. (shrink)