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By W. V. Quine

This quantity of essays has a harmony and bears in the course of the imprint of Quine's robust and unique brain. it truly is written with the felicity within the number of phrases which makes every thing that Quine writes a excitement to learn, and which ranks him one of the best modern writers on summary matters. (Cambridge evaluation )Professor Quine's tough and unique perspectives are the following for the 1st time provided as a solidarity. the manager advantage of the ebook is the heart-searching from which it arose and to which it is going to supply upward push. In energy, conciseness, and readability, it truly is attribute of its writer. (Oxford journal )

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The second simply is to abandon our commitment to art-realism (at least insofar as putatively repeatable artworks are concerned) and instead embrace a radical art-ontological/art-theoretic eliminativism or adopt an anti-realist fictionalism, such that, for any problematic art onta purged from the world there is some useful art ficta ready to take its place. The broad methodological implication of reciprocity for philosophy of art I take to be this: Prior to declaring abstracta essential fixtures in the art-ontological fundament, we ought to make sure that the sort of thing an artwork must minimally be can coherently be the sort of thing that an abstract object must minimally be, at least as standardly conceived in contemporary metaphysics.

His engagement with the rest of us is spoiled, I think, by his insistence that proper ontology can only be understood as a concern with what exists ‘fundamentally,’ and that what does not exist fundamentally does not exist full stop. Even assuming the availability of a conceptual register in which to make this claim (cf. Predelli 2009), taking this on board pretty much short MUST ONTOLOGICAL PRAGMATISM BE SELF-DEFEATING? ’ I do not think anyone actually disagrees with Cameron’s claim that works of art are not ontologically fundamental, but nor does anyone think this much matters.

For instance, why it is that Shelley’s famous poem Ozymandias cannot be reduced to the sequence of words: ‘I’ ‘met’ ‘a’ ‘traveler’ ‘from’ ‘an’ ‘antique’ ‘land’ . . , and why it is that Chopin’s Mazurka in A minor Op. 17, no. 4 cannot be reduced to a complex sequence of notes starting with an altered F major triad. Here are the most important reasons why such works cannot be reduced to pure structures. First, pure structures of elements, which are similar to mathematical objects, * This chapter originally appeared in ‘Rethinking Creativity.

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