Hostname: page-component-78c5997874-lj6df Total loading time: 0 Render date: 2024-11-19T22:32:52.006Z Has data issue: false hasContentIssue false
  • English
  • Français

An Ontology of Ideas

Published online by Cambridge University Press:  29 December 2015

WESLEY D. CRAY  and
TIMOTHY SCHROEDER
WESLEY D. CRAY
Affiliation:
GRAND VALLEY STATE [email protected]
TIMOTHY SCHROEDER
Affiliation:
RICE [email protected]
Get access Rights & Permissions [Opens in a new window]

Abstract:

Philosophers often talk about and engage with ideas. Scientists, artists, and historians do, too. But what is an idea? In this paper, we first motivate the desire for an ontology of ideas before discussing what conditions a candidate ontology would have to satisfy to be minimally adequate. We then offer our own account of the ontology of ideas and consider various strategies for specifying the underlying metaphysics of the account. We conclude with a discussion of potential future work to be done on the ontology of ideas.

Keywords

ideasmental statesontologyphilosophy of art
Type
Articles
Information
Journal of the American Philosophical Association , Volume 1 , Issue 4 , Winter 2015 , pp. 757 - 775
Copyright
Copyright © American Philosophical Association 2015 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Alberro, Alexander, and Stimson, Blake, eds. (1999) Conceptual Art: A Critical Anthology. Cambridge, MA: MIT Press.Google Scholar
Boolos, George. (1984) ‘To Be is to Be the Value of a Variable (or to be Some Values of Some Variables)’. Journal of Philosophy, 81, 430–49.CrossRefGoogle Scholar
Bratman, Michael. (1987) Intentions, Plans, and Practical Reason. New York: Cambridge University Press.Google Scholar
Burge, Tyler. (1977) ‘A Theory of Aggregates’. Nous, 11, 97–117.Google Scholar
Caplan, Ben, Tillman, Chris, and Reeder, Patrick. (2010) ‘Parts of Singletons’. Journal of Philosophy, 107, 501–33.Google Scholar
Caplan, Ben, and Matheson, Carl. (2004) ‘Can a Musical Work Be Created?’. British Journal of Aesthetics, 44, 113–34.Google Scholar
Collingwood, R. G. (1938) Principles of Art. London: Oxford University Press.Google Scholar
Cox, Renée. (1986) ‘A Defence of Musical Idealism’. British Journal of Aesthetics, 26, 133–42.CrossRefGoogle Scholar
Cray, Wesley. (2014) ‘Conceptual Art, Ideas, and Ontology’. Journal of Aesthetics and Art Criticism, 72, 235–45.Google Scholar
Croce, Benedetto. (1909) Aesthetics. Translated by D. Ainslie. London: Vision Press/Peter Owen.Google Scholar
Davies, David. (2008) ‘Collingwood's “Performance” Theory of Art’. Journal of Aesthetics and Art Criticism, 48, 162–74.Google Scholar
Dodd, Julian. (2007) Works of Music: An Essay in Ontology. Oxford: Oxford University Press.CrossRefGoogle Scholar
Everett, Anthony, and Schroeder, Timothy. (2015) ‘Ideas for Stories’. In Brock, Stuart and Everett, Anthony (eds.), Fictional Objects (New York: Oxford University Press), 275–93.CrossRefGoogle Scholar
Fine, Kit. (1994) ‘Compounds and Aggregates’. Nous, 28, 137–58.Google Scholar
Goldie, Peter, and Schellekens, Elisabeth, eds. (2010) Who's Afraid of Conceptual Art. New York: Routledge.Google Scholar
Goldie, Peter, and Schellekens, Elisabeth, eds. (2007) Philosophy and Conceptual Art. Oxford: Clarendon.CrossRefGoogle Scholar
Hight, Marc. (2008) Ideas and Ontology: An Essay in Early Modern Metaphysics of Ideas. University Park, PA: Pennsylvania State University Press.Google Scholar
Hull, David. (1978) ‘A Matter of Individuality’. Philosophy of Science, 45, 335–60.Google Scholar
Kim, Jaegwon. (1998) Mind in a Physical World. Cambridge, MA: MIT Press.Google Scholar
Kosuth, Joseph. (1969) ‘Art After Philosophy’. Studio International, 178, 134, 160–61, 212–13. Reprinted in Alberro and Stimson (1999): 158–77.Google Scholar
Levinson, Jerrold. (1980) ‘What a Musical Works Is’. Journal of Philosophy, 77, 5–28.Google Scholar
Lewis, David (1986) On the Plurality of Worlds. Malden, MA: Blackwell.Google Scholar
Lewis, David. (1973) Counterfactuals. Malden, MA: Blackwell.Google Scholar
LeWitt, Sol. (1969) ‘Sentences on Conceptual Art’. 0–9, 5, 3–5. Reprinted in Alberro and Stimson (1999): 106–08.Google Scholar
Ridley, Aaron. (1997) ‘Not Ideal: Collingwood's Expression Theory’. Journal of Aesthetics and Art Criticism, 55, 263–72.CrossRefGoogle Scholar
Rorbaugh, Guy. (2003) ‘Artworks as Historical Individuals’. European Journal of Philosophy, 11, 177–205.CrossRefGoogle Scholar
Schellekens, Elisabeth. (2005). ‘“Seeing is Believing” and “Believing is Seeing”’. Acta Analytica, 10, 10–23.Google Scholar
Trerise, Jonathan. (2010) ‘Against the Strength of Patent Protection’. The Monist, 9, 464–80.Google Scholar
Wollheim, Richard. (1980) Art and Its Objects. 2d ed. New York: Cambridge University Press.Google Scholar