Haecceities: Essentialism, Identity, and Abstraction is both an artistic and philosophical examination of the limits of Abstraction in art and of kinds of radical identity that are determined in the identification of those limits. Building on his work Subjects and Objects, Strayer shows how the fundamental conditions of making and apprehending works of art can be used, in concert with language, thought, and perception, as ‘material’ for producing the more Abstract and radical artworks possible. Certain limits of Abstraction and possibilities of radical identity are then identified that are critically and philosophically considered. They prove to be so extreme that the concepts artwork, abstraction, identity, and object in art, philosophy, and philosophy of art, have to be reconsidered.

Featuring chapters by a diverse range of leading international artists and theorists, this book suggests that contemporary art is increasingly characterized by the problem of where and when it is situated. While much advanced artistic speculation of the twentieth-century was aligned with the question “what is art?,” a key question for many artists and thinkers in the twenty-first century has become “where is art?” Contributors explore the challenge of meaningfully identifying and evaluating works located across multiple versions and locations in space and time. In doing so, they also seek to find appropriate language and criteria for evaluating forms of art that often straddle other realms of knowledge and activity. The book will be of interest to scholars working in art history, contemporary art, art criticism, and philosophy of art.

This handbook brings together the most current and hotly debated topics in studies about images today. In the first part, the book gives readers an historical overview and basic diacronical explanation of the term image, including the ways it has been used in different periods throughout history. In the second part, the fundamental concepts that have to be mastered should one wish to enter into the emerging field of Image Studies are explained. In the third part, readers will find analysis of the most common subjects and topics pertaining to images. In the fourth part, the book explains how existing disciplines relate to Image Studies and how this new scholarly field may be constructed using both old and new approaches and insights. The fifth chapter is dedicated to contemporary thinkers and is the first time that theses of the most prominent scholars of Image Studies are critically analyzed and presented in one place.

The subject matter of Subjects and Objects is the limits of Abstraction in art. The notion of Abstraction, its development in art history, and the relation of art and philosophy regarding Abstraction are considered in addition to identifying and examining things that are essential to artworks. Any artwork has an identity, and comprehension of that identity depends on a perceptual object. A subject’s apprehension of such an object creates an “artistic complex” of which the object, the subject, and the apprehension are constituents. The essential elements of this kind of complex are the subject of the final part of the work. Its concluding section considers these elements as ‘material’ to be used to determine the limits of Abstraction.

Subjects and Objects provides the philosophical groundwork for the determination of the limits of Abstraction in art. This involves extensive consideration of the subject-object relationship and properties of subjects and objects that pertain to making and apprehending works of art.

This book supports a version of the trope-bundle view of individual substances matching also with a coherent account of change, individuation and individual essences. In particular, it is argued that qualitative individuation and qualitative individual essences can be tackled within the frames of a trope account. The adoption of a trope BT together with the individuation of tropes via the bearer substance might create the feeling of circularity since tropes and substances seem mutually to individuate each other. The novel solution to the problem developed here consists in showing that the individuation of concrete individual substances is independent, in crucial respects, from the fact that they are construed as bundles of tropes. Apart from metaphysician colleagues, the book is recommended for advanced students in analytic metaphysics.

Metaphysics is sensitive to the conceptual tools we choose to articulate metaphysical problems. Those tools are a lens through which we view metaphysical problems, and the same problems will look different when we change the lens. In this book, Theodore Sider identifies how the shift from modal to "postmodal" conceptual tools in recent years has affected the metaphysics of science and mathematics. He highlights, for instance, how the increased consideration of concepts of ground, essence, and fundamentality has transformed the debate over structuralism in many ways. Sider then examines three structuralist positions through a postmodal lens. First, nomic essentialism, which says that scientific properties are secondary and lawlike relationships among them are primary. Second, structuralism about individuals, a general position of which mathematical structuralism and structural realism are instances, which says that scientific and mathematical objects are secondary and the pattern of relations among them is primary. And third, comparativism about quantities, which says that particular values of scientific quantities, such as having exactly 1000g mass, are secondary, and quantitative relations, such as being-twice-as-massive-as, are primary. Sider concludes these discussions by considering the meta-question of when theories are equivalent and how that impacts the debate over structuralism.

This book offers a historical explanation of important philosophical problems in logic and mathematics, which have been neglected by the official history of modern logic. It offers extensive information on Gottlob Frege’s logic, discussing which aspects of his logic can be considered truly innovative in its revolution against the Aristotelian logic. It presents the work of Hilbert and his associates and followers with the aim of understanding the revolutionary change in the axiomatic method. Moreover, it offers useful tools to understand Tarski’s and Gödel’s work, explaining why the problems they discussed are still unsolved. Finally, the book reports on some of the most influential positions in contemporary philosophy of mathematics, i.e., Maddy’s mathematical naturalism and Shapiro’s mathematical structuralism. Last but not least, the book introduces Biancani’s Aristotelian philosophy of mathematics as this is considered important to understand current philosophical issue in the applications of mathematics. One of the main purposes of the book is to stimulate readers to reconsider the Aristotelian position, which disappeared almost completely from the scene in logic and mathematics in the early twentieth century.

From Edison’s invention of the phonograph through contemporary field recording and sound installation, artists have become attracted to those domains against which music has always defined itself: noise, silence, and environmental sound. Christoph Cox argues that these developments in the sonic arts are not only aesthetically but also philosophically significant, revealing sound to be a continuous material flow to which human expressions contribute but which precedes and exceeds those expressions. Cox shows how, over the course of the twentieth and twenty-first centuries, philosophers and sonic artists have explored this “sonic flux.” Through the philosophical analysis of works by John Cage, Maryanne Amacher, Max Neuhaus, Christian Marclay, and many others, Sonic Flux contributes to the development of a materialist metaphysics and poses a challenge to the prevailing positions in cultural theory, proposing a realist and materialist aesthetics able to account not only for sonic art but for artistic production in general.

First published in 2002. This is Volume V of seventeen in the Library of Philosophy series on Metaphysics. Written in 1976, this book includes amongst others, the three Carus Lectures constituting the nucleus of this book were presented before the Pacific Division of the American Philosophical Association in December 1967 and look at the topic of Person and Object. The aim of this study is further the concept that by considering certain obvious facts about ourselves, we can arrive at an understanding of the general principles of metaphysics.