Objects And Persons

This work presents a theory about what kind of things exist. Trenton Merricks defends the following criterion for existence of a physical object: that it has a causal role over and above that of its parts.

In Eliminativism, Objects, and Persons, Jiri Benovsky defends the view that he doesn't exist. In this book, he also defends the view that this book itself doesn't exist. But this did not prevent him to write the book, and although in Benovsky's view you don't exist either, this does not prevent you to read it. Benovsky defends a brand of non-exceptionalist eliminativism. Some eliminativists, typically focusing on ordinary material objects such as chairs and hammers, make exceptions, for instance for blue whales (that is, living beings) or for persons (that is, conscious organisms). Benovsky takes one by one all types of allegedly existing objects like chairs, whales, and persons and shows that from the metaphysical point of view they are more trouble than they are worth—we are much better off without them. He thus defends an eliminativist view about ordinary objects as well as the 'no-Self' view, where he explores connections between metaphysics, phenomenology, and Buddhist thought. He then also considers the case of aesthetic objects, focusing on musical works and photographs, and shows that the claim of their non-existence solves the many problems that arise when one tries to find an appropriate ontological category for them, and that such an eliminativist view is more natural than what we might have thought. The arguments provided here are always topic-specific: each type of entity is given its own type of treatment, thus proving a varied and solid foundation for a generalized, non-exceptionalist, full-blown eliminativist worldview.

There are no statues. Or rocks. Or chairs. Or stars. But there are microscopic objects arranged statuewise and rockwise and chairwise and starwise. Moreover, there are—in addition to microscopic objects arranged humanwise—composite human beings. Or so Trenton Merricks argues. The ontology of Objects and Persons is motivated, in large part, by causal considerations. One of the central ideas is that physical objects are causally non-redundant: physical objects cause things that are not wholly overdetermined by their proper parts. Merricks 'eliminates' statues and other inanimate composite macrophysical objects on the grounds that they would—if they existed—be at best completely causally redundant. Merricks defends our existence by arguing, from certain facts about mental causation, that we human beings cause things that are not overdetermined by our proper parts. A second strand of argument for Merricks's overall ontology involves a variety of philosophical puzzles, puzzles that are dealt with in illuminating and often novel ways. Many other issues are addressed along the way, including free will, the 'reduction' of a composite object to its parts, and the ways in which identity over time can "for practical purposes" be a matter of convention. Anyone working in metaphysics will enjoy this lucid and provocative book.

In the past, museums often changed the meaning of icons or statues of deities from sacred to aesthetic, or used them to declare the superiority of Western society, or simply as cultural and historical evidence. The last generation has seen faith groups demanding to control 'their' objects, and curators recognising that objects can only be understood within their original religious context. In recent years there has been an explosion of interest in the role religion plays in museums, with major exhibitions highlighting the religious as well as the historical nature of objects.Using examples from all over the world, Religious Objects in Museums is the first book to examine how religious objects are transformed when they enter the museum, and how they affect curators and visitors. It examines the full range of meanings that religious objects may bear - as scientific specimen, sacred icon, work of art, or historical record. Showing how objects may be used to argue a point, tell a story or promote a cause, may be worshipped, ignored, or seen as dangerous or unlucky, this highly accessible book is an essential introduction to the subject.

In this innovative study, six women and men from Eastern Indonesia narrate their own lives by talking about their possessions--domestic objects used to construct a coherent identity through a process of identification and self-historicizing. Janet Hoskins explores how things are given biographical significance and entangled in sexual politics, expressed in dualistic metaphors where the familiar distinctions between person and object and female and male are drawn in unfamiliar ways. Biographical Objects is an ethnography of persons which takes the form of a study of things, showing how the object is not only a metaphor for the self but a pivot for reflexivity and introspection, a tool for autobiographic elaboration, a way of knowing oneself through things.

The treatment of cultural colonial objects is one of the most debated questions of our time. Calls for a new international cultural order go back to decolonization. However, for decades, the issue has been treated as a matter of comity or been reduced to a Shakespearean dilemma: to return or not to return. Confronting Colonial Objects seeks to go beyond these classic dichotomies and argues that contemporary practices are at a tipping point. The book shows that cultural takings were material to the colonial project throughout different periods and went far beyond looting. It presents micro histories and object biographies to trace recurring justifications and contestations of takings and returns while outlining the complicity of anthropology, racial science, and professional networks that enabled colonial collecting. The book demonstrates the dual role of law and cultural heritage regulation in facilitating colonial injustices and mobilizing resistance thereto. Drawing on the interplay between justice, ethics, and human rights, Stahn develops principles of relational cultural justice. He challenges the argument that takings were acceptable according to the standards of the time and outlines how future engagement requires a re-invention of knowledge systems and relations towards objects, including new forms of consent, provenance research, and partnership, and a re-thinking of the role of museums themselves. Following the life story and transformation of cultural objects, this book provides a fresh perspective on international law and colonial history that appeals to audiences across a variety of disciplines. This is an open access title available under the terms of a CC BY-NC-ND 4.0 International licence. It is free to read on the Oxford Academic platform and offered as a free PDF download from OUP and selected open access locations.

The Cultural Power of Personal Objects seeks to understand the value and efficacy of objects, places, and times that take on cultural power and reverence to such a degree that they are treated (whether metaphorically or actually) as "persons," or as objects with "personality"—they are living objects. Featuring both historical and theoretical sections, the volume details examples of this practice, including the wampum of certain Native American tribes, the tsukumogami of Japan, the sacred keris knives of Java, the personality of seagoing ships, the ritual objects of Hinduism and Ancient Egypt, and more. The theoretical contributions aim to provide context for the existence and experience of personal objects, drawing from a variety of disciplines. Offering a variety of new philosophical perspectives on the theme, while grounding the discussion in a historical context, The Cultural Power of Personal Objects broadens and reinvigorates our understanding of cultural meaning and experience.

This innovative volume explores the idea that while photographs are images, they are also objects, and this materiality is integral to their meaning and use. The case studies presented focus on photographs active in different institutional, political, religious and domestic spheres, where physical properties, the nature of their use and the cultural formations in which they function make their 'objectness' central to how we should understand them. The book's contributions are drawn from disciplines including the history of photography, visual anthropology and art history, with case studies from a range of countries such as the Netherlands, North America, Australia, Japan, Romania and Tibet. Each shows the methodological strategies they have developed in order to fully exploit the idea of the materiality of photographic images.