Composition as Identity Doesn’t Settle the Special Composition Question1

2011 ◽  
Vol 84 (3) ◽  
pp. 531-554 ◽  
Author(s):  
ROSS P. CAMERON
Author(s):  
Andrew Brenner

Composition occurs when one or more objects are parts of another object. The metaphysics of composition concerns the nature of composition – i.e. what it is, and how it works. Some of the more important questions philosophers have regarding the metaphysics of composition are the following: (1) When does composition occur? This is van Inwagen’s ‘Special Composition Question’. Four prominent answers to this question include: (i) objects compose another object when those former objects are in contact; (ii) any two or more objects compose another object; (iii) objects never compose another object; (iv) objects compose another object when the activities of the former objects constitute a life. (2) Are composite objects identical with their parts? Proponents of ‘composition as identity’ answer ‘yes’ to this question. There are two primary variants of composition as identity, ‘strong’ composition as identity and ‘weak’ composition as identity. The most prominent objection to strong composition as identity is an objection from Leibniz’s Law: composite objects cannot be identical with their parts, since they seem to have properties which their parts do not have. (3) Is it possible for one object to constitute another object? Here ‘constitution’ is the relation which is alleged to obtain between, for example, a clay statue and the lump of clay from which it is formed. We can distinguish between the thesis that constitution is identity, and the thesis that constitution is not identity. The chief motivation which leads some philosophers to reject the thesis that constitution is not identity is the ‘grounding problem’ for that thesis. (4) Are there, in addition to composite objects, the ‘forms’ of those objects, and if so, what is the relationship between composite objects and their forms? We can distinguish between (at least) two variants of hylomorphism (the thesis that objects have forms), with the main distinction between the two views being whether or not they regard forms as being among the parts of composite objects.


2021 ◽  
pp. 158-230
Author(s):  
A. J. Cotnoir ◽  
Achille C. Varzi

This chapter explores the philosophical and formal issues surrounding mereological composition. It carefully examines the difference between three main types of fusion: algebraic joins, Leśniewski sums, and Goodman fusions. It also examines different views about their conditions of existence (the so-called ‘special composition question’), including the controversial doctrines of mereological universalism, nihilism, and restricted theories of composition. Next it considers whether fusions are unique and how this impacts extensionality, including presenting a detailed analysis of the thesis known as ‘composition as identity’. A number of ‘structural’ conceptions of composition (and related algebraic principles) are then examined. Finally, parallel to questions about a null object, atomism, and ‘atomless gunk’, the existence of a universal object and the ideas of ‘worldless junk’, and coatomism are considered.


Author(s):  
B. Van Deurs ◽  
J. K. Koehler

The choroid plexus epithelium constitutes a blood-cerebrospinal fluid (CSF) barrier, and is involved in regulation of the special composition of the CSF. The epithelium is provided with an ouabain-sensitive Na/K-pump located at the apical surface, actively pumping ions into the CSF. The choroid plexus epithelium has been described as “leaky” with a low transepithelial resistance, and a passive transepithelial flux following a paracellular route (intercellular spaces and cell junctions) also takes place. The present report describes the structural basis for these “barrier” properties of the choroid plexus epithelium as revealed by freeze fracture.Choroid plexus from the lateral, third and fourth ventricles of rats were used. The tissue was fixed in glutaraldehyde and stored in 30% glycerol. Freezing was performed either in liquid nitrogen-cooled Freon 22, or directly in a mixture of liquid and solid nitrogen prepared in a special vacuum chamber. The latter method was always used, and considered necessary, when preparations of complementary (double) replicas were made.


Alloy Digest ◽  
1979 ◽  
Vol 28 (5) ◽  

Abstract ARMCO FORMABLE 70 HR is a hot-rolled steel with excellent ductility, weldability and edge-tear resistance at a minimum yield strength of 70,000 psi (483 MPa). For this relatively high strength level, it has unusually good fabricating properties that are the result of closely controlled processing of a fully killed, low-carbon, vacuum-degassed, columbium-alloyed steel. This special composition and processing practice minimize harmful nonmetallic inclusions that hamper formability. Typical applications include automotive reinforcements, truck parts and construction components. This datasheet provides information on composition, physical properties, hardness, elasticity, and tensile properties as well as fatigue. It also includes information on corrosion resistance as well as forming, heat treating, machining, and joining. Filing Code: SA-359. Producer or source: Armco Inc., Eastern Steel Division.


2018 ◽  
Vol 5 (2) ◽  
pp. 75-85
Author(s):  
Singgih Sanjaya

this research aims to design a new concept in keroncong music creation with an explorative method. Keroncong is one kind of entertainment musics in indonesia that has a long existece and evolved up to today. Keroncong music is a musical mixture of a western diatonic music with Javanese gamelan music. the term of keroncong comes from the sound “...crong crong crong...” on the ukulele instrument that played rasquardo. an instrumentation music consists of: vocals, violin, flute, cak, cuk, cello, guitar, and bass. during this moment, keroncong is basically just served as a vocal accompaniment music. this becomes a driving force for the author to compose a special composition for keroncong music solo instrument. there is a new concept used in the arranging of this composition, as follows. this composition is designing a concerto, which is a type of the instrumental musics with a western diatonic instrument on the part-one of the solo oboe and an English horn in part-two, with keroncong music and orchestra. the conclusion of these designs are as follows. Keroncong music will be able to stand on its own as an instrumental music.


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