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The distinction between the essence of an object and its properties has been obscured in contemporary discussion of essentialism. Locke held that the properties of an object are exclusively those features that 'flow' from its essence. Here he follows the Aristotelian theory, leaving aside Locke's own scepticism about the knowability of essence. I defend the need to distinguish sharply between essence and properties, arguing that essence must be given by form and that properties flow from form. I give a precise definition of what the term of art 'flow' amounts to, and apply the distinction to various kinds of taxonomic issues.

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Proponents of physical intentionality argue that the classic hallmarks of intentionality highlighted by Brentano are also found in purely physical powers. Critics worry that this idea is metaphysically obscure at best, and at worst leads to panpsychism or animism. I examine the debate in detail, finding both confusion and illumination in the physical intentionalist thesis. Analysing a number of the canonical features of intentionality, I show that they all point to one overarching phenomenon of which both the mental and the physical are kinds, namely finality. This is the finality of 'final causes', the long-discarded idea of universal action for an end to which recent proponents of physical intentionality are in fact pointing whether or not they realise it. I explain finality in terms of the concept of specific indifference, arguing that in the case of the mental, specific indifference is realised by the process of abstraction, which has no correlate in the case of physical powers. This analysis, I conclude, reveals both the strength and weakness of rational creatures such as us, as well as demystifying (albeit only partly) the way in which powers work.

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