By Christy Mag Uidhir
Art and summary Objects offers a full of life philosophical trade among the philosophy of paintings and the middle components of philosophy. the traditional frame of mind approximately non-repeatable (single-instance) works of art resembling work, drawings, and non-cast sculpture is they are concrete (i.e., fabric, causally efficacious, situated in area and time). Da Vinci's Mona Lisa is at the moment situated in Paris. Richard Serra's Tilted Arc is seventy three tonnes of reliable metal. Johannes Vermeer's The Concert was once stolen in 1990 and continues to be lacking. Michaelangelo's David was once attacked with a hammer in 1991. against this, the normal mind set approximately repeatable (multiple-instance) works of art akin to novels, poems, performs, operas, movies, symphonies is they has to be summary (i.e., immaterial, causally inert, outdoors space-time): think of the present situation of Melville's Moby Dick, the burden of Yeats' "Sailing to Byzantium", or how one could pass approximately stealing Puccini's La Boheme or vandalizing Mozart's Piano Concerto No. nine. even if novels, poems, and symphonies might seem greatly not like inventory summary items equivalent to numbers, units, and propositions, so much philosophers of paintings imagine that for the fundamental intuitions, practices, and conventions surrounding such works to be preserved, repeatable works of art needs to be abstracta.
This quantity examines how philosophical enquiry into paintings may perhaps itself productively tell or be productively proficient by way of enquiry into abstracta occurring inside of not only metaphysics but additionally the philosophy of arithmetic, epistemology, philosophy of technological know-how, and philosophy of brain and language. whereas the participants mainly concentrate on the connection among philosophy of paintings and modern metaphysics with appreciate to the overlap factor of abstracta, they supply a methodological blueprint from which students operating either inside and past philosophy of artwork can commence development in charge, collectively informative, and effective relationships among their respective fields.
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Extra info for Art and Abstract Objects
Saying, ‘It’s a painting’ does not settle this in any way, but provides the very terms for setting the question and the term in which considerations need be framed in order to be brought to bear on it. The other example, I admit, troubles me more. I feel the pull of wanting to say that the kind of thing Rite of Spring is explains why it can be performed in two places at once. But this example strikes me as different than the other one in an important fashion. It is not, I think we should admit, a question anyone ever asks within our practices.
Wilson (ed) (Cambridge, MA: The MIT Press), pp. 141–85 Cameron, Ross (2008) ‘There Are No Things That Are Musical Works’ British Journal of Aesthetics 48(3): 295–314 Caplan, Ben and Matheson, Carl (2006) ‘Defending Musical Perdurantism’ British Journal of Aesthetics 46(1): 59–69 MUST ONTOLOGICAL PRAGMATISM BE SELF-DEFEATING? 47 ——(2008) ‘Defending “Defending Musical Perdurantism” ’ British Journal of Aesthetics 48(1): 80–5 Currie, Gregory (1989) An Ontology of Art (New York: St Martin’s Press) Davies, David (2004) Art as Performance (Oxford: Blackwell) Dodd, Julian (2004) ‘Types, Continuants, and the Ontology of Music’ British Journal of Aesthetics 44(4): 342–60 ——(2007) Works of Music (Oxford: Oxford University Press) Goodman, Nelson (1968) Languages of Art (Indianapolis: Bobs-Merrill) Gracyk, Theodore (1996) Rhythm and Noise: An Aesthetics of Rock (Durham, NC: Duke University Press) Hazlett, Allan (2012) ‘Against Repeatable Artworks,’ this volume, Ch.
The parallels between the cases are striking, especially the need to combine a kind of repeatability with a real, individual presence in time. D. Magnus (2012, this volume, Ch. 5), who reminds us that biologists and philosophers of biology have routinely worked with a conception of species-as-individuals for more than four decades. The idea of an individual-with-occurrences turns out to be, not a novel invention or bit of recherche metaphysics, but well-credentialed member of our set of antecedently available ontological options.
Art and Abstract Objects by Christy Mag Uidhir