David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
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Contemporary Aesthetics 1:1-3 (2003)
I argue that Dilworth has not shown the type / token theory of film identity to be non-viable, since there is no reason to think that a single object cannot be a token of two types. Even if we assume a single inheritance view of types, Dilworth's argument runs into other problems. Dilworth does not provide any convincing argument as to why intentions are necessary for identifying film and why production history alone will not suffice for identifying hardly conceivable forgeries. Intention is not necessary for distinguishing between fakes and the real thing, nor is it necessary to differentiate between two artworks with the same token. Moreover, taking the notion of intentions into consideration leads to a splintering problem. I propose that production history, presentation, and non-numerical template identity suffice to identify a film on a multiple inheritance type / token theory.
|Keywords||film ontology type / token artworks art and intention|
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