David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
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Metaphilosophy 42 (1-2):83-97 (2011)
Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts
|Keywords||Art Pluralism Concept|
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References found in this work BETA
Noël Carroll (1993). Historical Narratives and the Philosophy of Art. Journal of Aesthetics and Art Criticism 51 (3):313-326.
M. F. Claridge, H. A. Dawah & M. R. Wilson (eds.) (1997). Species: The Units of Diversity,. Chapman and Hall.
Arthur Coleman Danto (1981). The Transfiguration of the Commonplace: A Philosophy of Art. Harvard University Press.
Stephen Davies (2004). The Cluster Theory of Art. British Journal of Aesthetics 44 (3):297-300.
George Dickie (1975). Art and the Aesthetic. Journal of Philosophy 72 (22):823-825.
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