David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
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
Jerry A. Fodor (1998). Concepts: Where Cognitive Science Went Wrong. Oxford University Press.
Frank Jackson (1998). From Metaphysics to Ethics: A Defence of Conceptual Analysis. Oxford University Press.
Edward E. Smith & L. Douglas (1981). Categories and Concepts. Harvard University Press.
Jerry A. Fodor & Ernest Lepore (2002). The Compositionality Papers. Oxford University Press.
Citations of this work BETA
Matthew Fulkerson (2014). Rethinking the Senses and Their Interactions: The Case for Sensory Pluralism. Frontiers in Psychology 5.
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