David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
Learn more about PhilPapers
I present and defend a two-category ontology of art. The basic idea of it is that singular artworks are physical objects, whereas multiple artworks are types of which there can be tokens in the form of performances, copies, or other kinds of realisations. I argue that multiple artworks, despite being abstract objects, have a temporal extension, thus they are created at a certain point of time and can also drop out of existence again under certain conditions. They can, however, not be perceived by the senses and cannot enter into causal relations. The identity of an artwork is determined by its structural properties, but also by the context in which it was made. The essential contextual properties of an artwork are those that are relevant to the meaning of the work. A realisation of a multiple artwork has to comply with the structure of the work and has to stand in the correct intentional and/or causal-historical relation to the work. Realisations that diverge too much from the structure of the work, like translations of literary works, are what I call “derivative artworks”. I argue against the thesis that all artworks are multiple. I claim that there are singular artworks, and some of them are even necessarily singular. I show why certain standard arguments against the idea that all artworks can be realised multiple times are flawed, and present my own theory about what decides whether a work is singular or multiple, namely that successful intentions of the artist determine which category an artwork belongs to. Concerning singular artworks, I also investigate what the relation between the work and the matter it is made of is, and how a work can survive a change in its parts and still remain the same work
|Keywords||No keywords specified (fix it)|
|Categories||categorize this paper)|
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library||
References found in this work BETA
No references found.
Citations of this work BETA
No citations found.
Similar books and articles
John Dilworth (2007). In Support of Content Theories of Art. Australasian Journal of Philosophy 85 (1):19 – 39.
Nicolas de Warren (2007). Off the Beaten Path: The Artworks of Andrew Goldsworthy. Environmental Philosophy 4 (1-2):29-48.
C. Tillman (2011). Musical Materialism. British Journal of Aesthetics 51 (1):13-29.
Nicolas de Warren (2007). Off the Beaten Path. Environmental Philosophy 4 (1/2):29-48.
John Dilworth (2008). The Abstractness of Artworks and Its Implications for Aesthetics. Journal of Aesthetics and Art Criticism 66 (4):341-353.
James Harold (2006). On Judging the Moral Value of Narrative Artworks. Journal of Aesthetics and Art Criticism 64 (2):259–270.
Michael Watkins & Sheldon Wein, Truth, Art, and Knowledge (A Commentary on James O YoungÂ's Art and Knowledge).
Jean-Luc Nancy (2006). Multiple Arts: The Muses II. Stanford University Press.
D. Davies (2010). Multiple Instances and Multiple 'Instances'. British Journal of Aesthetics 50 (4):411-426.
Added to index2010-07-22
Total downloads14 ( #263,068 of 1,911,311 )
Recent downloads (6 months)1 ( #457,064 of 1,911,311 )
How can I increase my downloads?