Art & Abstract Objects

Oxford University Press (2013)
  Copy   BIBTEX

Abstract

Art and Abstract Objects presents a lively philosophical exchange between the philosophy of art and the core areas of philosophy. The standard way of thinking about non-repeatable (single-instance) artworks such as paintings, drawings, and non-cast sculpture is that they are concrete (i.e., material, causally efficacious, located in space and time). Da Vinci's Mona Lisa is currently located in Paris. Richard Serra's Tilted Arc is 73 tonnes of solid steel. Johannes Vermeer's The Concert was stolen in 1990 and remains missing. Michaelangelo's David was attacked with a hammer in 1991. By contrast, the standard way of thinking about repeatable (multiple-instance) artworks such as novels, poems, plays, operas, films, symphonies is that they must be abstract (i.e., immaterial, causally inert, outside space-time): consider the current location of Melville's Moby Dick, the weight of Yeats' "Sailing to Byzantium", or how one might go about stealing Puccini's La Boheme or vandalizing Mozart's Piano Concerto No. 9. Although novels, poems, and symphonies may appear radically unlike stock abstract objects such as numbers, sets, and propositions, most philosophers of art think that for the basic intuitions, practices, and conventions surrounding such works to be preserved, repeatable artworks must be abstracta. This volume examines how philosophical enquiry into art might itself productively inform or be productively informed by enquiry into abstracta taking place within not just metaphysics but also the philosophy of mathematics, epistemology, philosophy of science, and philosophy of mind and language. While the contributors chiefly focus on the relationship between philosophy of art and contemporary metaphysics with respect to the overlap issue of abstracta, they provide a methodological blueprint from which scholars working both within and beyond philosophy of art can begin building responsible, mutually informative, and productive relationships between their respective fields.

Links

PhilArchive



    Upload a copy of this work     Papers currently archived: 91,322

External links

Setup an account with your affiliations in order to access resources via your University's proxy server

Through your library

Similar books and articles

Destroying Artworks.Marcus Rossberg - 2013 - In Christy Mag Uidhir (ed.), Art & Abstract Objects. Oxford University Press.
Repeatable Artwork Sentences and Generics.Shieva Kleinschmidt & Jacob Ross - 2013 - In Christy Mag Uidhir (ed.), Art and Abstract Objects. Oxford University Press. pp. 125.
Failed-Art and Failed Art-Theory.Christy Mag Uidhir - 2010 - Australasian Journal of Philosophy 88 (3):381-400.
Ingarden and the ontology of cultural objects.Amie Thomasson - 2005 - In Arkadiusz Chrudzimski (ed.), Existence, Culture, and Persons: The Ontology of Roman Ingarden. Frankfurt: pp. 115-136.
Photographic Art: An Ontology Fit to Print.Christy Mag Uidhir - 2012 - Journal of Aesthetics and Art Criticism 70 (1):31-42.
Constitution and qua objects in the ontology of music.Simon J. Evnine - 2009 - British Journal of Aesthetics 49 (3):203-217.
Music, Art, and Metaphysics.Jerrold Levinson - 2011 - Oxford: Oxford University Press.
There are No Things That are Musical Works.Ross P. Cameron - 2008 - British Journal of Aesthetics 48 (3):295-314.

Analytics

Added to PP
2012-07-31

Downloads
109 (#157,780)

6 months
7 (#411,145)

Historical graph of downloads
How can I increase my downloads?

Author's Profile

Christy Mag Uidhir
University of Houston

Citations of this work

Debugging the case for creationism.Patrick Grafton-Cardwell - 2020 - Philosophical Studies 177 (11):3509-3527.
Worlds without End: A Platonist Theory of Fiction.Patrick Grafton-Cardwell - 2021 - Dissertation, University of Massachusetts, Amherst

Add more citations

References found in this work

No references found.

Add more references