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  1. Forgery.Michael Wreen - 2002 - Canadian Journal of Philosophy 32 (2):143 - 166.
    Still, in this paper I’m not going to be laudatory, enthusiastic, or appreciative, but instead address the distinctly philosophical question of what a forgery is—investigate the concept of a forgery, as philosophers used to say, and sometimes still do. Only after that question and a few others have been answered should we ask the question that everyone wants to ask straight off: What, if anything, is aesthetically wrong with a forgery? Interesting as that question is, space limitations prevent me from (...)
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  • Goodman on forgery.Michael Wreen - 1983 - Philosophical Quarterly 33 (133):340-353.
  • Sketches of Landscapes: Philosophy by Example.Alastair Hannay - 1998 - Philosophical and Phenomenological Research 61 (1):230-232.
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  • [Letter from Gilbert Ryle].Gilbert Ryle - 1932 - Philosophy 7 (26):250 -.
  • Autographic and allographic art revisited.Jerrold Levinson - 1980 - Philosophical Studies 38 (4):367 - 383.
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  • Worlds of Homogeneous Artifacts.Athanassios Tzouvaras - 1995 - Notre Dame Journal of Formal Logic 36 (3):454-474.
    We present a formal first-order theory of artificial objects, i.e., objects made out of a finite number of parts and subject to assembling and dismantling processes. These processes are absolutely reversible. The theory is an extension of the theory of finite sets with urelements. The notions of transformation and identity are defined and studied on the assumption that the objects are homogeneous, that is to say, all their atomic parts are of equal ontological importance. Particular emphasis is given to the (...)
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  • Significant parts and identity of artifacts.Athanassios Tzouvaras - 1993 - Notre Dame Journal of Formal Logic 34 (3):445-452.
  • Languages of Art. An Approach to a Theory of Symbols.Nelson Goodman - 1970 - Critica 4 (11/12):164-171.
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  • Languages of Art: An Approach to a Theory of Symbols.Nelson Goodman - 1971 - British Journal for the Philosophy of Science 22 (2):187-198.
     
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