Arthur Danto Research Papers - Academia.edu (original) (raw)

- by
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- Aesthetics, Art, Hegel, Jan Patocka
- by Tobias Braune-Krickau
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- Aesthetics, Philosophy Of Religion, Theology, Hegel

Das Working Paper nimmt den Zusammenhang von Vergleichen und Erzählen aus einer systematischen und historischen Perspektive in den Blick. Es befasst sich zum einen mit der Frage, wie und vor dem Hintergrund welcher theoretischer Annahmen Konvergenzen, Verflechtungen und Wechselbeziehungen zwischen Vergleichspraktiken und Erzählformen postuliert werden können. Beide Praktiken – so die zentrale These – lassen sich als Kulturtechniken begreifen, die zur Formierung übergreifender Netzwerke in Beziehung gesetzt werden können, welche nicht allein durch sprachoder bildgebundene Repräsentationsprozesse gekennzeichnet sind, sondern diese in umfassendere Dynamiken zeichenhafter Darstellungsformen, sozialer Akteure und materieller Artefakte einbinden. Die systematische Perspektive schließt auch die Frage nach der Verknüpfung von Kulturtechnikforschung und Praxistheorie mit ein. Zum anderen skizziert das Papier vier exemplarische historische Konstellationen, die die moderne Wissenschaftsgeschic...

- by Kirsten Kramer
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- Art History, History of Science, Narrative Methods, Praxeology
- by Francis Halsall
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- Critical Theory, Philosophy, Aesthetics, Art History
- by Danièle Moyal-Sharrock
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- Aesthetics, Philosophy of Art, Wittgenstein, Arthur Danto
- by Francesco Campana
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- Aesthetics, Philosophy of Art, Arthur Danto, Arthur C. Danto
- by Daniel Martin Feige
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- Aesthetics, Art Theory, Nelson Goodman, Philosophy of Art
- by Raúl E. de Pablos Escalante
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- Aesthetics, Arthur Danto

Ez a rövid tanulmány a történelemfilozófia-kritikák nézőpontjából vizsgálja a „klasszikus” horkheimeri kritikai elméletet (amelynek explicit kifejtése az 1937-ben megjelent Hagyományos és kritikai elméletben lelhető fel). Különös figyelmet érdemel ugyanis az a tény, hogy Horkheimer gondolkodásában központi helyet foglal el a történelemfilozófia, annak ellenére, hogy a Hegel utáni gondolkodás alapvetően történelemfilozófia-ellenes. Miért tartja mégis szükségesnek Horkheimer a történetfilozófiai gondolkodás megújítását, milyen szerepet szán a történelemfilozófiának? A tanulmányban áttekintem a huszadik század legjellegzetesebb történelemfilozófia-kritikáit, segítségükkel kritikai szempontból vizsgálom Horkheimer Hagyományos és kritikai elmélet című művének történelem-koncepcióját. A tanulmány további részében felvázolom, miért tartotta volna fontosnak Horkheimer ezeknek a kritikáknak a kiküszöbölését. Egy ilyen vizsgálat a következő kérdésre hívhatja fel figyelmünket: legitim módja-e a történelemfilozófia az emberről és jelenlegi létmódjáról való gondolkodásnak, illetve azzá válhat-e újra?

- by László Gergely Szücs
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- Critical Theory, Max Horkheimer, Philosophy of History, Karl Löwith

The game designer Jason Rohrer has self-identified as an artist. By doing so enters his work into a critique process that, according to James Elkins, dates back to the Romantic period in which artists are evaluated by peers on an individualized basis according to the ideals and creative direction they produce in the form of written and verbal artifacts. Arthur Danto calls these artifacts “artistic identification” in his essay, “The Artworld,” written in 1964. The study applies this critique method to Rohrer’s work in the game medium and asks how it fares when subjected to what Howard Becker calls, “a continuous process of selection” through critique. It asks, finally, how can knowing this methodology help to elucidate the path for the eventual full-fledged integration of games into the Artworld.

- by Theresa Devine
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- Video Games, Visual Arts, Arthur Danto, Games

The goal of the article is to identify the merit of controversy between essentialism and antiessentialism in contention about definition of art. Both stands I take here as two different, incommensurable ways of understanding of how to define the art – what exact functions its definition is supposed to bear; in what way and on what basis one ought to formulate it. According to my argument, the main motive of divergences – and the hidden merit of controversy by the same time – is not the question whether there are some general properties of artworks (“the essence of art”), but metaaesthetic presumptions concerning the way of how to conceive general properties at all and how one may come to know them. These presumptions are to be identified by differentiation between two aspects of definition’s method – habitual and verbal one. Habitual definition of art is being formulated by competent verdicts within the art world, while verbal reconstruction of presupposed presumptions is the aim of aesthetics.

- by Iwo Zmyślony
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- Philosophy of Art, Theory and Practice of Visual Arts, Arthur Danto, Theory of Art

El libro reúne ocho artículos de docentes universitarios del país que llevan adelante la enseñanza, la investigación y la extensión en el campo de la Epistemología de las Ciencias Sociales. El objetivo del libro es presentar algunas perspectivas que discuten los supuestos teóricos, sociales y políticos de las Ciencias Sociales en el marco de las transformaciones actuales.

- by Naím Garnica and +4
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- Epistemology, Social Sciences, Narrative, Herbert Marcuse

In elucidating the distinction between art and “real things” A.C. Danto requires that an artwork be about something or satisfy the criterion of “aboutness”. His theory assumes that art exists at a distance from the world, and, like language, says something about it. Although the assumption seems innocent enough, it contradicts Benjamin’s understanding of reproducible art in his “The Work of Art in the Age of Its Technological Reproducibility”. The mass reproducibility of film and photography, according to Benjamin, challenges the aesthetic predominance of “aura”, which is defined as “the unique apparition of a distance, however near [the work] may be”. Benjamin’s understanding of aura raises the possibility that the “distance” Danto regards as part of art’s fundamental character is in fact non-essential. This paper explores the relationship between aboutness and aura, and the resources in Benjamin’s understanding of film and photography for a critique of Danto’s theory.

- by Alexander Stern
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- Aesthetics, Walter Benjamin, Film Aesthetics, Arthur Danto

Zombie formalism describes a type of art designed specifically to cater to the demands of the market. I will argue that recent developments on the art market challenge the institutional theory of art since it appears increasingly questionable whether the artworld–the centrepiece of the institutional theory–is guided by a deep understanding of art rather than economic considerations. Given that the institutional theory remains rather vague about the very definition of 'the artworld', the artworld may also comprise investment-minded mega-collectors and art dealers. If, however, money becomes the driving force for the creation and exhibition of art, how does this impact on the artworld as institution that decides about whether or not something may count as an artwork? Can the institutional theory of art survive zombie formalism? In order to answer these questions, I will map out recent developments in the artworld that might force us to amend the institutional theory to be applicable also to contemporary phenomena. My summary of the main approaches to institutional theory will reveal that none of them has yet succeeded in providing persuasive account of the nature of the artworld. I will suggest as an outlook that we need to critically interrogate David Hume's standard of taste in order to work towards a curatorial standard of taste.

- by Sarah Hegenbart
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- Aesthetics, Art Theory, Contemporary Art, Institutional Theory
- by Gianni Barchiesi
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- Perception, Film Studies, Film Theory, Intermediality

This paper initially revisits the institutional theory of George Dickie, which originated in relation to Arthur Danto's "The Artworld" and the works of other analytic philosophers dealing with art theory at the time. This contextualization is followed by an attempt at finding possible relations and theoretical developments of Dickie's work in theorists such as Howard S. Becker and Pierre Bourdieu. The aim is to find basic correlations and differences between Dickie's theory, Becker's symbolic interactionism and Bourdieu's field theory. The final segment consists of linking the interpreted theoretical terms and summing up the possibilities that arise out of them for contemporary art theory.

- by Marko Đorđević
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- Art Theory, Contemporary Art, Arthur Danto, George Dickie
- by Jasper Liptow
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- Aesthetics, Art, Nelson Goodman, Arthur Danto
- by Daniel Martin Feige
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- Philosophy, Aesthetics, Art Theory, Video Games

The notion of beauty has endured a troublesome history over the
last few decades. While for centuries beauty has been considered
one of the central values of art, there have also been times when it
seemed old-fashioned to even mention the term. The present
volume aims to explore the nature of beauty and to shed light on its
place in contemporary philosophy and art practice.

- by Ingrid Vendrell-Ferran and +1
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- Cultural Studies, Aesthetics, Analytic Philosophy, Art Practice as Research
- by Georg W. Bertram
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- Aesthetics, Theodor Adorno, Hegel, Hans-Georg Gadamer

Resumen:
Danto sostiene que el fin del arte ha llegado, pero también afirma que el arte sigue siendo importante para nuestras vidas. Las obras de arte pueden encarnar significados que nos conmueven, nos motivan a actuar y nos transforman de alguna manera. El efecto que tiene el arte sobre nosotros depende, en gran medida, de las cualidades estéticas que revisten y modulan el significado de las obras. En el presente trabajo analizaré, puntualmente, el rol que Danto le atribuye a lo bello y lo sublime en ese sentido. Mi objetivo es contrastar la importancia que le confiere a la belleza, como la única
cualidad estética que a la vez es un valor -equiparable a la verdad o la bondad-, con el lugar al que relega a lo sublime. Me propongo reivindicar el rol de lo sublime como un valor significativo para la experiencia del arte y la vida en general.

- by Daniel Scheck
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- The Sublime, Arthur Danto, Kantian Sublime, Theory of Sublime

The assessment of the status of contemporary art is theoretically justified in the context of institutional
theory, developed in the works of George Dickie and Arthur C. Danto. Museums are pillars of the
institutional theory, as they mainly provide art with an undisputed status. The phenomenon of the
museum boom of the present day, as the phenomenon of the emergence of the concept of “imaginary
museums” in the second half of the 20th century, is associated with longing for “true” art, which
ultimately leads to museums, or to the idea of museum. If in a classical museum a viewer expected
to see “authentic”, as in “not fake”, works of the old masters, in a museum of contemporary art they
expect to see at least “true” art, i.e. works “with the status of art.” Museums give art the quality of
“authenticity”, hence the interest in museums and museum projects nowadays, despite the abundance
of publicized images of museum artefacts in the media. Instead of these “simulacrums”, museums
offer “real” artworks, and the idea of museum attracts a considerable attention, reflected in numerous
curatorial projects dedicated to the image and the idea of museum. Among such projects were, for
example, the exhibition Voices of Andre Malraux’s Imaginary Museum at the Pushkin Museum of Fine
Arts in Moscow and the exhibition The Keeper at the New Museum in New York.

- by Marina Biryukova
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- Aesthetics, Museum Studies, Contemporary Art, Institutional Theory

Was ist Kunst? Spätestens seit dem 20. Jahrhundert scheint eine Antwort auf diese Frage mit Blick auf die Pluralität der Künste und die Vielfältigkeit wie Unterschiedlichkeit künstlerischer Objekte und Ereignisse aussichtslos. Diese Studie versucht zu zeigen, dass eine Antwort auf diese Frage dann möglich wird, wenn man sie als Frage nach der Rolle der Kunst in menschlichen Lebensformen versteht. Die Frage, was Kunst ist, lässt sich unter Rekurs auf eine bestimmte Funktion von Kunst beantworten. Ausgehend von einem historisch-kulturalistischen Ansatz, der eine Reaktualisierung der Grundeinsichten von Hegels Kunsttheorie darstellt, wird die Kunst im Kontrast zu etablierten erfah rungsästhetischen Konzepten als ein Reflexionsgeschehen verständlich gemacht: Im Nachvollzug der Formen und Choreographien von Kunstwerken gewinnen wir Verständnisse unserer selbst. So wird es möglich, die Pluralität der Künste und die Vielfalt künstlerischer Objekte und Ereignisse als Herausforderung für eine Kunstphilosophie ernst zu nehmen, ohne einen allgemeinen Begriff der Kunst zu verabschieden. Anhand von Fotografie und Film wird paradigmatisch ein neuartiges Verständnis des Zusammenhangs der Künste erarbeitet, das das Zusammenspiel der Künste im Kontrast zu essentialistischen Theorien als dynamisch und prozessual versteht. Insgesamt wird die Kunst damit als eine Praxis verständlich gemacht, die eine konstitutive Dimension menschlicher Lebensformen darstellt: Derjenige, der sich mit Kunstwerken auseinandersetzt, bildet andere Sensibilitäten und Ökonomien seiner Wahrnehmung, seines Denkens und seines Handelns aus.

- by Daniel Martin Feige
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- Philosophy, Aesthetics, Kant, Art History

Este famoso ensayo de Arthur Danto, que se presenta aquí traducido al español, fue el primer desarrollo de su concepto de «mundo del arte» como un marco contextual que da sentido, por medio de sus usos teóricos-lingüísticos, a toda forma de arte reconocible en el mundo. Este concepto tendría una influencia enorme en todo el mundo, y fue la base de todo el pensamiento posterior de Danto acerca del arte, y su principal herramienta filosófica para vender en todas partes la idea de que las obras de Andy Warhol no sólo eran legítimas obras de arte, sino incluso, obras importantes de arte.

- by Jorge Roaro
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- Art History, Art Theory, Contemporary Art, World Art

In this conversation Hans Maes and Roger Scruton address key questions in the philosophy of art including: What makes something art? Are judgments of taste purely subjective? Have we reached the end of art? How is the religious aspect of our experience connected to our experience of art? What are the similarities between an erotic interest and an aesthetic interest? What is the difference between mere drunkenness and the intoxicating quality of wine? How does the latter compare to the intoxicating quality of a great line of poetry? What can we learn from Wagner’s operas? How important is the intention of the composer in resolving issues of musical interpretation? What is metaphorical perception and how does it form the basis of a theory of musical understanding? Why is it helpful to think of music as fluent architecture? Why have philosophers not paid more attention to sculpture?

- by Hans Maes
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- Religion, Aesthetics, Philosophy of Art, Conservatism
- by Giacomo Fronzi
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- Philosophy, Aesthetics, Analytic Philosophy, Contemporary Art

Arthur Danto sostuvo una posición historicista según la cual una obra de arte puede serlo en un periodo de la historia, pero no en otro, dependiendo de las teorías del arte que la justificaran. Al mismo tiempo sostuvo un esencialismo para el cual una obra puede ser arte independientemente de tiempo y lugar. Él afirmaba que estas dos posiciones no se contraponían. Aquí analizo qué tanto esto es cierto. Propongo una lectura de Danto en términos de relativismo artístico, según el cual no hay criterios objetivos para determinar de modo transhistórico lo que es una obra de arte. Analizo algunas de las implicaciones de esta lectura relativista. Finalmente, cuestiono que su esencialismo pueda ayudarnos a contrarrestar el relativismo que se sigue de la tesis del fin del arte. Mi hipótesis es que su esencialismo es problemático y no puede darnos bases objetivas para que no se siga mi lectura relativista de su idea del fin del arte.

- by Gustavo Ortiz Millán
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- Arthur Danto, Estética, Historia del Arte, Estética, Filosofía Del Arte

Warburton non vuole rinunciare a un discorso filosofico sulla questione dell’arte.
Di fronte alle confutazioni delle tesi presentate nel testo, che possiamo intendere come
rappresentati dell’estetica contemporanea, giunge alla conclusione secondo cui non
resta altro da fare se non concentrarsi sui giudizi particolari. L’autore inglese sostiene
chiaramente che è meglio rinunciare alla ricerca di una definizione omnicomprensiva
dell’arte, in quanto indefinibile

- by Giody Da Pozzo
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- Arthur Danto, Arte Contemporanea, Estetica, Arthur C. Danto

The question I am concerned with is the relevance of the notion of progress in the artistic field. Does the notion of artistic progress apply to art and, in the case it does, in what sense and how? In order to answer this question I will discuss Ernst Gombrich and Arthur Danto’s view of artistic progress (§§ 2-3). Then, following the objections that the Spanish philosopher Gerard Vilar recently raised against Danto’s ideas on the end of art (§ 4), I will suggest a modest view concerning the requirements a theory of artistic progress must satisfy (§ 5).

- by Alessandro Bertinetto
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- Philosophy, Aesthetics, Art History, Art
- by Andrea Togni
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- Philosophy, Metaphysics, Aesthetics, Epistemology
- by Robert R Clewis
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- Philosophy of Mind, Aesthetics, Philosophy of Art, Giambattista Vico

Thomas Nagel in ‘What is it like to be a bat?’ suggests that we don’t yet have much idea of how mental entities could be identical with physical ones (though he wisely stops short of accusing physicalists of not meaning ANYTHING WHATSOEVER by their identity-claims). Colin McGinn goes further by suggesting that we may forever remain in this state of ignorance and incomprehension because of the inherent limitations of the human intellect. I argue that the mere possibility that McGinn is right shows that it is over-hasty to conclude from philosophy’s failure to solve its problems that there must be something wrong with the problems themselves. I also try to relate Nagel’s and McGinn’s view to David Stove’s response to philosophy’s apparent failure to make much progress. He seems pessimistic about whether we will ever fully understand what is wrong with some philosophical claims.

- by ian dearden
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- Analytic Philosophy, Metaphilosophy, Pragmatism, Empiricism
- by Stephen Snyder
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- Aesthetics, Philosophy of Art, Hegel, Pragmatism (Philosophy)

To get a comprehensive understanding of the core concept of “the end of art”, this book analyses the intellectual trajectory of Arthur Danto, highlighting his successive achievements in philosophy of action, philosophy of history and philosophy of art. If, as Danto says, everything is extensively associated with everything else, it is impossible to avoid putting the philosophy of art in relation with his whole philosophical system.

The article offers comparative analysis of two models of thinking about the "end of the art history" thesis. These models are proposed by the philosopher and art critic Arthur Danto and by the art historian Hans Belting, The analysis refers both models to their artistic contexts as well as to the different artistic and intellectual traditions they belong to. In this way I describe two narrative models to get out of the disciplinaty crisis of thinking about the contemporary artwork, the sphere/judgments of taste, and the nowadays challenges of the visual culture.

- by Nora Goleshevska
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- Art Criticism, Arthur Danto, Art Theory and Criticism, End of the art
- by Sixto J. Castro
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- Aesthetics, Philosophy of Art, Arthur Danto, Estética

Il paper tratta della nozione di “giardino” e di come questo particolare tipo di arte (se si può parlare di arte) e questo particolare tipo di bellezza (se si può parlare di bellezza) è stato affrontato in tre autori: Immanuel Kant, Roger Scruton e Arthur C. Danto.
Questo lavoro affronta principalmente tre testi: la Critica del Giudizio (1799¬III) di Kant, e in particolare il paragrafo 51; La bellezza, ragione ed esperienza estetica (2009) di Scruton, in particolare il 4° capitolo, La bellezza quotidiana; L’abuso della bellezza (2003) di Danto, e in particolare il 4° capitolo, Bellezza e abbellimento.
Kant procedendo ad una divisione delle arti belle colloca il giardinaggio all’interno della pittura; analizzando soprattutto le differenze con un'altra categoria di queste arti (la plastica) tento di argomentare come Kant sia in gran parte influenzato dalla cultura del suo tempo nel considerare il giardino come un prodotto per l’osservazione di uno spettatore, ossia il paradigma del giardino all’inglese.
Scruton riprende il giardino considerandolo non solo come oggetto degli occhi ma come spazio dell’uomo. In questa argomentazione il giardino diventa l’esempio più chiaro di quel tipo di bellezza che fonde in sé due elementi: come già Kant prima di lui, Scruton tematizza il giardino come un’arte della medietà (between-ness), dove l’arte naturale ed artistica sono fuse insieme.
Danto riprendendo le varie arti vicine al giardino già trattate da Kant e Scruton e basandosi su temi hegeliani tematizza un terzo regno della bellezza, ossia un regno della bellezza quotidiana. Questo regno si differenzia dalla natura e dall’arte per due motivi principali: l’abbellimento e il rapporto con la morale.
In generale si può dire che il giardino è una nozione molto discussa e non costituisce certo un tema semplice e senza problematiche. Anzi si può dire che per la molteplicità ed eteronomia delle sue caratteristiche è stato certamente considerato un elemento evidenziatore e chiarificatore rispetto ad altri elementi che secondo Scruton e Danto, sempre di più nella nostro tempo cercano di emergere da quel regno della quotidianità dove sono stati relegati dalla tradizione estetica.

- by Marino Angelocola
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- Aesthetics, Immanuel Kant, Roger Scruton, Arthur Danto

In this paper, two of the most well known theories of art in Analytic philosophy, The Artworld and The Institutional Theory of Art, are compared. Both of them aim to analyse the complex context of contemporary art in Western culture. Despite some apparent similarities and the fact that they are often used synonymously, the two theories have different meanings. It is argued that, although to a different extent, the two theories are incomplete and they do not offer a satisfying definition of art. In order to demonstrate this thesis statement, firstly the two concepts of art are analysed, showing, consequently, how they diverge from each other and, finally, it is explained why they fail to meet their premises. The confrontation between the two theories is mainly focused on the considerations made by the authors as to their own definitions of art and on the criticisms each theorist addresses to the other. This is functional to demonstrate how the two theories can be seen as similar and, consequentially, how the authors deploy a great deal of effort to distinguish themselves from each other. The conclusion expresses a different way to consider the relation between Analytic and Continental philosophy; specifically, it proposes the possibility to formulate a new concept of art theory as a complementary unity of both approaches.

- by Massimiliano Lacertosa
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- Aesthetics, Analytic Philosophy, Contemporary Art, Continental Philosophy

La tesi hegeliana del carattere passato dell’arte, conosciuta come morte dell’arte, è tra i temi più discussi nell’ambito della filosofia dell’arte ed è stata oggetto di svariate interpretazioni, nonché fraintendimenti e controversie. Il presente elaborato affronta la fine dell’arte nell’estetica di Hegel e attraverso le interpretazioni di alcuni autori che si sono confrontati con le manifestazioni artistiche del XX secolo, con l’obiettivo di ridefinire il ruolo dell’arte nella società. Il punto di partenza è appunto l’estetica di Hegel, con particolare attenzione alla libertà del soggetto nel passaggio dall'arte classica a quella romantica, per passare poi, nel secondo capitolo, all’interpretazione della fine dell’arte da parte del critico d’arte e filosofo Arthur Danto. Infine, nel terzo capitolo viene affrontata la prospettiva dell’estetica pragmatista con John Dewey e Richard Shusterman, comprendendo il tema dell’arte popolare, con l'esempio della cultura di strada e dei graffiti, concludendo con un breve confronto con il pensiero di Benedetto Croce e Antonio Gramsci, rappresentanti di due modi opposti di concepire l'arte: l'arte avente fine in se stessa e l'arte come strumento formativo.

- by Ilaria Lucrezia Lunardini
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- John Dewey, G.W.F. Hegel, Graffiti, Antonio Gramsci
- by Eduardo Pellejero
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- Arthur Danto, Estética