This chapter presents the meeting points and conflicts between Arthur Danto’s philosophy of art and George Dickie’s avowedly succeeding theory. Its focus is on the internalist-externalist debate on the ontology of the artwork as created and perceived within the artworld. It shows that both Danto and Dickie developed anti-formalist theories, that contributed to the demise of aesthetic modernism. Inverting the formalist distinction between internal and external properties of the artwork, they classified the sensuous properties of the artwork as secondary (...) in its essence and identity. Accordingly, Danto and Dickie’s definitions of art emerged from the challenge “to be consistent with art appearing in every possible way.” Both negated the Neo-Wittgensteinians’s proposal to forgo the project of defining art and found the then-new pluralism to be revealing of the essence of art, directing philosophy to art’s nonexhibited infrastructure – beyond the reach of the eye. Across from this, the chapter presents their opposing ideas as revealed through different analyses of the concept of the “artworld”: as an intellectual sphere by Danto versus an institutional one by Dickie. Danto’s internalist/intentionalist ontology begins with the mental and stretches to its embodying material. Opposing it, Dickie’s externalist ontology points to social practices as constituting the artwork, which is attributed with the status of “arthood” by agents in its social sphere. Accordingly, I claim, Danto’s ontology is more versatile than Dickie’s. -/- . (shrink)

Now in its third edition, _Narration and Knowledge_ is a classic work exploring the nature of historical knowledge and its reliance on narrative. Analytical philosopher Arthur C. Danto introduces the concept of "narrative sentences," in which an event is described with reference to later events and discusses why such sentences cannot be understood until the later event happens. Danto compares narrative and scientific explanation and explores the legitimacy of historical laws. He also argues that history is an autonomous and humanist (...) discipline incapable of being reduced to scientific descriptions. Lydia Goehr's new introduction illustrates Danto's main arguments by questioning her very role, first, as an introducer of a book that has not yet been read by readers and, second, as an interpreter of a book written forty years ago. Frank Ankersmit's conclusion revisits the initial impact of the publication of _Narration and Knowledge_ and considers its enduring legacy. (shrink)

_A lively meditation on the nature of art by one of America's most celebrated art critics_ What is it to be a work of art? Renowned author and critic Arthur C. Danto addresses this fundamental, complex question. Part philosophical monograph and part memoiristic meditation, _What Art Is _challenges the popular interpretation that art is an indefinable concept, instead bringing to light the properties that constitute universal meaning. Danto argues that despite varied approaches, a work of art is always defined by (...) two essential criteria: meaning and embodiment, as well as one additional criterion contributed by the viewer: interpretation. Danto crafts his argument in an accessible manner that engages with both philosophy and art across genres and eras, beginning with Plato’s definition of art in _The Republic_, and continuing through the progress of art as a series of discoveries, including such innovations as perspective, chiaroscuro, and physiognomy. Danto concludes with a fascinating discussion of Andy Warhol’s famous shipping cartons, which are visually indistinguishable from the everyday objects they represent. Throughout, Danto considers the contributions of philosophers including Descartes, Kant, and Hegel, and artists from Michelangelo and Poussin to Duchamp and Warhol, in this far-reaching examination of the interconnectivity and universality of aesthetic production. (shrink)

Danto was not a fan of Dewey, the pragmatist who dominated Columbia's philosophy department for much of the twentieth century. A broad context for what might at first seem their total clash of philosophical temperaments is Danto's embrace of analytic philosophy in a period when classical pragmatism was evolving into the neopragmatism of Richard Rorty. A more specific context is Danto's preference for Cartesian‐inflected forms of atomistic explanation and representationalism, in contrast to Dewey's anti‐dualist and anti‐representationalist holism. In addition, Dewey's (...) vision of art as embodied in human experiences across the modern institutional spectrum contrasts starkly with Danto's more “compartmental” account of the Artworld. Yet despite these differences, both philosophers were also (in Dewey's case since the turn of the twentieth century, in Danto's case in late career) deeply, if differently, indebted to Hegel, who provided a fertile framework for understanding how human beings can at one and the same time be social, self‐interpreting spiritual beings and also natural beings. This fact provides a basis for thinking that while Danto never renounced his lifelong aversion to pragmatism, a subtler strand of Dewey's pervasive influence is present in his later writings. (shrink)

Now in its third edition, _Narration and Knowledge_ is a classic work exploring the nature of historical knowledge and its reliance on narrative. Analytical philosopher Arthur C. Danto introduces the concept of "narrative sentences," in which an event is described with reference to later events and discusses why such sentences cannot be understood until the later event happens. Danto compares narrative and scientific explanation and explores the legitimacy of historical laws. He also argues that history is an autonomous and humanist (...) discipline incapable of being reduced to scientific descriptions. Lydia Goehr's new introduction illustrates Danto's main arguments by questioning her very role, first, as an introducer of a book that has not yet been read by readers and, second, as an interpreter of a book written forty years ago. Frank Ankersmit's conclusion revisits the initial impact of the publication of _Narration and Knowledge_ and considers its enduring legacy. (shrink)

Arthur Danto's work has always affirmed a deep relationship between philosophy and art. These essays explore this relationship through a number of concrete cases in which either artists are driven by philosophical agendas or their art is seen as solving philosophical problems in visual terms. The essays cover a varied terrain, with subjects including Giotto's use of olfactory data in _The Raising of Lazarus; _chairs in art and chairs as art; Mel Bochner's Wittgenstein drawings; the work of Robert Motherwell, Andy (...) Warhol, and Robert Irwin; Louis Kahn as "Archai-Tekt"; and visual truth in film. Also featured are a meditation on the battle of Gettysburg; and a celebration of the Japanese artist Shiko Munakata, an essay that is partly autobiographical. Arthur C. Danto is one of the most original and multitalented philosophers writing today, a thinker whose interests traverse the boundaries of traditional understandings of philosophy. Best known for his contributions to the philosophy of art and aesthetics, Danto is also esteemed for his work in the history of philosophy, the philosophy of history, philosophical psychology, and action theory. These two volumes, each with an introduction by the author, contain essays spanning more than twenty-five years that have been selected to highlight the inseparability of philosophy and art in Danto's work. Together they present the thinking of Arthur C. Danto at his very best. (shrink)

A conversation between the artist Mimmo Paladino, the philosopher and art critic Arthur C. Danto and the curator Demetrio Paparoni on topics such as beauty, icons, projectuality in art, history of art and its supposed end - the main thread being, obviously, Paladino’s entire corpus.

There is a form of intellectual controversy, exhibited throughout the nineteenth century and into our own, which is less accessible because of a radically different order than certain controversies it appears to resemble, namely those which sprang up dramatically between science and religion in this era. Those latter controversies developed chiefly because it was at first supposed that religion was in possession of factual truths which entailed answers incompatible with those offered by science, to just the same factual questions: the (...) age of the universe, the mutability of species, the community of men and beasts or, for the matter, the historicity of sacred writ itself. On the basis of criteria supposed appropriate to the resolution of scientific controversies as such, the factual claims of religion were one by one infirmed, and it seemed then a reasonable projection that more or less the same would happen in any future such collisions. This left certain options open for religionists. They could, like adherents of any infirmed theory, simply give them up like good scientists are supposed to do. Or they could attempt to shun refutation by regarding religious statements as mere mythic paraphrases of recoverable literal scientific statements which were in fact true. Or religion could constitute itself a specialized science, concerned with an area of reality the "other" sciences did not touch upon, purging itself of any statements which then could conflict with those of the "other" sciences. Or finally, it could radically redefine its own scope and office by foreswearing any claim at all to factuality, so that questions of truth or falsity simply no longer would apply, and controversies between it and any discipline to which such questions did apply would be as inconceivable as a truth-contest between chemistry and opera. The Wittgensteinian suggestion that it is not the purpose of religious language to state facts may be seen as a late response to a dilemma which is then resolved by assigning religious utterance to one language game and physics to another. Were this a suitable disposition of the matter, religionists might be grateful for the suffering undergone, for though in the light of it the dilemma need never have arisen, still, had it not done so, religion might never have arrived at a proper consciousness of its own deep character. So the recent history of religion recapitulates its own favorite episodes of trial and purified renascence. (shrink)

Philosophers acquired their designation in ancient times, in consequence of a becoming modesty. Philosophers love cleverness, acuity, fertility in inventing novel arguments, and ingenuity in finding surprising counter‐examples. The great virtues of clarity, concision, and coherence have immunized the profession against the stylistic barbarity of Continental philosophy, which has had a disastrous effect, especially on academic culture, severely limiting the ability of those with advanced education to contribute to the intellectual needs of our society. Wittgenstein felt that no philosophical problem (...) could be solved but only dissolved, since no such problem is real, philosophy in his view being nonsense through and through. An artist, whose project is painting portraits of art‐world figures as famous works of art, has painted a portrait of the author as a bust of Socrates. (shrink)

The paper studies Livy's account in Book 45 of the aftermath of Aemilius Paullus' conquest of Macedon employing two interpretative methods, both common in recent studies of historians. The first is “metahistory,” in other words interpreting events within a historical narrative as commenting covertly on the genre of history and on the work as an example of that genre. The second is seeing how internal audiences provide a guide for the reader's interpretation. These, though theoretically independent, are in practice (...) often related, with internal audiences being used as a trigger for wider reflections on the text and the genre. Four linked passages from Livy 45 are discussed in detail. One invites a systematic metahistorical reading without the use of an internal audience, partly to endorse Livy's own manner of “secondary” history, partly to promote a moral reading of the text. The other three employ internal audiences to similar effect: first, Aemilius' meeting with the defeated Perseus, and the lesson which he draws about the mutability of fortune; second, the spectacular games he organizes at Amphipolis; and third, his eventual triumph in Rome, along with the speech that Servilius gives in its support. The understanding of the genre of history that Livy promotes through these passages is, however, astonishingly narrow and didactic, ignoring even central aspects of his own work which do not conform to that understanding. The paper concludes by considering why Livy would wish to present himself and his genre as single-mindedly moralistic when neither he nor it actually was. (shrink)

RESUMO A definição de arte desenvolvida por Arthur Danto pressupõe que algo é uma obra de arte por ser o correlato de uma interpretação, inscrita em uma rede de significações históricas, teóricas e sociais, que lhe atribui o estatuto de obra de arte. Trata-se de uma definição essencialista que, no entanto, não se funda em algo que é percebido no objeto, mas no objeto percebido como arte. Levando em consideração que o conceito de “interpretação” é um dos pontos cardinais da (...) definição de arte de Danto, aprofundo neste artigo uma investigação específica sobre o assunto. Argumento que o modo como o autor o desenvolve comporta uma ambiguidade, isto é, que há uma confusão entre dois sentidos de interpretação nos textos dantianos, e que seu papel fundamental na definição de arte é inseparável da contextualização histórico-social possibilitada pelo mundo da arte. ABSTRACT Arthur Danto’s definition of art claims that something is a work of art because it is the subject of an interpretation that is inscribed in a network of historical, theoretical and social meanings, which is responsible for assigning the status of artwork. It is an essentialist definition which however, is not based on something that is perceived in the object, but on the object being perceived as art. In this paper, I develop a specific investigation about the concept of “interpretation”, taking into account that it is one of the cardinal points in Danto’s definition of art. I argue that the author develops this subject in an ambiguous way, in other words, that there is confusion between two different meanings of interpretation in his texts, and that its fundamental role in the definition of art is inseparable from the historical and social contextualization guaranteed by the artworld. (shrink)

We understand metahistory as an approach that studies how histories within a particular discipline have been written and focus on insider scientists’ reconstructions of twin research. Using the concept of ethical-political affordances we suggest that such histories are based on a management of resources that prove to be beneficial for representing one’s own research traditions in a positive light. Instead of discussing information on the context and intellectual life of pioneers of the twin method, which include high-caliber eugenicists and (...) Nazi ideologues, and on how the twin method has been used and abused, insider scientists’ accounts present twin research as neutral, objective and void of any kind of political connotations. We show how important leaders of German twin research have been historically managed, and how their contributions have been distorted and omitted. Reasons for historical revisionism by omission and for selectively revised accounts of the past are discussed. Suggestions for writing accounts of the twin method are included and focus on the necessity of self-reflection, considerations regarding one’s own ethical-political inclinations, and review of the existing historical literature. In analyzing these connections, we attempt to understand how science, politics and history interact. (shrink)

Dr. Lacewing’s paper is a very interesting one. We agree in part, but only in part. Lacewing (2012) rejects the general thesis that “causal inferences must always be justified on the basis of Mill’s canons” (p. 199). I agree, but so does his target, Adolf Grünbaum, as we shall see in a moment. But first there is a question about Grünbaum’s alleged reliance on Mill’s Methods of Agreement and Difference. This interpretation may not make a difference to Lacewing’s arguments, but (...) it is worth correcting, given that some philosophers criticize both methods and yet their criticisms have no direct bearing on any of Grünbaum’s arguments. When Grünbaum speaks of “Millian methods,” he is not necessarily talking .. (shrink)

In this article I will discuss some systematic issues of Arthur Danto's philosophy of art and art history from a Hegelian perspective. Belonging to "Absolute Spirit," art can be called a "spiritual kind." Since spiritual kinds are reflective and self-determining, they are not susceptible to philosophical definition. Nevertheless, elements of essentialism can be maintained when describing art's historicity and conceptual structure. To this end, "art" can be interpreted as a two-tier concept: in inherently reflecting its concept, it projects its (...) own conditions into the past, co-opting "prehistorical" artworks as predecessors and classical examples. Hegel's view of art as conceptually structured in itself can have disenfranchising or reenfranchising consequences: either reducing art to minor philosophy, or acknowledging its privileged access to its own essence. After Danto's detachment of the philosophy of art from aesthetics, Hegel would himself be deprived of the possibility to "define" art by intuition . Even if the spirit consists of essential kinds, philosophy is not in a privileged position to establish the essence of art and thus the difference between art and philosophy. Rather, philosophy must acknowledge art as a neighbor and as partner in a dialogue. (shrink)

Jerry Fodor wrote the following assessment of Danto’s importance in 1993: “Danto has done something I’ve been very much wanting to do: namely, reconsider some hard problems in aesthetics in the light of the past 20 years or so of philosophical work on intentionality and representation” (Fodor 1993, p. 41). Fodor is absolutely right: some of Danto’s work could be thought of as the application of some influential ideas about perception that Fodor also shared. The problem is that these ideas (...) have turned out to be false. Both Danto and Fodor are modularist: they both think that perception is an encapsulated process that is in no way influenced by any kind of non-perceptual processing (see, e.g., Fodor 1983, Pylyshyn 1984). Many of Danto’s famous and influential arguments rely very directly on this modularist assumption. There is now, however, a wealth of evidence against modularism of the strong kind held to by Danto and Fodor. We now know that perceptual experience is not determined entirely by the retinal input: our visual processing is influenced at various point in a top-down manner. What we know and what kinds of visual stimuli we have encountered previously deeply influence how the retinal input is processed. The empirical literature on this is vast and conclusive (for an overview, see Teufel and Nanay 2017 but see also the references in the last section of this paper). What does this mean for Danto’s views on art and perception? While one of Danto’s premises may turn out to be false, the history and examples he gave are valuable and bear repeating. Even more importantly, Danto’s aesthetics can in part be separated out from his modularism, leading us to draw slightly different but arguably even more interesting conclusions from famous thought experiments such as the Gallery of Indiscernibles. (shrink)

First, there are some striking similarities in the history of reception of Fleck’s and Neurath’s ideas. Due to the style of their writings they were not or often not well welcome in their national philosophical communities, i.e., the Vienna Circle and the Lvov-Warsaw School. This is especially true in the case of Fleck. On the other hand, some prominent logical positivists, like Hempel, are to some extent guilty of making of Neurath a clumsy thinker whose ideas needed to be clear (...) by a more mature philosopher, i.e. Carnap. So their work was often considered as non-scientific. With a lack of response their theories were forgotten for many years, and even if not forgotten they were habitually ridiculed by critics. After a long period of seven thin years they have their renaissance. They are even quite popular. In the last 20 years a number of excellent books and papers on Neurath and Fleck have apperared. But one can hardly find a line of comparison. One might say that this is not surprising at all, as there is nothing to compare there. Neurath was a radical positivist while Fleck’s writing were aimed only against neopositivism. Accordingly, these are poles, and all we can say is that they are completely different. But even if Neurath was a follower of radical neopositivism that Fleck was fighting with, there are some common points in their programmes and I will try to show that even if they are in opposition, their paths intersected at certain points. (shrink)

[ES] 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. [EN] This famous essay by Arthur Danto, presented here entirely translated into Spanish, was the first development of his concept of “art world” as a contextual framework that gives meaning, through its theoretical-linguistic uses, to all forms of recognizable art in the world. This concept would have a huge influence around the world, and was the basis of all subsequent Danto’s thought about art, and his main philosophical tool to sell everywhere the idea that the works of Andy Warhol were not only legitimate works of art, but even important works of art. (shrink)

"Popular summaries of existentialism and Sartre's ideas have ensured a wide currency for such words as 'absurdity', 'nothingness', 'engagement', 'shame', and 'anguish'. But for Sartre, each of these words embodies a precise philosophical concept which he applies and explores further in his fiction and plays. Synthesized in 'Being and Nothingness' and 'Critique of Dialectical Reason', these concepts comprise a fully articulated philosophical system which, as Arthur C. Danto argues, in its vision and scope, logical responsibility and human relevance, takes its (...) place among the greatest of philosophical achievements. This book offers a synoptic and sympathetic reconstruction of the Sartrean system and in particular Sartre's analysis of the nature of language, consciousness, knowledge, self, and values." --Descripción del editor. (shrink)

Few philosophers are as widely read or as widely misunderstood as Friedrich Nietzsche. When Danto's classic study was first published in 1965, many regarded Nietzsche as a brilliant but somewhat erratic thinker. Danto, however, presented a radically different picture, arguing that Nietzsche offered a systematic and coherent philosophy that anticipated many of the questions that define contemporary philosophy. Danto's clear and insightful commentaries helped canonize Nietzsche as a philosopher and continue to illuminate subtleties in Nietzsche's work as well as his (...) immense contributions to the philosophies of science, language, and logic. This new edition, which includes five additional essays, not only further enhances our understanding of Nietzsche's philosophy; it responds to the misunderstandings that continue to muddy his intellectual reputation. Even today, Nietzsche is seen as everything from a precursor of feminism and deconstruction to a prophetic writer and spokesperson for disgruntled teenage boys. As Danto points out in his preface, Nietzsche's writings have purportedly inspired recent acts of violence and school shootings. Danto counters these misreadings by elaborating an anti-Nietzschian philosophy from within Nietzsche's own philosophy "in the hope of disarming the rabid Nietzsche and neutralizing the vivid frightening images that have inspired sociopaths for over a century." The essays also consider specific works by Nietzsche, including _Human, All Too Human_ and _The Genealogy of Morals_, as well as the philosopher's artistic metaphysics and semantical nihilism. (shrink)

Arthur Danto has made important contributions to both aesthetics and philosophy of history. Furthermore, as I shall try to show in this essay, his aesthetics is of great relevance to his philosophy of history, while his philosophy of history is of no less interest for his aesthetics.By focusing on the notions of representation, identity, and the identity of indiscernibles we shall discover how fruitful this cooperation of aesthetics and philosophy of history may be. Crucial to all historical writing and, hence, (...) to all philosophy of history, is the notion of identity through time and change. How could the historian write the history of x if x cannot be said to remain the same in the course of its history? It will become clear that aesthetics will provide us with a satisfactory solution for the problem, for the aestheticist notion of representation will enable us to define the notion of identity that the historian needs.Nevertheless, a certain friction can be observed between Danto's aesthetics and his philosophy of history. At the end of this essay I hope to show that Danto's philosophy of history will be our best guide to dealing adequately with this friction. (shrink)

The medicalization of mental health remains a point of contention for bioethicists, especially as it concerns the epistemic capabilities of those diagnosed with an illness or disorder. Gosselin (2019) argues that biomedicalization commits epistemic injustices against these persons and consequently entraps them in a “cycle of vulnerability”; in response, she proposes principles of justice to defend them from such affronts. This paper builds off of her work and responds particularly to the demand for a “sociocentric view of the self as (...) essentially relational.” I present a theory of interdependent agency and affiliation that I contend conceptually bolsters her normative principles. I explain how an expanded use of relational epistemologies, united with a non-ideal theory of mental health, can enrich our hermeneutical resources with respect to those with mental illnesses/disorders. My account introduces normative considerations premised on interdependency, most notably from care theory. Concepts such as vulnerability, relational autonomy, attentiveness, and responsiveness ground a relationally-situated approach that (1) improves the epistemic positionalities of patients, (2) informs more suitable dynamics of care/treatment, and (3) unites groups of mutually interested actors against harm and injustice. I thus use a framework of care to promote affiliations of similarly disadvantaged persons under shared causes and initiatives. I refer to these assemblages as “caring affinity networks.”. (shrink)

A personalized recommender system is broadly accepted as a helpful tool to handle the information overload issue while recommending a related piece of information. This work proposes a hybrid personalized recommender system based on affinity propagation, namely, APHPRS. Affinity propagation is a semisupervised machine learning algorithm used to cluster items based on similarities among them. In our approach, we first calculate the cluster quality and density and then combine their outputs to generate a new ranking score among clusters for the (...) personalized recommendation. In the first phase, user preferences are collected and normalized as items rating matrix. This generated matrix is then clustered offline using affinity propagation and kept in a database for future recommendations. In the second phase, online recommendations are generated by applying the offline model. Negative Euclidian similarity and the quality of clusters are used together to select the best clusters for recommendations. The proposed APHPRS system alleviates problems such as sparsity and cold-start problems. The use of affinity propagation and the hybrid recommendation technique used in the proposed approach helps in improving results against sparsity. Experiments reveal that the proposed APHPRS performs better than most of the existing recommender systems. (shrink)

Elective Affinities: Musical Essays on the History of Aesthetic Theory collects a selection of Lydia Goehr's recent essays. In them she traces “a history of attraction and reaction … of music to philosophy, drama, birdsong, crime, film, and nationhood” . Goehr examines the ways that philosophers, the ideas that they present, and works of art display “elective affinities”. Her procedure is like that of an art historian who presents parallel slides to reveal visual affinities, even between artists who themselves were (...) unaware of each other. Her analyses are erudite, lucid, and always suggestive, but what I found most admirable in Elective Affinities is Goehr's extraordinarily brave experimentation with a novel form of philosophy-writing, the adumbration of which is the focus of this review. Her book is strange enough to be genuinely magnificent and lastingly influential. (shrink)

THE CONCEPT of basic action rests upon a not especially controversial observation and a standard sort of philosophical argument. The observation is that there occur a great many actions in which what is said to be done—say a—is not done directly but rather through the agent doing something b, distinct from a, which causes a to happen. Thus I move a stone by pushing against it, and the pushing, itself an action, causes the locomotion of the stone when all relevant (...) conditions are supposed benign. Sometimes an agent m performs an action in which b is done and another occurrence a is caused by b, but as a is only a consequence of b and is not itself said to be done, such cases fall outside the circumference of the observation just described. What falls within that circumference I designate nonbasic actions, leaving it open that there may be species of nonbasic actions other than those specified by this observation. (shrink)

In this paper I offer a reading of the 1790 Introduction to the Critique of Judgement intended to show that the Critique of Judgement itself attempts to make good a serious deficit in the argumentation of the Critique of Pure Reason. In effect, the conditions outlined in the Critique of Pure Reason could be fulfilled without experience being constituted. There must therefore be additional conditions for the possibility of experience. And an account of these is to be found in the (...) Critique of Judgement, despite the repeated insistence in the text itself that its strictures operate on the level of a merely 'reflective' judgement, quite distinct from the 'determinant' judgements underwriting the time-determination of logical operations in the first Critique. The new transcendental elements for the condition of possibility of experience turn out, through an analysis of the concept of affinity, to table a novel, transcendental, conception of matter irreducible to the experiential understanding of matter and conditioning its possibility. In conclusion, I suggest that the structure of reflective judgement can itself be understood as a description of the operation of this transcendental matter in the special case of the transcendental spontaneity required by the Kantian subject to constitutive experience. (shrink)

Efforts to introduce particular-focused and emotionally engaged storytelling into historiography have sparked intense debate. Stone-Mediatore argues that women and other under-represented groups have a particular interest in defending the epistemic value of storytelling, but that we can do so meaningfully -- not by endorsing all storytelling -- but only by articulating a metahistory that challenges the division between history and story as well as makes explicit the interrelated epistemic and ethical goals of historical inquiry. The author draws on Hannah (...) Arendt and Susan Griffin to begin to articulate such a feminist metahistory. She argues that such a metahistory throws light on the potential value of creative and engaged storytelling, not only for understanding historical events but also for building less violent worlds. (shrink)

A sympathetic and systematic reconstruction of Sartre's philosophy, explaining its relation to other major philosophical theories. Among the themes elucidated are the relation between reality and our representation of it; the parities between language and consciousness; the relationship between the world as it may be and as we structure it in our interventions as engaged beings; the conceptual interdependence of the self and others; and the connections between factual beliefs and systems of value.--Adapted from book jacket.

The Materialist who interests me is the one who identifies such things as thoughts with what he speaks of with a degree of grand unspecificity [[sic]] infuriating to the physiologist as "brain processes" or "brain-states." The casual vagueness with which he invokes the brain happens not to affect the logic of his position, and it will prove more useful than to confront him with a physiologist demanding details to face him instead with a philosophical opponent, even if we must resurrect (...) one for the purpose. Let us, then, summon an Idealist from the shadows. His view, expressed equally grosso modo, is that all brain-states are thoughts. As the "is" of either position is the one of identity, the positions sound at this stage dangerously like mere commutations of one another, so in order to forestall the ignominy of saying the same thing while meaning to sound different, the opponents make sly countermoves. The Materialist says that there are brain-states—or even more unspecifically, that there are "material objects"—which are not thoughts ; and the Idealist, that there are thoughts which are not brain-states. These detrivialize [[sic]] the contest, but they equally disguise the contest’s comical ambiguities. It will appear upon analysis of the main strategies of logical offense that these traditional antagonists have been addressing themselves to different matters all along, and are saying different but quite compatible things. My chief reason for exhuming the contest is to illuminate features of Materialism which hardly can be discerned in the context of current preoccupation with predicates and language-games. Allowing myself the privileges of gross discourse which I have accorded my contestants, I shall say: the Idealist has been speaking of the content of thought, the Materialist about thoughts themselves. Let us now aim for a fraction of precision. (shrink)

This article develops a comparative and recursive approach to political ontology by drawing on the ontological turn in anthropology. It claims that if ontological commitments define reality, then the use of ontology by recent pluralist political theorists must undercut pluralism. By charting contemporary anthropology’s rereading of structuralism as part of a plural understanding of ontology, it will be shown that any political ontology places limits on the political, and thus cannot exhaust political experience. This position will be established through an (...) analysis of the role of Claude Lévi-Strauss in the work of Ernesto Laclau and Chantal Mouffe and a comparison with the political ontology represented by perspectivism and potential affinity. Anthropology’s lesson for political theory is that ontology cannot simply be revised and treated in the singular, but that political ontologies must be analysed comparatively to reveal the shortcomings of, and recursively alter, one’s own political frame of reference. (shrink)

Those rights are human rights which, in Professor Gewirth's phrase, “all persons equally have simply insofar as they are human.” His task is to demonstrate that there are human rights, and to demonstrate that such demonstration is necessary to the very existence of these rights. “That human rights exist…is a proposition whose truth depends upon the possibility, in principle, of constructing a body of moral justificatory argument from which that proposition follows as a logical consequence.” As philosophers we should no (...) doubt like to be able to prove the existence of human rights – prove that there are such rights in the event that the fool shall have said in his heart that there are none, even using his folly against him by showing his denial to entail its denial – but it is a bold claim that rights are things whose esse est demonstrari. (shrink)

Whether or not history is, or could be, or ought to be a science, depends in part upon how the words “science” and “history” are to be used. But if one of the criteria of a science is an ability to provide explanations of large numbers of events by means of a small number of general laws, it then becomes in part a question of whether or not history does, or can, provide explanations of this sort for the phenomena which (...) concern it. It is common knowledge that history, at the present time, displays no obvious instance of such an explanation; and I shall try to argue that, though the phenomena with which history deals could conceivably be explained in a “scientific” manner, it is not the office of history to provide such explanations, nor does its lack of explanations in any way diminish either the effectiveness or importance of history. So if my conclusions here suggest that history is not a science, and could not be one, they also suggest that it ought not to be one, but that it is a special and irreducible activity of the human spirit, with a function and justification of its own. (shrink)

Most art is made by people with a well-developed concept of art and who are familiar with its forms and genres as well as with the informal institutions of its presentation and reception. This is reflected in philosophers’ proposed definitions. The earliest artworks were made by people who lacked the concept and in a context that does not resemble the art traditions of established societies, however. An adequate definition must accommodate their efforts. The result is a complex, hybrid definition: something (...) is art (a) if it shows excellence of skill and achievement in realizing significant aesthetic goals, and either doing so is its primary, identifying function or doing so makes a vital contribution to the realization of its primary, identifying function, or (b) if it falls under an art genre or art form established and publicly recognized within an art tradition, or (c) if it is intended by its maker/presenter to be art and its maker/presenter does what is necessary and appropriate to realizing that intention. Meanwhile, artworlds—historically developed traditions of works, genres, theories, criticism, conventions for presentation, and so on—play a crucial but implicit role in (b) and (c). They are to be characterized in terms of their origins. (shrink)

Since 1984, when he became art critic for _The Nation_, Arthur C. Danto, one of America's most inventive and influential philosophers, has also emerged as one of our most important critics of art. As an essayist, Danto's style is at once rigorous, incisive, and playful. _Encounters and Reflections_ brings together many of his recent critical writings—on artists such as Andy Warhol, David Hockney, and Robert Mapplethorpe; and on the significance of issues like the masterpiece and the museum. The result is (...) a spirited brief from the front lines of current aesthetic and philosophical debate. (shrink)

Arthur Danto claims that knowing that S is not a property of some individual knower M but a relation between M and some object O in the world, where O is what makes S true. For if knowledge were a property of M it would be possible to determine whether M knew simply by examining M, which is typically not the case (i.e. unless S happens to be about M). I argue that Danto errs in: (1) claiming that we can (...) determine whether or not some assertion S is true only by observing the truth conditions for S; (2) claiming that we cannot determine whether s is true by examining M; and (3) claiming that since the statement that M knows that S ‘says something about both M and the world’ it must assert a relation between M and the world. (shrink)

RESUMO O artigo, em um primeiro momento, reconstrói a separação realizada por Arthur Danto entre Estética e Filosofia da Arte. Essa separação se encontra no fundamento da ontologia dantiana e distancia sua tentativa de definir arte dos argumentos da tradição estética sobre a beleza e o gosto. A partir dessa reconstrução, dou um segundo passo e analiso como Arthur Danto discute com a experiência estética, do modo como é compreendida, principalmente, após Kant, e quais são as suas críticas e propostas (...) para repensar a relação entre público e arte. ABSTRACT The article, at first, retraces the detachment made by Arthur Danto between Aesthetics and Philosophy of Art. This detachment lies on the foundation of Danto’s ontology and differentiates its attempt to define art from the traditional aesthetics arguments on beauty and taste. From this reconstruction, I take a second step where I analyze how Arthur Danto discusses with aesthetic experience, the way it is understood, especially, after Kant, and what are his criticisms and proposals to rethink the relation between public and art. (shrink)

We focus on a branch of region-based spatial logics dealing with affine geometry. The research on this topic is scarce: only a handful of papers investigate such systems, mostly in the case of the real plane. Our long-term goal is to analyse certain family of affine logics with inclusion and convexity as primitives interpreted over real spaces of increasing dimensionality. In this article we show that logics of different dimensionalities must have different theories, thus justifying further work on different dimensions. (...) We then focus on the three-dimensional case, exploring the expressiveness of this logic and consequently showing that it is possible to construct formulas describing a three-dimensional coordinate frame. The final result, making use of the high expressive power of this logic, is that every region satisfies an affine complete formula, meaning that all regions satisfying it are affine equivalent. (shrink)

What is the nature of our reasons for loving something? Why does a particular person or activity stimulate our imagination and hopes more deeply than others do? Is the reason in the object of our affection or in ourselves? Much philosophical debate revolves around this dichotomy between objective and subjective reasons for loving. In this paper I will instead propose that our reasons are primarily relational, having to do with the concept of affinity. Affinity, defined as “fitness” between two parties, (...) allows us to analyze loving activity in terms of a practical inference concerned with a long-term engagement in activities and relationships that are worthwhile and suitable to oneself. This approach does justice to the considerations on both sides of the debate. (shrink)

It is known how much of the work that Arthur Danto has dedicated to the philosophy of art has concerned the concept of representation and, specifically, the concept of artistic representation. The basic thesis that Danto developed starting from The Artworld (1965) consists in the idea that art should be considered as a particular type of representation, as opposed to what Plato had suggested, who considered it as a form of mimesis of reality. The article will show how this (...) Dantian thesis, which is based on the notion of artistic representation exhibited by Friedrich Nietzsche in the Birth of Tragedy, firstly hides a partial misunderstanding of Nietzsche's theses, and secondly reveals a philosophical error equal to and contrary to that made by Plato. We will also show how art is often a form of mimesis and how different types of mimesis are in fact compatible with artistic representation. Finally, we will show how mimesis and representation offer different forms of knowledge that belong to the art of all times. (shrink)

In this article, we trace the analogies, parallels and affinities between bio-inspired generative art and bio art practices with strong generative flavour. We look at the creative and expressive features in these two fields, compare their shared interests in the design and development of life, and discuss the strategies they apply to communicate and engage the audience. With respect to the existing literature, which relates bio and generative art primarily within a historical context, we compare these two fields focusing on (...) generativity as their common poetic driver. We indicate their shared impetus for rendering distinctive visions of nature in order to identify, contemplate or provoke dramatic changes in the era when biological processes become programmable and living matter can be instrumentalized for various forms of labour. We also examine the epistemological and practical effectiveness of the two fields within a broader socio-technical perspective, which leads us to their constructive critique. (shrink)

This thesis argues for the continuing possibility of Adorno set against the backdrop of a post-modern proliferation of affects. A major theoretical contention is the concept of the subject: a sticking point within philosophy. The thesis takes this up and offers a new pathway without falling into the cliché of a renewal of Adorno’s position. Drawing on Adorno’s theoretical thoughts on the subject the thesis contends that the subject is that which by turns dissolves all eventualities or more proportionally acts (...) like a place-holder for the newly emerging: structures that cannot be explained by recourse to the laws that govern its parts. These experiential structures present a surface, resistance, or solidarity that upon closer examination dissolve back into the ephemeral. Although such structures are profligate and prolific, the thesis adopts as its major concern artworks and aesthetics. Following Adorno, a claim is made for artworks that present open-ended possibilities. They are able for example to critically challenge the dominant hegemony the profundity that all too easily sides with the oppressors of life. What philosophy, a critical tool in furtherance of the good life, a concept restaged, here takes from art is not a sense of equivalence, art and philosophy are held apart in a creative and critical tension, but the sense of yearning that animates the nonconceptual side of art which the concept negates. The yearning, being experiential, is always embodied. Its fulfilment negates the immediacies, the mere appearance of life, particularly in its systematically reflexive form. The conclusion concurs with Adorno in the thought that affinity with the object is achieved not as the resultant of identity thinking, but through the act of definite negation of identifying schema. (shrink)

The concept of alienation: Hegelian themes in modern social thought -- Creative activity and alienation in Hegel and Marx -- The concept of labour -- The individual and society -- Freedom and the "realm of necessity" -- Alienation as a critical concept -- Private property and communism -- The division of labour and its overcoming -- Marx's concept of communism.

This study aims to critique the concept of active learning in childhood education based on Hegelian Bildung. We have defined childhood education from the perspective of Hegel’s Bildung in The Phenomenology of Spirit. We describe childhood education as a ‘primary Bildung’ having the aim of ‘entering into the conceptual world’. This aim indicates that children can and are required to express their experiences in conceptual language. Finally, we critique the conceptual components of active learning from the Hegelian point (...) of view and suggest three alternative components: ‘child-educator interaction’, ‘understanding historical knowledge’, and ‘addressing concrete-abstract affairs.’ We suggest that the concept of active learning needs to be replaced by ‘Communicative-Interactive Learning (CIL)’. CIL takes both objectivity and subjectivity into account during the process of knowledge formation in education. (shrink)