Danto inicia su filosofía de la historia del arte con un núcleo problemático que inaugura el modernismo: una obra de arte llega a ser indiscernible de una mera cosa, en la medida en que es el resultado lógico de la narrativa de un cierto periodo. Hablar sobre el fin del arte es hablar de las razones que sustentan esa narración y de la posibilidad de su culminación. Se propone una crítica, a partir de la relación entre esencialismo, historicismo y pluralismo, (...) para examinar su controversial tesis sobre la clausura histórica del arte por agotamiento de su impulso cognitivo. Danto begins his philosophy of the history of art with the problematic issue that characterizes modernism: a work of art becomes indiscernible from a mere thing insofar as it is the logical result of the narrative of a certain period. To speak of the end of art is to speak of the reasons that support such narrative and the possibility of its culmination. The article proposes a critique on the basis of the relation among essentialism, historicism, and pluralism, in order to examine Danto's controversial thesis regarding the historical end of art due to the exhaustion of its cognitive impulse. (shrink)

In The Transfiguration of the Commonplace (1981) Arthur Danto propone la nozione di «stile individuale» identificando quest’uldma con qualcosa di dato che appartiene all’artista in maniera essenziale e inseparabile. In contrasto con questa idea, la sua teoria della fine dell’arte, presentata in After the End of Art (1997) e altrove, suggerisce la liberazione degli artisti da qualsiasi impegno stilistico. Come si accordano queste due teorie? Possono esserci stili individuali dopo la fine dell’...

Departing from a critical assessment of the most widespread and initiated definitions of Contemporary Art from the last decade and a half, sustaining a world-wide discourse on contemporary art and contemporaneity, this article will deal with two aspects of an immodest proposal captured by the keywords actualization and anachrony. While current discussions on contemporary art are arguably reproducing modernist assumptions on the primacy of innovation, bolstered by a veiled avant-garde logic, the proposal to regard contemporary art as actualized art upsets (...) not only ideas on what art after postmodernism might mean, but the whole edifice of historicist historiography. An anachronic perspective, a bi- or polychronic situatedness of the work of art, could be used to liberate art from being defined according to its unique descent, and to embrace, instead, a chronologic open to art’s continuous “life” through its successive aesthetic accessions and actualizations in time. (shrink)

It is clear that natural entities can be preserved – they can be preserved because they can be harmed or destroyed, or in various other ways adversely affected. I argue that in light of the rise of scientism and other forms of philistinism, the political, religious, mythic, personal and historical meanings that people find in those entities can also be preserved. Against those who impugn disciplines such as fine arts, philosophy and sociology, I contend that this sort of preservation requires (...) the efforts of those whose work exemplifies the core values of the arts, the humanities and the qualitative social sciences. (shrink)

This article critically examines existing versions of recognition theory in the light of several empirical case studies of twentieth-century political ruptures after the First World War. It notes that the prevalent theoretical focus on the enfranchisement of previously subaltern groups cannot account for the empirical significance of negative processes, such as the disenfranchisement of former elites and the decline of previously hegemonic values, which are typical for conditions of political uncertainty. To conceptualize such examples, an expansion of the existing vocabulary (...) of recognition theory is necessary. The article proposes ways to develop a theory of derecognition which might be used to guide empirical research on informal practices of political change. (shrink)

Arthur Danto is one of the best Anglophone philosophers of art of the second half of the 20th century. His unique methodology of indiscernibility and provocative claim about the end of art have bee...

The striking title The End of Art managed to draw attention to the philosophical work of Arthur Danto. However, the lack of a systematic development which could support this thesis made him face harsh criticism. However, strong foundations for his statements can be deduced from his writings. In this paper, I analyse how to understand the thesis of the ‘end of art’. It should be approached not as a monolitical notion but as a complex concept that combines three different senses: (...) 1) the ‘end of art’ in the Hegelian sense: the conversion of art into philosophy, 2) the ‘end of art’ in the historiographical sense: as the end to the narratives of the history of art, and 3) the ‘end of art’ as the beginning of a new period in history, where Danto’s philosophy of art would be fully valid. (shrink)

This paper addresses the phenomenon of judicial greatness by developing a general concept of greatness and applying it to law. Under the view offered in the paper, greatness is connected to theoretical or methodological diversification. When applied to adjudication, this means that great judges are revered because they successfully make a prima facie case for their novel adjudicative methods. This is not a judicial duty but rather a voluntary project. However, once a judge succeeds in making such a prima facie (...) case, he is exempt from other judicial duties. This thesis challenges many theories of judicial duty, which do not allow normative room for supererogatory actions in law. The paper demonstrates these claims by discussing two paradigmatic great judges – Chief Justice Marshall and Justice Holmes. (shrink)

This thesis is concerned with establishing a bridge between matters of aesthetics and epistemology, by investigating the mechanisms through which artworks allow agents to derive knowledge through the former’s manipulation. It is proposed that, in order to understand the epistemic potential of artworks, we need to approach them as diagrams, in the sense developed by Charles Peirce. The background upon which the arguments are developed are mainly those of American Pragmatism – with a special emphasis on primary literature from Charles (...) Sanders Peirce about semiotics and inquiry, and John Dewey about aesthetics. It is introduced that the manipulation upon artworks can be an example of an inquiry process, due to artworks’ diagrammatic symbol-type-token structure, which embody the logical relations of abduction, deduction and induction. Through Peirce’s definition of inquiry, and Dewey’s definition of an aesthetic experience, it is possible to defend that artworks deliberate create states of doubt and chance as to stimulate and guide inquiry as a way to achieve an aesthetic experience, corroborating to the claim that inquiry processes and aesthetic experience share the same ontological basis: it is in the nature of aesthetic experience to confront agents and contexts with state of chance and doubt, to be further guided through inference into a state of regularity and belief. In order to develop and test the argument, I present the development of Arthur Danto’s influential theory of aesthetics based on Andy Warhol’s Brillo Boxes, by focusing on a review of Danto’s main writings about it. The central point that Danto developed in this theory is that what gives something the status of an artwork are not the immediately perceivable sensorial features of an artifact, but something else. I claim it to be a “diagrammatic structure” that can be potentially manipulated through an inquiry process. I conclude by establishing a possible development of my argument in relation to modelling processes: as diagrams, artworks can be understood as models, opening room for the emergence of new hypothesis and conjectures about the relationship between aesthetics and epistemology. (shrink)

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)

El presente artículo se propone mostrar la vinculación conceptual que se establece en el conjunto de la obra de Arthur Danto –un autor clave en la consideración analítica del concepto de representación- entre asimetrías cognitivas, teoría de la representación y criterio transfigurativo de realidad. Esa articulación nos entrega un modelo de particular predilección por las asimetrías cognitivas vinculadas a la estructura trágica, que es limitativa de las posibilidades aventuradas por el mismo Danto respecto de nuestra capacidad para captar la apertura (...) e incompletud de nuestra aprehensión de la historia. (shrink)