It is widely acknowledged that categories play significant roles in the appreciation of artworks. This paper argues that the correct categories of artworks are institutionally established through social processes. Section 1 examines the candidates for determining correct categories and proposes that this question should shift the focus from category membership to appreciative behaviour associated with categories. Section 2 draws on Francesco Guala’s theory of institutions to show that categories of artworks are established as rules-in-equilibrium. Section 3 reviews the explanatory benefits (...) of this institutional theory of the correct category. [Winner of the 2022 Debates in Aesthetics Essay Prize]. (shrink)

Those who have views about the relation between aesthetic and ethical value often also have views about the nature of art criticism. Yet no one has paid much attention to the compatibility of views in one debate with views in the other. This is worrying in light of a tension between two popular kinds of view: namely, between critical pluralism and any view in the art and ethics debate that presupposes an invariant relation between aesthetic value and ethical value. Specifically, (...) the tension with invariance arises insofar as critical pluralism accommodates the aesthetic value of interpretive richness, including the aesthetic value of ethically conflicted interpretive richness. Given this tension, a shift of focus is needed in the art and ethics debate; from specifying the criteria for the aesthetic relevance of a work's ethical qualities to defending the fundamental nature of the aesthetic-ethical value relation. (shrink)

Résumé J’examine la thèse défendue par Donald Davidson selon laquelle un être ne peut avoir des pensées que s’il a été en communication linguistique avec quelqu’un d’autre par le passé. Cette thèse, que j’appelle « l’interprétationnisme radical », dérive de la thèse A selon laquelle il est nécessaire d’avoir les concepts de croyance et de vérité objective pour avoir des croyances, et de la thèse B voulant que la communication linguistique soit requise pour l’acquisition du concept de vérité objective. En (...) réponse à A, je préconise un point de vue contextualiste, selon lequel les normes d’attribution de croyances dépendent du contexte conversationnel. Le contextualisme entraîne non pas que A est fausse, mais qu’elle doit être relative à un contexte. Je montre par ailleurs que contrairement à ce qu’affirme B, l’interaction avec autrui n’est pas nécessaire pour acquérir le concept de vérité objective. Je conclus que les arguments de Davidson soutiennent au mieux l’interprétationnisme modéré, c’est-à-dire l’idée selon laquelle un être a des pensées si et seulement si ces pensées sont interprétables par un interprète pleinement informé.I examine Donald Davidson’s thesis that a creature cannot have thoughts unless it has had a linguistic communication with another creature. This thesis, which I call “Radical Interpretationism”, derives from the claim that it is necessary to have the concepts of belief and objective truth in order to have beliefs and the claim that linguistic communication is required to acquire the concept of objective truth. In response to, I put forward a contextualist viewpoint, according to which the norms of belief attribution are context-dependent. Contextualism entails not that is false, but that it must be relativised to a context. I then show that contrary to what says, interaction with others is not necessary to acquire the concept of objective truth. I conclude that Davidson’s arguments at best support moderate interpretationism, that is, the view that a creature has thoughts if and only if these thoughts are interpretable by a fully-informed interpreter. (shrink)

Dans cet essai, nous voulons contribuer à poser les bases épistémologiques et ontologiques d’une approche composite de la théorie de l’interprétation que nous désignerons sous le nom d’« interprétationnisme pluraliste ». À l’encontre de l’intentionnalisme hypothétique, mais à l’instar de la théorie du patchwork dont il s’inspire, l’interprétationnisme pluraliste admet une variété de modes d’interprétations sans concéder de statut privilégié à aucun. Cette approche s’accorde avec la thèse de l’interprétation imputationnelle que l’on justifie sur la base d’une analyse de la (...) nature et de la formation des concepts interprétatifs. Elle est aussi compatible avec un modèle tripartite de l’ontologie de l’oeuvre littéraire qui permet d’éviter les critiques habituelles soulevées contre l’interprétation imputationnelle, à savoir le singularisme et l’objection de la dissolution de l’oeuvre.In this essay, we want to contribute to lay down some epistemological and ontological bases for a composite view of the theory of interpretation that we are calling “pluralist interpretationism”. Contrary to hypothetical intentionalism, but like the patchwork theory from which it is derived, pluralist interpretationism recognizes a variety of modes of interpretation without conceding to any a privileged status. This view agrees with the thesis of imputationalist interpretation which can be justified by an analysis of the nature and formation of interpretive concepts. It is also compatible with a tridimensional model of the ontology of literary works that avoids the usual criticisms raised against interpretative imputationalist such as singularism and the reductio ad absurdum. (shrink)

According to Arthur Danto, it is illegitimate to seek a neutral, or pre-interpretative, description of an artwork, since such descriptions necessarily fail to respect the artwork as such. Instead, we must begin by interpreting, so as to constitute the work : interpretation is what distinguishes artworks from mere physical objects. In this paper, I argue that, while Danto is right to distance artworks from mere things, this can be done without suggesting that artworks are constituted by interpretation. Moreover, Danto’s view (...) leaves us unable to account for the fact that interpretations are constrained to be responsive to the work’s features. I demonstrate that, by appealing to conventions of description that are specific to art, it is possible to offer a neutral description that respects the work as an artwork. This view accords with our common sense understanding of the relation between description and interpretation, and avoids the unfortunate consequences of Danto’s theory. // Selon Arthur Danto, il est illégitime de chercher une description « neutre » ou préinterprétative d’une oeuvre d’art, parce qu’une telle description ne peut respecter l’oeuvre d’art en tant que telle. Nous ne pouvons aborder une oeuvre sans l’interpréter, puisque l’interprétation constitue l’oeuvre d’art et distingue celle-ci d’un simple objet physique. Dans cet article je soutiens que, bien que Danto ait raison de vouloir distinguer les oeuvres d’art des simples choses, on peut effectuer cette distinction sans conclure que les oeuvres d’art sont constituées par l’interprétation. Je soutiens en outre que le point de vue de Danto ne nous permet pas de tenir compte du fait que les interprétations doivent respecter les caractéristiques de l’oeuvre. Je montre qu’en faisant appel aux conventions de description spécifiques à l’art, on peut proposer une description neutre qui respecte l’oeuvre d’art en tant qu’oeuvre. Mon point de vue est conforme à la relation généralement admise entre la description et l’interprétation des oeuvres d’art, et évite les conséquences négatives de la théorie de Danto. (shrink)

A sustained challenge to the view that artworks are physical objects relates to the alleged inability of physical objects to possess representational properties, which some artworks clearly do possess. I argue that the challenge is subject to confusions about representational properties and aesthetic experience. I show that a challenge to artwork-object identity put forward by Danto is vulnerable to a similar criticism. I conclude by noting that the identity of artworks and physical objects is consistent with the insight that attending (...) exclusively to the object’s individual physical properties may prevent us from grasping the nature of the work. // Contre l’opinion voulant que les œuvres d’art soient des objets physiques, d’aucuns font régulièrement valoir la présumée incapacité des objets physiques à possedér des propriétés représentationnelles, propriétés que certaines œuvres d’art possèdent a l’evidence. Je fais valoir que cette remise en question est sujette à des confusions à propos des propriétés représentationnelles et de l’experience esthétique. Je montre que de même, la remise en question par Danto de l’identité œuvre d’art-objet prête le flanc à une critique similaire. Je conclus pour finir que l’identité entre œuvres d’art et objets physiques est compatible avec l’intuition voulant que prêter attention exclusivement aux propriétés physiques d’un certain objet peut nous empêcher de saisir la nature de l’œuvre. (shrink)

Analytic aesthetics has had little to say about academic schools of criticism, such as Freudian, Marxist, feminist, or postcolonial perspectives. Historicists typically view their interpretations as anachronistic; non-historicists assess all interpretations according to formalist criteria. Insofar as these strategies treat these interpretations as on a par, however, they are inadequate. For the theories that ground the interpretations differ in the claims they make about the world. I argue that the interpretations of different critical schools can be evaluated according to the (...) truth or epistemic merit of these claims. (shrink)

Few dispute the descriptive necessity of intentions in art, little ground has been gained in virtue of such consensus. Intentions matter, but we must know not only which ones matter and why they matter but also the implications of their mattering for art theory writ large. I show that intentionality cannot be exhausted by mere appeals to deliberateness or bare artifactuality. I then argue that only reflexively governed intentions are necessary for art - artistic intentions are communicative intentions. Finally I (...) show how making intentions reflexive accrues myriad art theoretical advantages ranging from interpretation to evaluation of art. Intentions matter because they are communicative. Art becomes language-like and in doing so art gets to matter because language matters. (shrink)

The cluster account, one of the best attempts at art classification, is guilty of ahistoricism. While cluster theorists may be happy to limit themselves to accounting for what art is now rather than how the term was understood in the past, they cannot ignore the fact that people seem to apply different clusters when judging art from different times. This paper shows that while allowing for this kind of historical relativity may be necessary to save the account, doing so could (...) result in incorporating an essentially institutional component or making the theory extremely complex and virtually impossible to use. (shrink)