Amie L. Thomasson; The Ontology of Art and Knowledge in Aesthetics: Thomasson The Ontology of Art and Knowledge in Aesthetics, The Journal of Aesthetics and Art.

Richard Stopford, in criticizing my defense of purist restoration, attributes to me and refutes a metaphysical view I do not have concerning the identity and persistence conditions of an art work. I took for granted the ordinary idea of identity as continuity-in-space-and-time-under-a-sortal-concept, such as statue. I argued that Michelangelo’s Pietà remained the same statue after it was disfigured but that the damage was irreparable. By fixing molded prosthetics to the ruined work of art, the Vatican introduced a macaronic element into (...) one’s aesthetic attitude toward the Pietà by making one attend simultaneously, without any visual guidance as to which is which, to parts of the statue that were completed by Michelangelo’s hand and intended to be a work of art and pieces added in the twentieth century for an different purpose, e.g., to make viewing the statue less disconcerting than a recognition of the damage would demand. An integral restoration, in contrast, allows one both to envision the art work as created and to grieve for what has been lost. (shrink)

Prominent philosophical accounts of artistic forgery have neglected a central aspect of the aesthetic harm it perpetrates. To be properly understood, forgery must be seen in the context of our ongoing attempts to augment our aesthetic understanding in conditions of uncertainty. The bootstrapping necessary under these conditions requires a highly refined comprehension of historical context. By creating artificial associations among aesthetically relevant qualities and misrepresenting historical relationships, undetected forgeries stunt or distort aesthetic understanding. The effect of this may be quite (...) pervasive, and removing known forgeries from museum walls will be insufficient to eradicate it. Continued attention to forgeries, once exposed, can in fact serve us by increasing our understanding of how aesthetic understanding is formed and by helping us to repair the damage they have inflicted. (shrink)

Although art forgery is documented throughout the history of Western art, philosophical discussion of the problems of art forgery is a relatively recent matter, beginning largely in the latter half of the twentieth century. Arising even more recently is the practice of creating ‘appropriation art’, a topic that has so far been largely ignored in aesthetics but which raises some challenging questions especially when compared with forgery. This article introduces some of the philosophical problems that arise from the practice and (...) products of art forgery and in the contemporary movement of art appropriation. Rather than involving issues on the periphery of aesthetics, I suggest, forgery and appropriation art cut to the heart of issues in the ontology of art, the intersection of aesthetics and ethics, and other central areas in the philosophy of art. (shrink)

: In this paper, I lay out a case for why those objects of aesthetic attention which are principally characterized as natural objects should be understood not statically, as existing in merely a three-dimensional fixed state, but as dynamic, as existing in a space-time context, complete with change, movement, and flux. After this, I explain why this is important, how the dynamic nature of natural objects raises a concern for aesthetically evaluating natural objects, and how that concern may be addressed.

In this paper, I lay out a case for why those objects of aesthetic attention which are principally characterized as natural objects should be understood not statically, as existing in merely a three-dimensional fixed state, but as dynamic, as existing in a space-time context, complete with change, movement, and flux. After this, I explain why this is important, how the dynamic nature of natural objects raises a concern for aesthetically evaluating natural objects, and how that concern may be addressed.

Descriptivism in the ontology of art is the thesis that the correct ontological proposal for a kind of artwork cannot show the nascent ontological conception of such things embedded in our critical and appreciative practices to be substantially mistaken. Descriptivists believe that the kinds of revisionary art ontological proposals propounded by Nelson Goodman, Gregory Currie, Mark Sagoff, and me are methodologically misconceived. In this paper I examine the case that has been made for a local form of descriptivism in the (...) ontology of art: a form that does not quarrel with the possibility of revisionism in matters of ‘fundamental metaphysics’, but which argues that special features of the arts make descriptivism in this particular sphere obligatory. David Davies, Andrew Kania and Stephen Davies are local descriptivists in this sense. I argue that the burden of proof lies with the local descriptivist, but that this burden is too heavy for him to carry. Specifically, it emerges that the only way in which the local descriptivist can motivate his position is by arguing that our artistic practices determine the art ontological facts: a thesis that local descriptivists typically appeal to, but have not been able to argue for successfully. My conclusion is that the methodological debate in the ontology of art should now proceed by focussing on the case for global descriptivism: i.e. that form of descriptivism that opposes the possibility of revisionism in ontological matters across the board. (shrink)

In this article, I argue that our ontology of art has undergone a major change in the course of modern history. While we currently think of artworks as parts arranged in a certain way, there was a time when artworks were thought of as metaphysically more akin to ordinary artefacts such as tables and chairs; that is, as wholes having replaceable parts. This change in our ontology of art is reflected in our approach to art restoration. But what explains the (...) change? I will suggest that the change took place because of a change in our conception of the function of art. More specifically, I will suggest that we have started to think of artworks as parts arranged in a certain way, because we have started to think of artworks as having, primarily, an aesthetic function. (shrink)

Philosophers, archeologists, and other heritage professionals often take a rather negative view of heritage reconstruction, holding that it is inappropriate or even impermissible. In this essay, we argue that taking such hardline attitudes toward the reconstruction of heritage is unjustified. To the contrary, we believe that the reconstruction of heritage can be both permissible and beneficial, all things considered. In other words, sometimes we have good reasons, on balance, to pursue reconstructions, and doing so can be morally acceptable. In defending (...) this claim, we discern a number of arguments made against heritage reconstruction and demonstrate that these arguments are either exaggerated or lack support. (shrink)

Philosophy Compass, Volume 1. Oxford: Blackwell, 2006.

First critical survey devoted to the history of philosophical contributions to this topic. Brings to light neglected contributions prior to the second half of the 20th century including works in Danish, German, and French. Provides a division of issues and clarifies key ambiguities related to modality.

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)

Virtually everyone who has advanced an ontology of art has accepted a constraint to the effect that claims about ontology should cohere with the sort of appreciative claims made about artworks within a mature and reflective version of critical practice. I argue that such a constraint, which I agree is appropriate, rules out a one-size-fits-all ontology of contemporary visual art (and thus of visual art in general). Mature critical practice with respect to contemporary art accords artists a significant degree of (...) stipulative authority regarding the features and boundaries of their works. This results in ontological variation among visual artworks. Any claim to the effect that all works belong to the same ontological category will thus come out false or uninformative. Interesting, substantive claims about ontological status can be made only in relation to specific works; that is, we must consider the ontological status of each contemporary artwork individually. The only general ontological claim that can be made about visual artworks (and also about artworks in other forms) is that they belong to the sort of thing that artists create. But this is not a substantive ontological claim. (shrink)

This paper responds to recent developments in the field of sensory augmentation by analysing several technological devices that augment the sensory apparatus using the tactile sense. First, I will define the term sensory augmentation, as the use of technological modification to enhance the sensory apparatus, and elaborate on the preconditions for successful tactile sensory augmentation. These are the adaptability of the brain to unfamiliar sensory input and the specific qualities of the skin lending themselves to be used for the perception (...) of additional sensory information. Two devices, Moon Ribas’ Seismic Sense and David Eagleman’s vest, will then be discussed as potential facilitators of aesthetic experiences in virtue of the tactile sensory augmentation that these devices allow. I will connect the experiences afforded by these devices to the Kantian categories of the mathematical and the dynamical sublime, and to existing accounts of tactile sublimity. Essentially, the objects these devices make sensible, earthquakes for the Seismic Sense and digital information for the vest, produce pleasurable feelings of potential danger, awe, and respect. The subsequent acclimation to this new way of sensing and the aim to comprehend its sensed object are then discussed as possible objections to the interpretation of these experiences as sublime, and as aesthetic in general. To exemplify these issues and concretise my thesis of tactile sensory augmentation as a trigger of the sublime, I will outline an experiment to use the vest as an aid for faster decision making on the stock market. (shrink)

Since the mid-Sixties, philosophers have debated over the aesthetic relevance of authentic art-objects, perfect replicas, and restoration. In particular, a dispute has ensued concerning the cogency of our penchant for original artworks. Originalists argue that authenticity, the quality of an object being of undisputed origin or authorship, is a necessary condition for aesthetic experience, since the appreciation of an artwork presupposes its correct identification. Anti-originalists retort that we have no art-relevant reason to favour originals over visually-indistinguishable duplicates. To this extent, (...) they claim, ‘there is no identification without (prior) evaluation’. In this paper, I re-examine the underpinnings at the core of this discussion. I argue that aesthetic appreciation does not necessarily require judgement of authenticity. However, there are instances in which authenticity does intrude upon aesthetic evaluation, namely when style recognition is involved. In these cases, I propose that errors in historical attribution reduce the impact of the object and jeopardise aesthetic appreciation altogether. (shrink)