This chapter contains sections titled: Essence and Expression: Danto's Philosophy of Art The End of Art: Danto's Philosophy of Art History A Critical Examination of Danto's Philosophy of Art Concluding Remarks.

This paper addresses Arthur Danto’s claim that contemporary artworks, such as Andy Warhol’s Brillo Box, do not differ perceptually from ordinary objects, and that in order to see contemporary artworks as art the viewer has to move from mere experience to a meaning expressed by the work. I propose to supplement Danto’s thesis. I argue that, while some contemporary artworks may indeed be perceptually indistinguishable from ordinary objects, these works are distinguishable not only by means of meaning but also by (...) means of a non-perceptual aesthetic experience. I then discuss two theories that might provide a model of such an aesthetic experience. First, I focus on James Shelley’s theory of non-perceptual aesthetic experience conceived as a representation of non-perceptual aesthetic properties. Second, I discuss Jérôme Dokic’s adverbialist theory, which sees aesthetic experience as a combination of non-aesthetic attitudes. I argue that the adverbialist model is the most promising candidate for solving our problem. The model must be extended, however, if it is to account for pragmatic attitudes in response to artworks. (shrink)

In Danto's view, Andy Warhol's Brillo Box was not only a radical attack on traditional definitions of the art work; it brought the history of Western art to a close. In this collection of interconnected essays, he grapples with this and many more of the most challenging issues in art today, from the problems of contemporary pluralism to the dilemmas of censorship and state support for artists.

This essay constructs philosophical defenses against criticisms of my theory of the end of art. These have to do with the definition of art; the concept of artistic quality; the role of aesthetics; the relationship between philosophy and art; how to answer the question "But is it art?"; the difference between the end of art and "the death of painting"; historical imagination and the future; the method of using indiscernible counterparts, like Warhol's Brillo Box and the Brillo cartons it resembles; (...) the logic of imitation-and the differences between Hegel's views on the end of art and mine. These defenses amplify and fortify the thesis of the end of art as set forth in my After the End of Art: Contemporary Art and the Pale of History (1997). (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)

This essay constructs philosophical defenses against criticisms of my theory of the end of art. These have to do with the definition of art; the concept of artistic quality; the role of aesthetics; the relationship between philosophy and art; how to answer the question “But is it art?”; the difference between the end of art and “the death of painting”; historical imagination and the future; the method of using indiscernible counterparts, like Warhol's Brillo Box and the Brillo cartons it resembles; (...) the logic of imitation—and the differences between Hegel's views on the end of art and mine. These defenses amplify and fortify the thesis of the end of art as set forth in my After the End of Art: Contemporary Art and the Pale of History. (shrink)

Arthur C. Danto's lucid introduction to the central topics of Western philosophical thought remains an unparalleled guide to problems in metaphysics and epistemology that have engaged philosophers for several millennia. Examining the work of Plato, Berkeley, Descartes, Hume, and Wittgenstein, Danto explores debates about empiricism, the mind/body problem, the nature of matter, and the status of language, consciousness, and scientific explanation. In a new preface to this edition he considers the current relationship between philosophy and the humanities.

The overall subject of the essays in _The Body/Body Problem_ is the traditional one of what our ultimate makeup is, as creatures with minds and bodies. The central thesis is that we are beings who represent—and misrepresent—actual and possible worlds. Addressing philosophical questions of mental representation, Danto presents his distinctive approach to some of the most enduring topics in philosophy. He is concerned with the nature of description, the status of the external world, action theory, the philosophy of history, and (...) the philosophical status of psychoanalytic explanation. Representation is a central concept in philosophy, says Danto, with differences among philosophers arising in the ways they account for how representations connect to the world or to the individuals possessing them, and how they connect with one another to form systems of beliefs, feelings, and attitudes. In these essays Danto's own voice, with his arguments and speculations, provides rich philosophical pleasures that will endure, to borrow from Santayana, "under whatever sky." 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)

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)

This book reassesses Gadamer's hermeneutics by bringing it into a dialogue with John McDowell's minimal empiricism. It employs the resources of McDowell's minimal empiricism to address the transcendental and ontological presuppositions for objective experience and understanding, while retaining Gadamer's emphasis on the historicity of understanding. By means of the dialogue with McDowell, the book develops a hermeneutical conception of objectivity and perceptual experience, which also entails reinterpretations of Gadamer's notions of tradition, practical wisdom and meaning. The book explores the (...) philosophical space beyond the analytic-Continental divide and demonstrates that hermeneutics is not limited to a reflection on understanding as it is practiced in the human sciences, but can be revived as a distinct and cogent philosophical approach with a transcendental and ontological dimension. Thaning's book is a richly detailed, well-argued and coherent presentation of a defensible, and potentially very important, philosophical position. It demonstrates an impressively deep understanding of the literature both from the phenomenological tradition and from the part of the analytical tradition, inspired by Wilfred Sellars, to which John McDowell belongs. Being a substantial philosophical achievement in its own right, the book raises far-reaching questions that will be of interest to a wide audience. Dr. Steven Crowell, Rice University, Houston (USA) Morten Thaning's book is an important contribution to the discourse of philosophical hermeneutics. Thaning extensively discusses a topic, which recent debates have touched upon, but which up to now has not been the subject matter of concentrated scholarly work: the relation between Gadamer's hermeneutics and McDowell's empiricism. With Thaning's interpretation Gadamer' work can be read anew as concerning the problem of hermeneutical objectivity. Prof. Dr. Günter Figal, University of Freiburg (Germany). (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)

This paper deals with the philosophical questions which gave rise to the traditional realist theories of universals. The main thesis is that these same questions may also be interpreted as scientific-empirical questions. The study of these problems has begun only very recently and the relevance of the results for the traditional problem of intensional entities has only been remarked by few workers aware of the philosophical problem. The approach adopted here is that of regarding man as a perceptual (...) system situated in an environment and showing certain capacities like perception of universals. The possible ways of access to these entities is discussed on the basis of some recent empirical findings related to perception. One conclusion is that in order to answer the basic philosophical question of how properties, particulars and propositions are perceived may be answered within the domains of science, accepting only the usual presuppositions used in it. Basically, such an approach sees the root of the problem in the great complexity of information processing involved in the actual perception of properties, particulars and propositions. (shrink)

This chapter develops a perceptual solution to the epistemological problem of other minds, relying on central ideas from Maurice Merleau-Ponty's phenomenology. The Merleau-Pontian account is contrasted with another attempted perceptual solution to the other minds problem, and it is argued that only the former meets the phenomenologists' desideratum of providing an alternative to inferential solutions. The chapter also provides responses to various objections to the perceptual solution, including a pair of objections recently put forward by Alec Hyslop.

The basis of perception is the processing and categorization of perceptual stimuli from the environment. Much progress has been made in the science of perceptual categorization. Yet there is still no consensus on how the brain generates sensory individuals, from sensory input and perceptual categories in memory. This chapter argues that perceptual categorization is highly variable across perceivers due to their use of different perceptual strategies for solving perceptual problems they encounter, and that (...) the perceptual system structurally adjusts to the strategies that are most successful. Despite this variability, the different sensory individuals that result when different perceivers rely on different strategies nonetheless correspond to actual external world objects/features. This view is called 'perceptual pluralism'. (shrink)

Since the most promising path to a solution to the problem of skepticism regarding perceptual knowledge seems to rest on a sharp distinction between perceiving and inferring, I begin by clarifying and defending that distinction. Next, I discuss the chief obstacle to success by this path, the difficulty in making the required distinction between merely logical possibilities that one is mistaken and the real (Austin) or relevant (Dretske) possibilities which would exclude knowledge. I argue that this distinction cannot be (...) drawn in the ways Austin and Dretske suggest without begging the questions at issue. Finally, I sketch and defend a more radical way of identifying relevant possibilities that is inspired by Austin's controversial suggestion of a parallel between saying I know and saying I promise: a claim of knowledge of some particular matter is relative to a context in which questions about the matter have been raised. (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)

Arthur Danto's The Abuse of Beauty: Aesthetics and the Concept of Art is Danto's most recent, through-written monograph on the philosophy of art. An obvious question occasioned by its publication is: what is it intended to add to Danto's previous treatises on the philosophy of art, such as The Transfiguration of the Commonplace and After the End of Art? The simple answer, of course, is beauty. But, why, one asks, does Danto need to address beauty? . . (...) .Danto, it seems to me, needs to come to terms with beauty as a matter of theoretical damage control. beauty, narrowly conceived, has the potential to threaten the generality of Danto's theory of art. Therefore, Danto needs, so to speak, to contain it. (shrink)

The problem of other minds has a distinguished philosophical history stretching back more than two hundred years. Taken at face value, it is an epistemological question: it concerns how we can have knowledge of, or at least justified belief in, the existence of minds other than our own. In recent decades, philosophers, psychologists, neuroscientists, anthropologists and primatologists have debated a related question: how we actually go about attributing mental states to others (regardless of whether we ever achieve knowledge or rational (...) justification in this domain). Until the mid-nineties, the latter debate – which sometimes goes under the name of the “mindreading” debate – was characterized by a fairly clear-cut opposition between two theoretical outlooks: “theory-theory” (TT) and “simulation theory” (ST). Theory-theorists typically argued that we attribute mental states to others on the basis of a “theory of mind” that is either constructed in early infancy and subsequently revised and modified (Gopnik 1996), or else is the result of maturation of innate mindreading “modules” (Baron-Cohen 1995). (shrink)

We present the problem of perceptual agreement (of determinate color) and submit that it proves to be a serious and long overlooked obstacle for those insisting that colors are not objective features of objects, viz., nonobjectivist theories like C. L. Hardin’s (2003) eliminativism and Jonathan Cohen’s (2009) relationalism.

Alva Noë understands what he calls “perceptual presence” as the experience of whole, voluminous objects being ‘right there’, present for us in their entirety, even though not each and every part of them impinges directly on our senses at any given time. How is it possible that we perceptually experience voluminous objects as voluminous directly and apparently effortlessly, with no need of inferring their three-dimensionality from experience of the part of them that is directly stimulating our sense organs? For (...) Noë, this is the ‘problem of perceptual presence’. In this paper, I integrate Noë’s view by articulating a different view of what perceptual presence at a more basic level amounts to. This new account of perceptual presence which, I believe, can clarify and make an enactive account of presence richer. The view I suggest revolves around the idea, developed especially by Merleau-Ponty and Kelly, that perceptual experience is in an important sense indeterminate. Indeterminacy, I argue, is key if we want to understand perceptual presence and the ‘problem’ Noë solves. (shrink)

To discern the indiscernibles is the main purpose of Danto’s philosophy of art. Influenced by analytical philosophy, Zen Buddhism, and symbolism, three ways of discernment can be identified in Danto’s text: the external discernment, the internal discernment, and the middle discernment, which, roughly speaking, mean a discernment by means of examining the object, self-reflection or enlightenment, and the relation between experience and expression, in Danto’s terms, the aboutness and embodiment, respectively. However, neither analytic philosophy and its external discernment nor Zen (...) and its internal discernment can distinguish the indiscernible indeed, only symbolism and its middle discernment have the potential to do so. Unfortunately, Danto was so indulged in analytical philosophy and Zen that he could not see this promise from symbolism. (shrink)

The Perceptual Hypothesis is that we sometimes see, and thereby have non-inferential knowledge of, others' mental features. The Perceptual Hypothesis opposes Inferentialism, which is the view that our knowledge of others' mental features is always inferential. The claim that some mental features are embodied is the claim that some mental features are realised by states or processes that extend beyond the brain. The view I discuss here is that the Perceptual Hypothesis is plausible if, but only if, (...) the mental features it claims we see are suitably embodied. Call this Embodied Perception Theory. I argue that Embodied Perception Theory is false. It doesn't follow that the Perceptual Hypothesis is implausible. The considerations which serve to undermine Embodied Perception Theory serve equally to undermine the motivations for assuming that others' mental lives are always imperceptible. (shrink)

Solipsism indicates an epistemological position that denies the existence of ‘others’ by asserting that the ‘self’ is the only thing that can be known to exist. For sophist philosophers, the belief that “we can not know anything, and even if we do so, we cannot communicate it” is central to this theory. However, until now there has been little academic scholarship that has tried to provide answers to the pressing issues raised by solipsism. In Solipsist Ontology: Physical Things and Personal (...) Perceptual Space, Ural aims to redefine solipsism by analyzing and elaborating on traditional philosophical problems, such as empiricism and rationalism, as well as discussing problems of language, communication, and meaning. Ural reveals where solipsism has been previously ignored, pseudo-problems have arisen that disguise the sources of the problems with prejudices that concern the philosophical problems in question. Notably, many current, as well as traditional problems of ontology, epistemology, and language are bound up in discourses of solipsism. Ural argues that discarding solipsism as a philosophical discourse hinders new interpretations of traditional philosophical thought. This book offers a fresh perspective to solipsism by defining it in relation to concepts such as ‘physical things,’ ‘personal perceptual space’ and ‘identity.’ Importantly, Ural proposes that an understanding of ‘identity’ is not necessary in order to redefine solipsism. By building a logical system that fashions communication and solipsism as interrelated, it is possible to reject ‘identity’ as a useless concept and thus overcome the classic solipsist dilemma of “we are not able to communicate.” This original piece of research is an important and timely contribution to the field of philosophy that will be of great interest to teachers, researchers, and students. (shrink)

O SET THE STAGE for the discussion[1], I will rehearse and clarify a well-known dispute between A. J. Ayer and J. L. Austin concerning whether perceptual judgments are inferences. Both in his Sense and Sensibilia[2] and in his "Other Minds,"[3] Austin carefully distinguishes recognizing that p from inferring that p. For the purpose of comparing his position to Ayer's, we might put his basic claim in this way: given the way words such as "recognize" and "infer" are used outside (...) philosophical discussions, one clearly distinguishes instances of recognizing from instances of inferring. Yet Ayer does not dispute that, but replies that while non-philosophers do make a sharp distinction between the two, it is arbitrary for philosophical purposes.[4] Claims based upon one's having recognized something are sufficiently like claims based upon one's having inferred, Ayer supposes, that it is useful to treat them as instances of a common category. So the issue is not whether the distinction is recognized outside philosophical circles, but whether it is a defensible and useful one to make. Clearly, Austin insists upon the distinction because he supposes that failing to make it will promote philosophical confusion; indeed, he argues that one traditional problem of skepticism is largely due to this confusion.[5] In his "Other Minds," Austin tries to suggest how recognizing differs from inferring by showing how the sorts of questions or challenges brought to bear differ between the two sorts of claim:[6] for inferences, one wants a rehearsal of the pieces of evidence and an account of their connections to the judgment; for perceptual claims of recognition, one explores whether the observer had the opportunity to see what he claimed to have seen, whether he had acquired the expertise to recognize the sort of thing he claimed to have seen, and whether the circumstances were free of evident distraction and defect. But his readers' appreciation of these things depends. (shrink)

The perceptual model of emotions maintains that emotions involve, or are at least analogous to, perceptions of value. On this account, emotions purport to tell us about the evaluative realm, in much the same way that sensory perceptions inform us about the sensible world. An important development of this position, prominent in recent work by Peter Goldie amongst others, concerns the essential role that virtuous habits of attention play in enabling us to gain perceptual and evaluative knowledge. I (...) think that there are good reasons to be sceptical about this picture of virtue. In this essay I set out these reasons, and explain the consequences this scepticism has for our understanding of the relation between virtue, emotion, and attention. In particular, I argue that our primary capacity for recognizing value is in fact a non-emotional capacity. (shrink)

The perceptual model of emotions maintains that emotions involve, or are at least analogous to, perceptions of value. On this account, emotions purport to tell us about the evaluative realm, in much the same way that sensory perceptions inform us about the sensible world. An important development of this position, prominent in recent work by Peter Goldie amongst others, concerns the essential role that virtuous habits of attention play in enabling us to gain perceptual and evaluative knowledge. I (...) think that there are good reasons to be sceptical about this picture of virtue. In this essay I set out these reasons, and explain the consequences this scepticism has for our understanding of the relation between virtue, emotion, and attention. In particular, I argue that our primary capacity for recognizing value is in fact a non-emotional capacity. (shrink)

The term ‘recalcitrant emotions’ refers to those cases where we feel an emotion that apparently contradicts our better judgements. For instance, one may be afraid of flying while claiming not to believe that it is dangerous. This phenomenon is commonly conceived as an objection to cognitivism, according to which emotions are based on the subject's beliefs, insofar as it would force us to ascribe to the subject who feels them an excessive degree of irrationality, comparing recalcitrant emotions to contradictory beliefs. (...) For this reason, many philosophers have developed perceptual theories which describe emotions as forms of perception, allowing us to explain recalcitrant emotions without attributing to the subject contradictory beliefs, treating them as perceptual illusions. Facing the most compelling of these attempts, the article shows that perceptual accounts fail to explain in what sense recalcitrant emotions (and people who feel them) are irrational, keeping the comparison with optical illusions, which are not. Having rebutted three popular perceptual proposals, I conclude that the analogy between emotions and perceptions is flawed and that the appeal of these theories lies on a surreptitious shift in the meaning of the term ‘perceive’. (shrink)

Starting from Marr's ideas about levels of explanation, a theory of the data structures and access processes in human memory is demonstrated on 10 tasks. Functional characteristics of human memory are captured implementation-independently. Our theory generates a multidimensional task classification subsuming existing classifications such as the distinction between tasks that are implicit versus explicit, data driven versus conceptually driven, and simple associative (two-way bindings) versus higher order (threeway bindings), providing a broad basis for new experiments. The formal language clarifies the (...) binding problem in episodic memory, the role of input pathways in both episodic and semantic (lexical) memory, the importance of the input set in episodic memory, and the ubiquitous calculation of an intersection in theories of episodic and lexical access. (shrink)

This chapter is a call to philosophers to philosophize for their cities and not merely in them. As business-model approaches to higher education increasingly dominate, the place for philosophy within the Academy is likely to continue shrinking. It is the argument of this chapter that demonstrating the importance of philosophy demands a that we shift our focus from the problems and concerns of our colleagues to those of our neighbors. The chapter concludes with some examples of what a more (...) urban-oriented philosophy might involve. (shrink)

The phenomenon of size constancy is defined as the apparent perceptual invariance of the linear dimensions of a seen object as this approaches the eye or recedes from it. It has been interpreted as resulting from the application by the brain of a size correction, made possible by the subject's apprehension of distance cues present in the image. We present several observations which, by dissociating accommodation from distance of the seen object and by suppressing the optic effects of accommodation (...) on the visual image itself, show that this interpretation is incorrect, and that in fact the size correction of the visual image is a function of the central effort of accommodation, not of the distance of the seen object. (shrink)

I give a brief precis of Lyons' book. I discuss the problem of delineating basic from non-basic beliefs. I argue that one of Lyons' possible solutions doesn't work - his definition of a perceptual module does not allow us to decide which beliefs are basic. And I argue that another possible solution undermines some of Lyons' motivation. The intuitive understanding of belief may not generate the Clairvoyancy troubles he fears.

A process model of concept development is proposed as a means of understanding the mind body problem. This paper reviews some definitions and views of mind, reiterates Karl Popper's description of the development of scientific as compared to essentialist methods of concept definition, compares the development of physical and psychological concepts, notes an apparent illogic of the mind and body issue, and discusses a range of psychological theories in relation to this process model, that is, Skinner's behavior view, to Pribram's (...) presentation of cognitive theory, to Epstein's theory of the self concept, and to existentialistic views. In terms of meaning and usefulness, mind and behavioral concepts appear to evolve in the same manner. (shrink)

How is it possible that a thing singled out not exist? How is it possible that two things singled out be numerically identical? How is one to understand the relationship between, say, a quality of a thing and what this quality is? And how is one to understand the relation between this quality and the thing which happens to be thus qualified? Trying to answer these four questions involves investigation of the four senses of the verb "to be," or of (...) the concepts of existence, identity, essential and accidental predication. Butchvarov’s thesis is that these four questions admit of a common answer, that the cornerstone of this comprehensive theory is an answer to the second question, and that this crucial answer depends on making some such distinction as his between "objects" and "entities." The bare bones of his argument are these: We commonly make statements of the form "a is b" where "a" and "b" are used referringly. A "material identity" statement of this form may be true. If true, it is about one thing; yet what it is about appears to be distinct things. This distinctness is not a real distinction among existents, nor does it arise solely or primarily from features of language. Butchvarov’s account is based on a distinction "of reason" between objects and entities. An entity is an existent, a constituent of the world. An object is whatever can be singled out once, and only once, in perception or imagination or in "thought". Entities as such cannot be singled out, yet they may be recognized through applications of a conceptual apparatus to objects. A material identity statement, then, states that two objects are one entity. If true, it is both about two distinct objects and about the one entity which each is. When two objects are judged to be one entity, then indiscernibility is enforced. Seeming counterexamples to the indiscernibility of identicals are explained in terms of the distinction between objects and entities. Though some applications of the concept of identity are relative to sortal characteristics, others are not. The latter are prior to the former. These primary judgments constitute the backbone of "thought" and discourse. They are governed by impersonal, nonhuman "paradigms." There are entities, of course; and there are objects, though as objects none exists. Some objects are entities, some are not. The notion of existence, like the notion of identity in its material role, is then a principle of classification, a concept. Butchvarov examines nine objections to this claim, and elaborates his distinction between objects and entities. He concludes that identifiability, hence indefinite reidentifiability, is the logically sufficient condition of applicability of the concept of existence. A statement such as "Socrates is white" is a disguised conjunction, viz., "Socrates has this color, and this color is white." The second conjunct is an "essential" statement; it says of an object singled out that it is a certain entity; or, to allow for essences of nonexistent objects, it states what entity the object would be were it an entity. An essential statement is not a material identity statement, for only one of its terms is used referringly. The essence of an object is not a property of it, for it is what the object is or would be. Whereas logically prior consciousness of objects is intentional and non-conceptual, consciousness of entities is conceptual and nonintentional; it consists in recognizing that a thing can be identified by oneself or by others. What is accidentally white, say, cannot be a material substance or bare particular; therefore it is a "cluster" of qualities. The Resemblance Theory, according to which qualities are particulars, is not a coherent alternative to the Identity Theory; therefore the qualities an individual happens to have are themselves universals. The Bradleyan critique of ontological atomism is cogent; therefore an individual is a cluster of qualities each of which depends for its "formal identity" on its being together with the rest. An individual’s having qualities is then to be understood in terms of the necessary togetherness of the qualities constitutive of it. Since in addition each of these qualities is essentially a universal, and specific universals are contingently coinstantiated, the predication in question is properly regarded as accidental. The problem of identifying quality-clusters through space and time is discussed. (shrink)

Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...) strength of Danto’s theory is found in its ability to explain the art of the post-modern era. His body of work weaves philosophy, art history and art criticism together, merging his aesthetic philosophy with his extensive knowledge of the world of art. Danto’s essentialist theory of embodied meaning provides him with a critical tool that succeeds in explaining the currents of contemporary art, a task that many great thinkers of art history were unable to do. If Warhol inspired Danto to create a philosophy of art, it is appropriate that Danto write a tribute to Warhol that traces how Warhol brought philosophy into art. Danto’s account of ‘Warhol as philosopher’ positions him as a pivotal figure in the history of twentieth-century art, effecting a sea change in how art was made and viewed. Warhol achieved this by conceiving of works that embodied the answers to a series of philosophical puzzles surrounding the nature of art. Warhol, as Danto describes him, manifests himself in his art because he had transformed himself, in a way, into an icon of the times. This pragmatist notion that art should undermine the dichotomies that exist between art and life would, by some accounts, position Warhol to be the philosopher that Danto claims him to be, for he dissolved the philosophical questions posted by late modern aesthetic thinkers by creating art that imploded the accepted notions of art at the time. One of Danto’s greatest contributions to aesthetics is his theory’s ability to distinguish art from non-art, recognizing that it is the artist’s intention that levels the sublimity of art into the commonplace, thereby transfiguring the everyday. However, acknowledging this achievement, I argue that Warhol’s philosophical contribution actually manifests itself in a manner different from that proposed by Danto. Danto maintains that the internal drive of art leads to the unfolding of art theoretical concepts that ineluctably shift the terrain of world of art. I would agree with Danto that Warhol, almost as Hegel viewed Napoleon as Geist on a horse, pushed forward the boundaries of art through the actualization of art’s internal drive. But I would disagree that the conceptual nature of art is one that unfolds merely as a relation of concepts that artists trace through a connection to the meaning of history they forge using their unmediated grasp of style. Rather, I would argue that the artist’s style is not bound so narrowly to the meanings they express. Through their aesthetic articulations, artists initiate a process of social interaction. This process employs the philosophical logic which Danto attributes to Warhol indirectly, and through it, it is able to transfigure the vocabulary of art—the concepts of the artworld—by superseding the language of modernism. Warhol’s philosophical contribution is seen in his mastery of both the medium of art and the underlying logic of the medium’s expression and reception. (shrink)

The paper aims to put certain basic mathematical elements and operations into an empirical perspective, evaluate the empirical status of various analytic operations widely used within psychology and suggest alternatives to procedures criticized as inadequate. Experimentation shows the "manyness" of items to be a perceptual quality for both young children and animals and that natural operations are performed by naive children analogous to those performed by persons tutored in arithmetic. Number, counting, arithmetic operations therefore can make distinctions that are (...) not inevitably arbitrary, and conceptual operations can obviously have a status as natural events with psychology. If the elements and conceptual operations involved in mathematical systems were not inherent in physiological process, various primitive discriminations could not be possible. Also, since some calculi have a natural status in a given empirical circumstance, the axioms of others can not be satisfied. Therefore the psychologist when acting as an empirical scientist seeks a calculus having a structure whose elements are isomorphic with natural units of stimulus and response and whose operations are isomorphic with whatever natural processes are involved. Measurement poses a special problem for the empirical scientist. It concerns but a single class of natural qualities and this only in a limited way. The concept of quantity has a natural counterpart but quantity and measurement are not wholly analogous. Measurement is defined, as H. S. Leonard suggests, as a theoretical activity. Measurement theory has a formal structure but empirical end. Measurement hypothesizes about the position of a particular quality within a definite range of qualities. It therefore is beholden to definite empirical restrictions. Some hypotheses-making systems use terms and relations per se as the context and starting point for dealing with discriminable events. Such procedures are 'transcendent." In empirical science, questions are part of problem-solving activity and their reference is naturally restricted. In providing description and explanation, psychological researchers frequently use calculi in a transcendent way. This results in theories that are only quasi-empirical and "half" true. The roles measurement plays in psychology are discussed. Of particular concern are those cases in which the results of measuring or a theory of measurement are used to define the "real" units, or the "real" relations involved in problematic psychological events, and thence to describe and explain behaviors of interest. Metaphysical or ontological usages of measurement sometimes occur. The implication of these arguments with regard to a view of empirical science is discussed. (shrink)

Consider the following three propositions: (R) Artworks necessarily have aesthetic properties that are relevant to their appreciation as artworks. (S) Aesthetic properties necessarily depend, at least in part, on properties perceived by means of the five senses. (X) There exist artworks that need not be perceived by means of the five senses to be appreciated as artworks. The independent plausibility and apparent joint inconsistency of these three propositions give rise to what I refer to as ‘the problem of non-perceptual (...) art’. Assuming that the propositions are independently plausible and jointly inconsistent, there will be three ways of solving the problem: you may affirm (R) and (S) while denying (X); you may affirm (S) and (X) while denying (R); or you may affirm (R) and (X) while denying (S). The first of these, once the orthodox solution, has been displaced in recent years by the second. The third has never really been defended. I defend it here. If successful, my defence will have shown that there is reason to deny the existence of non-aesthetic art and no reason to believe that art is not essentially aesthetic. (shrink)

In this acclaimed work, first published in 1986, world-renowned scholar Arthur C. Danto explored the inextricably linked but often misunderstood relationship between art and philosophy. In light of the book's impact--especially the essay "The End of Art," which dramatically announced that art ended in the 1960s--this enhanced edition includes a foreword by Jonathan Gilmore that discusses how scholarship has changed in response to it. Complete with a new bibliography of work on and influenced by Danto's ideas, _The Philosophical Disenfranchisement (...) of Art_ continues to be of interest to anyone who thinks seriously about art, as well as to philosophers, aestheticians, and art historians. (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)

"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)

The purpose of this dissertation is to design a conception of political poverty that can address the loss of the experience of political freedom. This form of political poverty is described as separate from poverty of resources and opportunities, and poverty of capabilities required for participation. The study aims to make intelligible how a person or a group can suffer from a diminishing and fracturing of social experience, which can lead to the inability to experience oneself as a capable and (...) credible political agent, political engagement as a meaningful field of action, and democratic politics as a meaningful avenue for changing things for the better. This is a phenomenon which has been heretofore neglected by political theorists. -/- The study presents a heuristic diagnosis of political poverty as loss of experiential freedom that involves four aspects of experience that have specifically political relevance: loss of trust, loss of expressivity, loss of a sense of access to the public world, and the loss of future temporality in experience. Diminishing and fracturing of these aspects of social experience can lead to politically impoverished persons and groups to become complicit in their own marginalisation by remaining unmotivated to challenge it. These aspects of social experience are approached through phenomenological portraits, chosen from literature on social exclusion and poverty. The diagnosis remains open to further development through exploration of other aspects of experience. -/- The study draws on the thinking of Maurice Merleau-Ponty and Hannah Arendt to present an account of political freedom as only experienced in co-existence with others. Through a critical discussion of their work, a more comprehensive account of political agency is developed. The experience of having political agency involves not just the cognitive and communicative capacities of the subject, but also the entire perceptual and motor intentionality of their lived body. The experience of meaningfulness is approached by exploring the intersubjective constitution of the self in a dialectical process with their social environment. This experience is described as a form of faith in oneself as an agent and in the meaningfulness of political engagement. Such faith is a practical, meaning-giving intentional relationship of a lived body to their social environment. -/- This study emphasizes the experience of being a capable and credible political agent, and experiencing politics as a meaningful field for engagement, as important aspects of political freedom that should be considered alongside inclusivity of democratic processes, the equality of opportunity to participate, and the equality of the cognitive and communicative capabilities required for effective participation. In order to discuss political poverty as the loss of experiential freedom, we must go beyond objectivist models of social critique and approach the problem with the tools of existential phenomenology. (shrink)

Abstract -/- The indistinction between repose and uniform movement exposed in the principle of inertia marks one of the most famous dissertations: the discussion between Newton and Leibniz. Through their respective conceptions of space, both seek to solve the problem of indistinction. The relational space of Leibniz, supported by the principle of sufficient reason and the identity of indiscernibles leads to the kinematic solution of the problem of inertia. The objective of this paper is to show the contribution of Leibniz, (...) in terms of relations of order, by distinguishing between equality by identity and equality by equivalence. Under a philosophical approach we link identity, equivalence and equality as relations of order with the indiscernibility between different states of movement. We expose first the principle of sufficient reason and the identity of indiscernibles. Under Bernoulli's principle of indifference, we argue that we distinguish between equality in abstract and equality in concrete. As a third part, we present the relationship between the identity of the indiscernibles and the predicate of equality under logical analysis. Finally we present the conclusions. -/- . (shrink)

The dramatic increases in the survival rate of prematurely born, very low birth weight infants (<1500 g) have created concern about the possible sequelae experienced by these children, in terms of both severe problems and less severe learning and behavior problems. The methodological difficulties involved in answering questions about the outcomes of these children, including the choice of appropriate outcome measures, the analysis of individual variation, the problems associated with dropouts, the relevant comparison groups, the importance of (...) survival rate, and the question of correcting for the degree of prematurity, are considered. In spite of the difficulties in interpreting the studies, the research indicates that many premature children have learning disabilities, particularly in the perceptual and visual motor functioning and some aspects of language and reading. In addition, ethical issues related to prematurity are discussed, including parents’ rights, decision-making, and cost and treatment. Finally, some solutions are proposed involving the use of risk indices for the early detection of developmental problems. (shrink)

This book is a thorough study of an issue that is particularly associated with the work of William P. Alston and Alvin Plantinga, namely, the claim that belief in the existence of God is in important ways on a par with belief in the existence of ordinary parts of the world, such as trees and other people. The inference is that since the latter is recognized as epistemologically acceptable, that is, "rational," so should the former be. McLeod develops his own (...) version of this view after giving a careful, sympathetic, and detailed analysis and critique of the work of Alston and Plantinga, in addition to others. The thoroughness and clarity of this critique is striking and will be very helpful to those interested in the development of the discussion of this issue. The analysis of Alston has been particularly enriched by McLeod's being able to take advantage of Alston's own responses to it. McLeod considers the issue of the epistemological nature of perceptual beliefs of the ordinary sort as well as the peculiar problems of theistic beliefs. Hence, the book contains a substantial analysis of the nature of the justification of perceptual beliefs. He also deals with the problem of broadly religious versus specifically Christian beliefs. The latter, he argues, clearly include background beliefs that cannot be justified in a way that is independent of Christian practice. That is, in order to confirm Christian beliefs one must appeal to other Christian beliefs. This circularity must be faced, he asserts, but does not undermine the possibility of a parity with certain types of nontheistic beliefs that are similarly circular. (shrink)