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)

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)

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)

This chapter contains sections titled: Resemblance Modularity Conclusion.

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)

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)

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)

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 C. Danto’s The Transfiguration of the Commonplace is one of the most influential recent books on philosophy of art. It is noteworthy for both his method, which emphasizes indiscernible pairs and sets of objects, and his conclusion, which is that artworks are distinguished from non-artwork counterparts by a semantic and aesthetic transfiguration that depends on their relationship to art history. In numerous contexts, Danto has confirmed that the relevant concept of art is the concept of fine art. Examples of (...) music that are not fine art demonstrate that semantic and aesthetic transfiguration does not require a relationship to art history or art theory. Appropriate interpretation and individuation of a great deal of music can be achieved by listeners who do not grasp art theory and who do not guide their interpretation by reference to the concept of art. (shrink)

Kaufman describes the current debate on the possibility of a definition of art between the theorists and the anti-theorist Wittgensteinians. The Wittgensteinian reliance on ‘family resemblances’ is a serious objection to theoretical definitions. Wittgenstein, however, is said to be unable to give a proper account of the ‘inner experience’ encountered in art. By way of response, it is urged that attention to Wittgenstein himself will show that there are misunderstandings of the idea of family resemblances and that Wittgenstein's writings (...) provide all we need to understand the depth of ‘inner experience’. (shrink)

The elevation of ordinary, functional, and task‐based movements were cast as a central aesthetic strategy in the dance concerts at the Judson Memorial Church. A dance ontology focused on an art product could emerge from dance's choreographic structure. A twist to Danto's indiscernibility demands that the performative aspect of the dance medium requires more to capture the aliveness that stilled objects of art do not have.Yvonne Rainer's innovation gives credence to the aliveness in an art capable of always reinventing (...) the ordinary. Aliveness becomes the aboutness of dance. Danto's embodiment amounts to “symbolic expression.” One way Rainer achieved an embodied everydayness was by including artists with no dance training such as Rauschenberg or Morris, or the composer Philip Corner. Dance historian Sally Banes has shown the way Rainer's development of the everyday could be seen as part of a larger investigation. (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)

A recent study has argued from theological and classicizing parallels that the first, anti-pagan book of Augustine’s De consensu euangelistarum belongs between 406 and 412 CE. This article defends the traditional dating ca. 400–405 CE, implied by Retractationes. Uncertainty over the dating of parallels in De trinitate 1–4 cautions against reliance on theological peculiarities (a variant of John 5:19 and the phrase unitas personae, both otherwise paralleled in the 410s CE or later), while a close review of the patterns (...) of classical citation proves resemblance to De ciuitate dei to be superficial. Not only does Augustine demonstrably cite the same classical texts on widely separated occasions, De consensu euangelistarum 1 evinces little of Augustine’s later knowledge of Porphyry and Varro. The crowning proof comes, however, in a brief rebuttal to pagan complaints over contemporary misfortunes. Although he focuses on Rome’s religious history, Augustine omits any hint of Alaric’s sack (410 CE), the religious-political instability of 408–409 CE, or Radagaisus’ invasion of Italy (405–406 CE), all of key importance for later works. The book’s method, scope, and tenor place it neatly within the span 400–405 CE, as our first testimony to the interreligious milieu for which De ciuitate dei would later be aimed. (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)

When Yogācāra specialists take on the task of trying to introduce the tradition to newcomers and nonspecialists, whether it be in a book-length project, or an article in a reference work, they inevitably choose different points of departure, depending on their particular approach to understanding Yogācāra, and Buddhism in general. Some will start with the explanation of the eight consciousnesses; some will start with the four parts of cognition; some will start with the three natures; others will start with the (...) doctrine of no-self, and so on. There is no special need to try to assess whether one of these approaches is better than the other, for indeed, in the vast and complex system that is known as Yogācāra, all of these different approaches and categories are ultimately tied into each other, and thus, starting with any one of them, one can eventually enter into all of the rest. Another approach, partially utilized in a recent introductory Yogācāra book by the Japanese Yogācāra specialist Yokoyama Kōitsu — Yasashii yuishiki ( "Easy Consciousness-Only" ), would be to take the two hindrances as a point of departure for an introduction to the Yogācāra soteriological system. This is also a viable approach, since there is nothing within the Yogācāra system that cannot be tied into or developed from the two basic categories of problems that Buddhist practitioners must work their way through: (1) afflictive/emotive disorders and (2) distorted apprehensions of reality. The two hindrances are the afflictive hindrances (kleśa-āvaraṇa ; also rendered in English as "obscurations from defilement," "veils of the afflictions," etc.) and the cognitive hindrances (jñeya-āvaraṇa , ; "obstructions of the knowable," "obscurations of omniscience," etc.). These.. (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)

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)

Many natural connections between Peirce and Whitehead have been appearing since Peirce’s manuscripts began to be published in Harvard’s Collected Papers edition. The resemblances are profound, based on speculative philosophies founded on interactions between science and philosophy, in turn erected over a wide understanding of mathematical thought. Some doctoral dissertations have explored the field, but a full monograph was still needed in order to clarify the panorama. Maria Regina Brioschi’s Creativity Between Experience and Cosmos. C.S. Peirce and A.N. Whitehead on (...) Novelty provides the sound, exact, and extremely... (shrink)

Arthur Danto once stood next to Andy Warhol at a gallery opening while Warhol autographed his wife's brochure. For Danto, Warhol embodied the age and its aspirations: a philosophical artist in gel. Danto was also writing autobiographically in describing Warhol's before and after. The before and after made them alike: each became a modernist figure of unparalleled boldness, audacity, and brilliance. A number of critics understood that Warhol was pushing against the limits of art in a way that forced abstract (...) reflection on what art was, is, and could be. Danto reasoned that a cultural background puts in place a set of concepts allowing one thing to be schematized differently from a visually indiscernible counterpart. Warhol's work was to him more like declarative language than anything else: it spoke in virtue of a shared background of concepts, which he called a theory. (shrink)

cannot grasp what is at stake in it without taking both its claims and its tone seriously. Read philosophically, Danto wants to reconceive art’s aesthetic dimension as those features that ‘inflect’ our attitude towards a work’s meaning, and to distinguish, in so doing, between beauty that is and beauty that is not internal to that meaning. Although welcome, I argue that his attempt to carry this through is compromised by his countervailing tendency to conceive the aesthetic in non-cognitive terms. Read (...) as a work of philosophical confession, on the other hand, I suggest that Danto’s late turn to aesthetics may be illuminated through a comparison with Philip Guston’s late turn to figuration. To do so, I draw parallels between Guston’s development as a painter and Danto’s philosophical trajectory. Danto concludes that, though necessary to life, beauty is not necessary to art; I conclude that, on this account, only an aesthetic art makes a warranted claim on our attention. (shrink)

Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to (...) a new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol's Brillo Box and the product found in the grocery store. Here we are engaged in a series of insightful and entertaining conversations on the most relevant aesthetic and philosophical issues of art, conducted by an especially acute observer of the art scene today.Originally delivered as the prestigious Mellon Lectures on the Fine Arts, these writings cover art history, pop art, "people's art," the future role of museums, and the critical contributions of Clement Greenberg--who helped make sense of modernism for viewers over two generations ago through an aesthetics-based criticism. Tracing art history from a mimetic tradition through the modern era of manifestos, Danto shows that it wasn't until the invention of Pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways of producing art, hinged on a narrative.Traditional notions of aesthetics can no longer apply to contemporary art, argues Danto. Instead he focuses on a philosophy of art criticism that can deal with perhaps the most perplexing feature of contemporary art: that everything is possible. (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 article discusses Leibniz’s unique blend of aesthetics and diplomacy. While his art extended diplomacy beyond the bounds of political realism, his diplomacy gave occasion to his art. His identity of indiscernibles inspired philosopher Arthur Danto to define contemporary art in terms of a qualitative perceptual division between the world and the Artworld. Although Leibniz would have disputed Danto’s bifurcated artistic perspective, Danto vindicates Leibniz’s major contribution to contemporary aesthetic philosophy by defending his belief in the moral foundation of art. (...) Leibniz was not only one of the pre-eminent men of German letters of his time, he also excelled in diplomacy on behalf of the Hanoverian court. His international relations theory of peace through grand global alliances is only just beginning to be understood, though his aesthetics and correct diplomacy continue to validate individual creativity, liberal freedoms, and universal enlightenment up to this very day. (shrink)

This paper investigates Danto’s claims that the narrative of art is over. In this state, which Danto sees as ideal, art is free from any master narrative, and its direction cannot be predicted. The claim that art ought to remain in its current state—pluralistic, free and with no further historical development—is problematic. Danto is correct that late 20th c. art could not be explained through a single narrative, and the myriad forms art takes demonstrate its pluralism. But Danto’s claim that (...) freedom is the outcome of inexplicability, and progress is measured by amenability to narrative, does not follow. Based on Gombrich’s theory of pictorial representation, I provide an alternative explanation of Danto’s claim that art no longer manifests the narrative of the era of art, arguing that the shift in art’s preferred form of presentation, though no longer supporting narrative explanation, is developing as a language of disclosure. (shrink)

This chapter considers Arthur Danto's use of a particular thought experiment to support his theory of art and Richard Wollheim's discussion of it. It also considers a comparable thought experiment about conceptual issues in ethics. The chapter presents how some thought experiments in moral philosophy do and do not resemble Danto's gallery of indiscernibles. A. Surprisingly, in his own discussion of the permissibility of certain acts of killing and harming, Danto seems to have adopted a view similar to (...) the one Wollheim adopted about Danto's indiscernibles. Use of thought experiments in ethics is often unlike the use of thought experiments in Danto's work. The chapter explores how ethics employs thought experiments to determine permissibility of acts and whether thought experiments could comparably be used to determine the merit of artworks. (shrink)

Arthur Danto's theory of art contains a theological way of thinking about indiscernible realities that have been the subject of theological dispute for almost two millennia. This long tradition raises new questions for how to understand that theory. Transfiguration – metamorphosis – necessarily involves a change at some point in appearance or in what Danto treats as aesthetic properties inessential to the being of art. Transubstantiation means an ontological change that excludes a priori any perceptible difference. Danto often insists (...) on this very particular aspect when he explains the relationship between artworks and commonplace objects: a non‐art object can look exactly like an artwork. In the Catholic tradition, transubstantiation can occur only if those performing the sacrament act faithfully and in conformity to a tradition. Danto's theory is understand better by reference to transubstantiation than to transfiguration. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Texts and Icons in Heidegger’s Metaphysical TraditionMichael James Bennett (bio)[End Page 26]This essay is about texts that draw attention to themselves as texts, that is, as material, graphical figures, rather than as more or less efficiently pellucid semantic relays. In other words, it is about what happens when texts behave like images. In what follows I examine a series of philosophical contexts where this question appears to be at (...) issue. I claim that one way of understanding what’s going on in these contexts is that here the image-form of a text becomes a kind of icon. I begin by reflecting on a prejudice that belongs, according to Heidegger, to the “history of metaphysics”: the notion that it would be better, clearer, and less ambiguous to replace all reliance on images with self-effacing, transparent words. My goal here is to demonstrate the existence of an alternative historical trend that defends an opposite view. I compare a defense of iconography by Byzantine patriarch Nikephoros of Constantinople, as well as the Neoplatonist Porphyry’s commentary on Aristotle’s Categories, with works by two latter-day Heideggerians, Jacques Derrida and Jean-Luc Marion, who respond to the inherited problematic of non-referential, iconic texts. These responses suggest that non-semantic image-creation, as much as non-semantic verbal play, is the pre-conceptual condition of conceptuality. This essay presents a new way of understanding the philosophical issues that connect ancient and medieval discussions about icons and images with twentieth-century concerns about language.In her study of medieval European manuscript illumination, Animating the Letter (1999), Laura Kendrick emphasizes the non-semantic character of illuminated texts. Kendrick argues that the basic distinction between text and image is fundamentally at stake in illumination, and that the distinction is inherited from the Christian church fathers who opposed text and image, privileging the former and denigrating the latter. According to this traditional view, texts are better suited than images to a consideration of the divine on account of writing’s ethereal quality, its “transparency,” which leads the reader beyond the material sign to the immaterial concept. The problem with images, on the other hand, is their materiality, which may lead viewers down a dark path toward an ultimately heretical veneration for the mere image instead of for its referent. It seems to me that we find in Kendrick’s argument an exact homology with the discourse on the icon in the Byzantine Christian church. Emperor Constantine V, for instance, at the time of the “first iconoclast crisis” (the mid-eighth century CE), expresses wariness about the potentially heterodox metaphysics underpinning iconophilia. He objects to icons on the basis that their veneration would be acceptable only if the icon were to share the essence of that of which it is an icon (God), but that this is impossible; infinite divine nature cannot be encompassed within the finite line of human composition. The Byzantine iconophile’s response to this objection is not to deny the infinite, uncircumscribable nature of God, but to affirm that the icon, bound though it is to the register of images, nevertheless does not function in the same manner as an ordinary image. That is, the icon does not refer to its model by means of resemblance alone. In the language of Nikephoros of Constantinople (758–828 CE), the character of the icon consists in consubstantiality (homoousia) prior to resemblance (homoiōsis).1 [End Page 27]The problem of the limits of reference unites the discourse on the icon and the flourishing of the illuminated text. Just as the icon does not refer in the normal way to its referent, so Kendrick contends that the “animated letter” is not reducible to its pure semantic quality, is not to be understood as if it were just a kind of significative relay through which a sublime quantity of something called “meaning” is obliged to pass. “Meaning,” conceived of in what I am inclined to call the narrowly economic sense as the cargo of material vehicles called “words,” meaning that is gambled in words and then “cashed out” again, is not always what is at stake when one writes. Something else is... (shrink)

Arthur Danto’s analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist’s creative style lacks a theoretical dimension. This article examines Danto’s account of style in light of the role the artistic metaphor (...) plays in the interpretation of the artwork, arguing that it is unable to account for the metaphorical power he claims is embedded within the work of art. An artist’s style issues from a unique perspective, the way an artist inhabits a specific spot in history. Though each person has such a perspective, when applied aesthetically, it is the key to the articulation of a unique historical meaning in the work of art. At the same time, artists’ knowledge of their contribution remains cut off from this perspective, for they are unaware of their self-manifestation of the historical concept of style. This article makes the case that Danto’s notion of style, based on Sartre’s notion of being-for-itself, cannot fulfil the role he allots it in his theory because, at some level, artists must apprehend their style to create a work of art capable of functioning critically as a countertext. It is only through the apprehension of their style, and dialogical activity that takes place between the artist and the beholders, that the unseen body of artworld theory is formed. Without this, when oriented to the aesthetic, style provides no concept or theory for the mind to behold. This article presents an alternative approach to style that recognizes the role of theory in the creation of metaphor, which would circumvent this problem. (shrink)

What texts did Buddhists of South Asia and beyond read? How did they read, interpret, and use these texts? This essay focuses primarily on the first of the two questions and examines in this connection instances of citation found in the early Mūlamadhyamakakārikā commentaries and in a related Tibetan work as evidence of the uses of Buddhist texts. The collected samples indicate two major shifts in Indian and Tibetan Buddhist textual practices. The first transition occurred in the sixth and seventh (...) centuries when Indian commentaries on the Mūlamadhyamakakārikā began to cite scriptural passages with greater frequency, especially from the Mahāyāna sūtras. The example of Tsong kha pa’s Madhyamaka work represents a later trend in which Tibetan writers repeated sūtra passages previously cited in the Indian texts that were the main objects of their study and attention. What emerges here is the pivotal role played by the middle-period Indian Mādhyamikas. Writers such as Bhāviveka and Candrakīrti contributed very substantially to the collection of core scriptural citations that were deployed in the Madhyamaka texts. While some of the sūtra passages these Indian Madhyamaka authors used were circulated outside the circle of their own philosophical tradition, others appear to have been newly collected through their private reading experience. (shrink)

This article uses the perichoretic nature of the Trinity to evaluate the reliance on anointed objects as instruments of connecting with God amongst African neo-Pentecostal Christians. The article answers the question: from a perspective of the relationality of God, how can we evaluate the African neo-Pentecostal reliance on anointed objects to connect with God? The aim is to show that the perichoretic nature of the Trinity demands that a direct relationship with the Godhead be possible without the intermediary (...) and impersonalising use of anointed objects. The use of anointed objects to connect with God impersonalises him and undermines his relationality, as depicted in his perichoretic triune nature. The significance of the article lies in calling for African neo-Pentecostals to inform their quest for an intimate connection with God by a critical understanding of his perichoretic trinitarian communal ontology. (shrink)

The response given to C.G. Hempel’s well-known challenge by Arthur Danto in his Analytical Philosophy of History of 1965 – that deductive-nomological and narrative explanations are logically compatible yet employ incommensurable schemata – is here investigated from a historical perspective. It is shown that the developmental trajectory that emerges from an analysis of Danto’s previous writings – including not only a forgotten paper of 1958 but also his PhD dissertation of 1952 – contains distinctive step-changes with publications of 1953 and (...) 1956 still prior to that of 1958–59 which enabled his subsequent discovery of narrative sentences. It is also argued that Danto’s developmental trajectory runs contrary to that presumed by some prominent commentators. Analytical History of Philosophy was not the midpoint of his ascent from mainstream philosopher of science to high priest of postmodern aesthetics, but represents a reasoned retreat from his early historical idealism. (shrink)

The notion of similarity plays a central role in Quine's theory of Universals and it is with the help of this notion that Quine intends to define the concept of kind which also plays a central role in the theory. But as Quine has admitted, his attempts to define kinds in terms of similarities were unsuccessful and it is mainly because of this shortcoming that Quine's theory has been ignored by several philosophers. Nominalism and realism: Universals and Scientific realism. Cambridge: (...) Cambridge University Press). In the present paper, I propose an alternative framework that accounts for the phenomena that Quine intends to explain with his resemblance theory. The framework agrees with Quine's austere ontology; in particular, it does not assume the existence of properties and of possible worlds.. Resemblance nominalism: A solution to the problem of Universals. Oxford: Clarendon Press.) Moreover, the framework is extensionalist since the abstract entities it assumes are classes and these can be individuated extensionally, for classes are identical if their members are identical. Finally, I will refute some of the objections to Quine's approach that have been raised by Armstrong and Oliver [. The metaphysics of properties. Mind, 105, 1-80.] and I will argue that, contrary to what has been claimed by Oliver in a comment on Lewis [. On the plurality of worlds. Oxford: Blackwell.], Quine is able to specify an important set of sparse properties. (shrink)

Much of the philosophy of Ludwig Wittgenstein can be brought to bear directly on the theoretical and critical determinations made by literature scholars. Like a language game which consists of a structural center in its essential grammar or rules and a temporal and contingent diversity in its actual uses or playing moves, Wittgensteinian philosophy as adapted herein for literary criticism points us toward a strategy of descriptive investigations whose coherence and usefulness is demonstrated in its circumstantial adaptability and responsiveness to (...) diverse texts . A reliance on Wittgensteinian philosophy adds to our work a means of discriminating among divergent critical perspectives insofar as certain perspectives will be more or less appropriate or useful in opening up different texts. For Wittgenstein, every path to a text may be different, but that does not make all equally useful or efficacious in every case. ;Chapter One discusses Wittgenstein's heuristic of the language game, his rejection of theory, and his methodology of descriptive investigations as they might be applied to literary criticism. The second chapter investigates the similarities and differences between Wittgensteinian philosophy and the deconstructive project. In the third chapter, a Wittgensteinian literary methodology is applied to the poetry of several women poets as the poems' language games and their "resemblances" are discussed. The fourth and concluding chapter points the way for future uses of Wittgenstein for literary criticism and theory: specifically regarding axiological determinations of literary and critical texts, deliberations of canonicity, and the parallels with and divergences from the poststructural critical approach of the New Historicism. The crucial point of the dissertation is that of fit: which critical methods prove most useful towards opening up which texts? Close investigations into the parameters of the language games of texts, critics, and methods will enable us to determine which paths to take towards more complete descriptive analyses and critiques. Wittgenstein's philosophical approach provides us with a strong means of developing such a method for literary criticism. (shrink)

Education has always been at the heart of most, if not all, human endeavours. This explains the growing interest of many scholars in educational issues. Self-Reliance, one of Emerson’s most impressive and influential works, provides an outstanding contribution to education in general and particularly to the personal development of individuals in society. The relevance of the educational values addressed in Self-Reliance makes it an appropriate context for academic reflection. This paper scrutinises the educational dimension of Emerson’s work with (...) a focus on language didactics. My concern is to provide evidence that the educational values expressed instruct didactics. The study of Self-Reliance reveals the expression of some values, the main ones being trust, responsibility, commitment, creativity, autonomy, independence, self-esteem, self-determination, self-evaluation, and individual talents. By reflecting on their educational dimension with a focus on their didactic implications I come to conclude that even though didactics does not draw directly on Emerson’s educational philosophy, it integrates some aspects, notably the values referred to in this paper. (shrink)

Danto's Analytical Philosopy of History is one of the undisputed classics of post-war reflection on the nature of historical writing. Upon its publication in 1965 it was immediately recognized to be a major contribution to contemporary historical thought. Strangely enough, however, little effort was made by philosophers of history to penetrate into the depth of Danto's argument. The explanation is, perhaps, that there was more than a hint of historicism in Danto's conception of historical writing and for (...) which philosophers of history at that time were not yet prepared. This explanation is all the more plausible since German philosophers of history - most notably Hans Michael Baumgartner - were far more sensitive to the book's message than their Anglo-Saxon colleagues. The result is, however, that the book still awaits its proper reception in contemporary philosophy of history. (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.

Monique Roelofs’s The Cultural Promise of the Aesthetic is groundbreaking in its nuanced account of the potential and limitations of the aesthetic for creating a more just, humane world. Particularly timely are Roelofs’s analyses of the ways in which racial and gender stereotypes are reinforced and the operations of what she calls “racialized aesthetic nationalism,” the tendencies of aesthetic values to shore up schisms along racial, ethnic, and national lines. I raise questions, however, about the appropriateness of aesthetic criticism that (...) stresses sins of omission, the desirability of insisting that the broad nexus of social relations always be kept in view, and the danger that foregrounding minority group membership and gender will reduce individuals in marked categories to mere exemplifications of such status. (shrink)

The article proposes a reflection on cultural sign production in social contexts dominated by the socially generalized fear of the unknown other and the obsession for vulnerability avoidance. This phenomenon has been reflected in the generalized tendency of reliance upon contractual trust, where the coherence of the signs legitimating a trustful relationship is maintained by external agencies backed by authoritative forums (e.g., religious, legal, political) and sanctioned by well-defined rewards and punishments. In contrast with the contractual model of trust, (...) I propose a different model, covenantal trust. Taking as a point of departure Levinas’s phenomenological interpretation of the responsible self-opening toward the “sign of the giving of signs” which involves covenantal elements, I advance toward proposing a more active involvement of the participants in the process of joint production of signs. This dynamic involvement is made possible thanks to essential elements of the covenant, such as summoning and response. The covenantal approach aims at proposing a semioethical solution to the social challenges emerging from frustrations of members of both marginal and external communities for being treated distrustfully. (shrink)

travel, emerson often insisted, is only for the fool-hearted. He said it so many times in his popular essays and public lectures, he had actually gained a reputation for it. [It] is a fool's paradise. Our first journeys discover to us the indifference of places. At home I dream that at Naples, at Rome, I can be intoxicated with beauty, and lose my sadness. I pack my trunk, embrace my friends, embark on the sea, and at last wake up in (...) Naples, and there beside me is the stern fact, the sad self, unrelenting, identical, that I fled from. I seek the Vatican, and the palaces. I affect to be intoxicated with sights and suggestions, but I am not intoxicated. My giant goes with me wherever I go.... (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...

I consider a class of argument implying that Hume's position on general representation is irredeemably circular in that it presupposes what it is meant to explain. Arguments of this sort (the most famous being Sellars' "myth of the given") threaten to undermine any empiricist account of general representation by showing how they depend on the naïve assumption that the relevant resemblances required for the sorting of experience into concepts for use in reasoning are simply given in experience itself. My aim (...) is to salvage Hume's account from this objection. To that end, I argue first for a "Goodmanesque" interpretation of Humean resemblance, and second for an alternative reading of Hume's account of general ideas offered at T 1.1.7 that avoids falling into "the given" trap. (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)

Arthur C. Danto’s Analytical Philosophy of History has a Kantian ambition: to state the conditions that make historical knowledge possible and to show “the unhappy destiny” that attends attempts to extend modes of representation beyond these conditions. Even though Danto’s book fails to achieve this ambition, it succeeds in making a number of important—if neglected—suggestions in the course of its attempt. One concerns the significance of the progressive tense for our thinking about human agency. Another concerns the way agency can (...) impact negatively on the possibility of foreknowledge. (shrink)

According to the resemblance account of 'what it's like' and similar constructions, a sentence such as 'there is something it’s like to have a toothache' means 'there is something having a toothache resembles'. This account has proved controversial in the literature; some writers endorse it, many reject it. We show that this conflict is illusory. Drawing on the semantics of intensional transitive verbs, we show that there are two versions of the resemblance account, depending on whether 'resembles' is (...) construed notionally or relationally. While well-known criticisms of the resemblance account undermine its relational version, they do not touch its notional version. On the contrary, the notional version is equivalent to various accounts usually interpreted as rivals to resemblance. We end by noting that this resolution of the controversy (a) explains why 'like', which is a comparative, appears in a construction that concerns the properties of events, and (b) removes any pressure to suppose that 'like' is ambiguous between a comparative and a non-comparative sense. (shrink)

In Carnap’s autobiography, he tells the story how one night in January 1931, “the whole theory of language structure” in all its ramifications “came to [him] like a vision”. The shorthand manuscript he produced immediately thereafter, he says, “was the first version” of Logical Syntax of Language. This document, which has never been examined since Carnap’s death, turns out not to resemble Logical Syntax at all, at least on the surface. Wherein, then, did the momentous insight of 21 January 1931 (...) consist? We seek to answer this question by placing Carnap’s shorthand manuscript in the context of his previous efforts to accommodate scientific theories and metalinguistic claims within Wittgenstein’s Tractatus theory of meaning. The breakthrough of January 1931 consists, from this viewpoint, in the rejection of the Tractatus theory in favor of the meta-mathematical perspective of Hilbert, Gödel, and Tarski. This was not yet the standpoint of the published Logical Syntax, as we show, but led naturally to the “principle of tolerance” and thus to Carnap’s mature philosophy, in which the inconsistencies between this first view and the principle of tolerance, which survived into the published Syntax, were overcome. (shrink)

Arthur C. Danto's essays not only critique bodies of work but reflect upon art's conceptual evolution as well, drawing for the reader a kind of "philosophical map" indicating how art and the criteria for judging it has changed over the twentieth century. In _Unnatural Wonders_ the renowned critic finds himself at a point when contemporary art has become wholly pluralistic, even chaotic-with one medium as good as another-and when the moment for the "next thing" has already passed. So the (...) theorist goes in search of contemporary art's most exhilarating achievements, work that bridges the gap between art and life, which, he argues, is now the definitive art of our time. Danto considers the work of such young artists as John Currin and Renee Cox and older living masters including Gerhard Richter and Sol LeWitt. He discusses artists of the New York School, like Philip Guston and Joan Mitchell, and international talents, such as the South African William Kentridge. Danto conducts a frank analysis of Matthew Barney's _The Cremaster Cycle_, Damien Hirst's skeletons and anatomical models, and Barbara Kruger's tchotchke-ready slogans; finds the ghost of Henry James in the work of Barnett Newman; and muses on recent Whitney Biennials and art influenced by 9/11. He argues that aesthetic considerations no longer play a central role in the experience and critique of art. Instead art addresses us in our humanity, as men and women who seek meaning in the "unnatural wonders" of art, a meaning that philosophy and religion are unable to provide. (shrink)

From the 1990s until just before his death, the legendary art critic and philosopher Arthur C. Danto carried out extended conversations about contemporary art with the prominent Italian critic Demetrio Paparoni. Their discussions ranged widely over a vast range of topics, from American pop art and minimalism to abstraction and appropriationism. Yet they continually returned to the concepts at the core of Danto’s thinking—posthistory and the end of aesthetics—provocative notions that to this day shape questions about the meaning and future (...) of contemporary art. Art and Posthistory presents these rich dialogues and correspondence, testifying to the ongoing importance of Danto’s ideas. It offers readers the opportunity to experience the intellectual excitement of Danto in person, speculating in a freewheeling yet erudite style. Danto and Paparoni discuss figures such as Andy Warhol, Marcel Duchamp, Franz Kline, Sean Scully, Clement Greenberg, Cindy Sherman, and Wang Guangyi, offering both insightful comments on individual works and sweeping observations about wider issues. On occasion, the artist Mimmo Paladino and the philosopher Mario Perniola join the conversation, enlivening the discussion and adding their own perspectives. The book also features an introductory essay by Paparoni that provides lucid analysis of Danto’s thinking, emphasizing where the two disagree as well as what they learned from each other. (shrink)

Arthur C. Danto did not live to witness the proliferation of AI in artistic creation. However, his philosophy of art offers key ideas about art that can provide an interesting perspective on artwork generated by artificial intelligence (AI). In this article, I analyze how his ideas about contemporary art, intention, interpretation, and authorship could be applied to the ongoing debate about AI and artistic creation. At the same time, it is also interesting to consider whether the incorporation of AI into (...) artistic creation marks a new chapter in the narrative, which seems to have reached its end, or if it represents a significant rupture with past artistic traditions. (shrink)