​This book investigates the nature of aesthetic experience and aesthetic objects. Written by leading philosophers, psychologists, literary scholars and semioticians, the book addresses two intertwined issues. The first is related to the phenomenology of aesthetic experience: The understanding of how human beings respond to artworks, how we process linguistic or visual information, and what properties in artworks trigger aesthetic experiences. The examination of the properties of aesthetic experience reveals essential aspects of our perceptual, cognitive, and semiotic capacities. The second issue (...) studied in this volume is related to the ontology of the work of art: Written or visual artworks are a specific type of objects, containing particular kinds of representation which elicit a particular kind of experience. The research question explored is: What properties in artful objects trigger this type of experience, and what characterizes representation in written and visual artworks? The volume sets the scene for state-of-the-art inquiries in the intersection between the psychology and ontology of art. The investigations of the relation between the properties of artworks and the characteristics of aesthetic experience increase our insight into what art is. In addition, they shed light on essential properties of human meaning-making in general. (shrink)

“What is art?” All in all it sounds like a fairly trivial question: art is so ingrained in our world that intuitively we believe everyone is able to answer it. If we look at this question closely, however, we realize that things are not so simple. Among the first who tried to clarify the issue was Plato, one of the most ardent Western philosophers for definitions. In the 10th book of the Republic he drew a long lasting distinction: the objects (...) that make up our universe are divided among the most perfect ones, the ideas, after which everything is shaped, the less perfect ones, the material things, which are modeled after the ideas, and at the bottom of the hierarchy there are the works of art, which are more flawed, imperfect, useless and even dangerous than material things in general. It has been written that the history of philosophy is ‘nothing but a series of footnotes to Plato’. As far as the philosophy of art is concerned that is certainly true until the 20th century, when - at least since Modernism - the elegant Platonic thesis began to show signs of aging and it was no longer able to provide a good answer to the question with which we began. The talk develops the idea that the works of art are a kind of higher order objects; in particular, they are semantics vehicles, namely objects that carry meanings, which are the product of human representations. (shrink)

I. Since the appearance in 1902 of Benedetto Croce's L'estetica come scienza dell' espressione e linguistica generale, the problem of the ontology of the work of art or aesthetic object - what kind of thing it is and what its mode of being is - has come to occupy a central place in the philosophy of art. Moreover, a particular conception of the identity of art objects is at present a driving force in some quarters of the art (...) world itself. As Harold Rosenberg so well points out, Minimalist or Reductive Art has attempted, sometimes quite self-consciously, to establish the autonomous physical reality of the work of art by empty ing it of all expressive and representational content. ! What is the ontological problem? One rather crude way of stating it is to ask where the work of art or object of aesthetic contemplation 2 exists. Is it, to pick some examples, to be identified with the material product of the artist's labors which exists spatially "outside of" and independently of artist and beholder? Or does it exist only "in the mind" of the beholder or the artist? Is it either one perception of a beholder or a series of his perceptions? Or is it the class of all percep tions of either all spectators or all "qualified" spectators? Put another way, it would be a question of whether and to what such purported names as 'Beethoven's Fifth Symphony' refer. (shrink)

: This essay analyzes the relation between nothingness and the work of art, where negation appears as a fundamental element of art. Starting at a discussion of the concept of nothingness in existential phenomenology, it points to the limitations of Heidegger’s notion of nullity and negation, which spring from the denial of the dimension of consciousness to his Dasein. Although Sartre recovers that dimension in his portrayal of the pour-soi, now the idea of nothingness is not taken to its (...) ultimate consequence, where art would appear as a product of consciousness that is entrenched in nothingness. Only through an enlarged notion of consciousness, one that allows the perception of negative experience as intrinsically related to poiesis, will the work of art appear ontologically grounded in a form of Being that searches for its own contradiction. Such an enlarged notion of consciousness appears in the thought of Japanese philosopher Nishida Kitarō , where concepts such as ‘‘the place of nothingness’’ and ‘‘pure experience’’ can serve as ground to an analysis of the relation between nothingness and the work of art. (shrink)

This essay analyzes the relation between nothingness and the work of art, where negation appears as a fundamental element of art. Starting at a discussion of the concept of nothingness in existential phenomenology, it points to the limitations of Heidegger's notion of nullity and negation, which spring from the denial of the dimension of consciousness to his Dasein. Although Sartre recovers that dimension in his portrayal of the pour-soi, now the idea of nothingness is not taken to its ultimate (...) consequence, where art would appear as a product of consciousness that is entrenched in nothingness. Only through an enlarged notion of consciousness, one that allows the perception of negative experience as intrinsically related to poiesis, will the work of art appear ontologically grounded in a form of Being that searches for its own contradiction. Such an enlarged notion of consciousness appears in the thought of Japanese philosopher Nishida Kitarō, where concepts such as "the place of nothingness" and "pure experience" can serve as ground to an analysis of the relation between nothingness and the work of art. (shrink)

Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and ...

This paper shows that goodman's influential theory of the work of art's identity suffers from what for him is a serious omission, the lack of a nominalistic formulation of his definitions of the works of the various arts. i examine the possible nominalistic translations of goodman's platonistic definitions and show that they would either be unsuitable to goodman's views or unacceptable "simpliciter". among the possibilities considered are type-individuals, superindividuals, and multiply-referential labels.

Questions central to the ontology of art include the following: what sort of things are works of art? Do all works of art belong to any one basic ontological category? Do all or only some works have multiple instances? Do works have parts or constituents, and if so, what is their relation to the work as a whole? How are particular works of art individuated? Are they created or discovered? Can they be destroyed? Explicit and extensive treatments of (...) these topics written prior to the 19th century have yet to be found. This does not mean, however, that there is nothing relevant to these ontological questions in early writings on beauty, the arts, and related matters. For example, Aristotle's claims about the functions and elements of tragedy can be mined for ideas about the nature of literary works more generally. And what can be made of the hint, in Metaphysics Eta, 6, that the unity of The Iliad is a matter of a set of words made “one” by being connected together? Rather than attempting to make conjectures about such difficult exegetical topics, this entry focuses primarily on contributions made by authors who explicitly address themselves at length to some of the aforementioned questions pertaining to the ontology of works of art, either in general or with reference to such major art forms as music, literature, painting, architecture, and sculpture. One further note about the scope of this entry is in order. Instructive surveys of the subfield of aesthetics known as the ontology of art are fairly plentiful; see Nicholas Wolterstorff, Gregory Currie, Joseph Margolis, Stephen Davies, Amie Thomasson, Guy Rohrbaugh, Theodore Gracyk, Robert Stecker, and Carl Matheson and Ben Caplan. Surveys of the history of the field have not, however, been forthcoming, and the comments on this topic that crop up in the literature are sketchy and sometimes quite misleading. One shortcoming has been a marked tendency to focus on contributions from the last two decades of the 20th century, the one salient exception being due attention paid to works by Roman Ingarden. The present entry has been designed with this shortcoming in mind. A schematic mapping of questions and positions is provided and reference is made to neglected, earlier contributions to the ontology of art. (shrink)

This long-awaited translation of Das literarische Kunstwerk makes available for the first time in English Roman Ingarden's influential study. Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and mode of existence. The Literary Word of Art establishes the groundwork for a philosophy of literature, i.e., an ontology in terms (...) of which the basic general structure of all lliterary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis. (shrink)

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

This long-awaited translation of _Das literarische Kunstwerk_ makes available for the first time in English Roman Ingarden's influential study. Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and mode of existence. _The Literary Word of Art _establishes the groundwork for a philosophy of literature, i.e., an ontology in terms (...) of which the basic general structure of all lliterary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis. (shrink)

In this essay the author argues that an ontological problem of a work of art, one of the long-standing problems of the philosophy of art, is merely an apparent one. The author argues that it in fact comprises two particular, different problems. The first is the question of how the thing being described in aesthetic terms exists, whether the aesthetic and physical description of a thing are so different, indeed disparate, that they cannot – as some philosophers of art (...) assume – relate to the same thing. The second problem is the question of how a work of a multiple art can exist, whether we can identify it with the individual act of performing or using this work. The first problem, argues the author, stems from the erroneous assumption that the disparateness of the aesthetic and physical description of a thing leads to the conclusion that the object of aesthetic description must exist differently from the way a physical description exists. The second problem emerges from a lack of understanding of how we use the term “work of art,” when we use it for a work of multiple art. The author also criticizes simultaneous attempts by Arthur Danto and Joseph Margolis, two leading philosophers of art, to solve the ontological problem of the work of art. (shrink)

An impressive variety of theories of ontology of musical works has been offered in the last fifty years. Recently, the ontologists have been paying more attention to methodological issues, in particular, the problem of determining criteria of a good theory. Although different methodological approaches involve different views on the importance and exact role of intuitiveness of a theory, most philosophers writing on the ontology of music agree that intuitiveness and compliance with musical practice play an important part when (...) judging theories. A multitude of diverse claims exist regarding folk intuitions and matters of musical practice in the literature on the ontology of musical works. In this review paper, a systematized collection of about one hundred empirical claims extracted from the theoretical literature is presented. All of the empirical claims are categorized thematically. The paper also includes a short discussion on the role of appeals to common intuitions in methodological literature, as well as some suggestions for future research. (shrink)

This volume presents new essays on art, mind, and narrative inspired by the work of the late Peter Goldie, who was Samuel Hall Professor of Philosophy at the University of Manchester until 2011. Divided into three sections - Narrative Thinking; Emotion, Mind, and Art; and Art, Value, and Ontology - the book presents fascinating new philosophical work on these intertwined subjects. Topics covered include the role of narrative thinking in our lives, the nature of our imaginative engagement (...) with fiction, the emotions and their role in motivating action, and the nature of conceptual art. (shrink)

As the first President of the Royal Academy of Arts, Joshua Reynolds played a pivotal role in shaping the course of British art in the 18th century. In these discourses, Reynolds reflects on the nature of art, the role of the artist, and the importance of aesthetic education. With insightful commentary on the works of the Old Masters and a wealth of practical advice for aspiring artists, this volume is a must-read for anyone interested in the history of art or (...) art theory. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The article is devoted to the search for the nature of the ontology of an art work on the example of a literary work. Tradition viewed a work of art as the discovery of a higher truth. Analytical philosophy deprived literature of the status of truth in general, and thereby deprived it of any ontological dimension. Heidegger’s attempt to return this dimension to literature through its relationship with being did not find continuation in philosophy. The author (...) proposes to consider a literary work as a model of the world, primarily the social world. This approach makes liken a literary work to a mathematical theory. A mathematical theory is built as a correlation of simple elements; in a literary work such elements are characters (sometimes things). A mathematical theory is built on clearly defined axioms, a literary work is also built on axioms, but they do not have an explicit expression within the work and cannot always be perceived intuitively. The author shows that the mathematical theory never fully meets the specified conditions, and the mathematicians themselves note that in the future they will largely lose their strength. Thus, a literary work is of the same nature as a mathematical theory, only it presents a more complex case. The problem of truth serves as the way to find the ontological dimension. Analysis shows that in mathematics it is solved not by reducing a hypothesis to axioms, but by recognizing a theory through its effectiveness or applicability. For a work of art, such a criterion is its perception by its readers. In both cases, the ontological dimension is in the mind of the reader. (shrink)

This volume has 41 chapters written to honor the 100th birthday of Mario Bunge. It celebrates the work of this influential Argentine/Canadian physicist and philosopher. Contributions show the value of Bunge’s science-informed philosophy and his systematic approach to philosophical problems. The chapters explore the exceptionally wide spectrum of Bunge’s contributions to: metaphysics, methodology and philosophy of science, philosophy of mathematics, philosophy of physics, philosophy of psychology, philosophy of social science, philosophy of biology, philosophy of technology, moral philosophy, social and (...) political philosophy, medical philosophy, and education. The contributors include scholars from 16 countries. Bunge combines ontological realism with epistemological fallibilism. He believes that science provides the best and most warranted knowledge of the natural and social world, and that such knowledge is the only sound basis for moral decision making and social and political reform. Bunge argues for the unity of knowledge. In his eyes, science and philosophy constitute a fruitful and necessary partnership. Readers will discover the wisdom of this approach and will gain insight into the utility of cross-disciplinary scholarship. This anthology will appeal to researchers, students, and teachers in philosophy of science, social science, and liberal education programmes. 1. Introduction Section I. An Academic Vocation Section II. Philosophy Section III. Physics and Philosophy of Physics Section IV. Cognitive Science and Philosophy of Mind Section V. Sociology and Social Theory Section VI. Ethics and Political Philosophy Section VII. Biology and Philosophy of Biology Section VIII. Mathematics Section IX. Education Section X. Varia Section XI. Bibliography. (shrink)

This chapter contains sections titled: A Range of Views Criteria of Assessment The Road to a Solution.

To propose a revisionist ontology of art one has to hold that our everyday intuitions about the identity and persistence conditions of various kinds of artworks can be massively mistaken. In my presentation I defend this view: our everyday intuitions about the nature of art can be (and sometimes are) mistaken. First I reconstruct an influential argument of Amie L. Thomasson (2004; 2005; 2006; 2007a; 2007b) against the fallibility of our intuitive judgments about the identity and persistence conditions of (...) various kinds of artworks. Second, I present three objections to this account: two of them concern the semantic and pragmatic rules regulating the use of art-kind terms, while the third one is based on the assumption that the history of art partly comprises a series of successful attempts of transgression of artistic conventions and expectations, therefore our artistic intuitions are dynamic. Taking this point I finally argue that in philosophy of art we need a “reverse” methodology: first we have to provide a general definition, containing all the sufficient and necessary conditions of artworks (“being an artwork”) in any period within the history of art. Only after completing this task are we ready to answer the metaphysical question about the ontological status of works of art. (shrink)

According to the discovery model in the ontology of art, the facts concerning the ontological status of artworks are mind-independent and, hence, are facts about which the folk may be substantially ignorant or in error. In recent work Amie Thomasson has claimed that the most promising solution to the ‘ qua problem’—a problem concerning how the reference of a referring-expression is fixed—requires us to give up the discovery model. I argue that this claim is false. Thomasson's solution to (...) the qua problem—a hybrid descriptive/causal theory of reference-fixing—has a superior competitor, in the form of the account of reference-fixing suggested by Gareth Evans; and Evans's theory leaves the discovery model untouched. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On the Way to Ethical CultureThe Meaning of Art as Oscillating between the Other, Il y a, and the ThirdRossitsa Varadinova Borkowski (bio)Who can suppose that a poet capable of effectively introducing into his scenes rhetoricians, generals and various other characters, each displaying some peculiar excellence, was nothing more than a droll or juggler, capable only of cheating or flattering his hearer, and not of instructing him?Are we all (...) agreed that the chief merit of a poet consists in his accurate representation of the affairs of life? Can this be done by a mere driveller, unacquainted with the world?The excellence of a poet is not to be measured by the same standard as that of a mechanic or a blacksmith, where honor and virtue have nothing to do with our estimate. But the poet and the individual are connected, and he only can become a good poet who is in the first instance a worthy man.— Strabo, The Geography of StraboAfter Emmanuel Levinas showed the need for radically positing the Ethical as the original structure of human inwardness and as art is a fundamental aspect of being human, a reexamination of the meaning of the Artistic and its relation with the Ethical is necessary.1 Throughout [End Page 195] the history of Western thought and culture, the meaning of art has been regarded either as imitation of the world and nature (Plato and Aristotle), objective self-expression of the Absolute Spirit (Hegel) or Being (Heidegger), a subjective “free play of imagination” and judgment (Kant and the Romanticists), or as inevitable engagement with social issues and political position (the Marxists and Sartre). In spite of the variety of theories and views about the essence and value of art, it is unquestionable that the Artistic has transformational power over humans, which points to art’s connection with ethics. Therefore, following Levinas, instead of asking the general ontological questions about the gist of art “What is art?” or “Why is there art instead of something else?” we should seek an answer to the ethical question about the meaning of art: “How can the existence of art be justified?”The answers could be sought in two directions. The first already quite well beaten path explores Levinas’s own vision on art, which most critics find hesitant or even ambiguous.2 The impression of this hesitation is significant on the background of Levinas’s rigorous clarity about the Ethical. Overlooking this impression would lead to conclusions that would deviate our attention from the main question about how the existence of art can be justified. A possible explanation would be that Levinas’s seemingly fragmentary thoughts about art are woven into the fabric of his ultimate meta-ethical project — that is, his approach to art is instrumental, subjected to the Ethical. For example, commentators agree that Levinas’s early article “Reality and Its Shadow” (1948) is the only one exclusively focused on art and use it as a starting point to assemble the fragments of his aesthetic views into an aesthetic theory. Although this move might be justified methodologically, Levinas is clear that the discussion of art in this article is subordinated to the more general (and more serious) question about the nontruth of being (LR 132). Positing art as mythological and mystical, thus incapable of transmitting a meaningful message if separated from philosophical criticism (142), Levinas puts “in brackets” the discussion about the artistic and focuses on the reason qua knowledge (philosophy) and its relation with the Other. The impression of his hesitation about art’s [End Page 196] independent capability to dephase the instant, to breach the ontological gravity, and to expose the human spirit to the Ethical comes from those texts where Levinas applies his own vision about the integrative role of philosophical criticism — i.e., texts that work as philosophical criticism of art: “Transcendence through poetry — is this serious?”3 (PN 175n12), “if poetry can contain teachings” (165; emphasis added). Therefore, on one hand, Levinas exhaustively scrutinizes all possibilities of ethics of philosophy and comes to the clear position that in order for reason to function humanly it should be dethroned by the Other. He is... (shrink)

The subject of the study is the ontological ideas of ancient Chinese music in the context of the formation of philosophical schools of Ancient China, which make it possible to identify a number of philosophical categories that underlie traditional chinese music and outline different approaches to its understanding and interpretation. Most Chinese researchers in the field of musical aesthetics focus on the art of music, rare to pay attention to the philosophical origins of the categories of music that past thinkers (...) wrote about when analyzing laws of existence of the universe. Restoring and rethinking these values in the context of the philosophical and cultural analysis of ancient Chinese music is key to this work, which allows us to gain an understanding of the specifics of ancient Chinese culture and its musical heritage. The novelty of the work lies in carrying out the correlation of genesis of the musical ontology of Ancient China with the dynamics of the formation of the philosophical schools of Confucianism, Taoism and Buddhism, their rise or fall depending on the historical and cultural situation. Musical philosophy in China has not yet become an independent discipline, so the presented work makes a significant contribution to the field of musical ontology. During the study, the authors revealed three main aspects which are basic for the ontology of ancient Chinese music: The nature of music has its source three categories: Tao, air and sound, existing both in a natural state in nature and embodied in musical structure and instruments; Sound and rhythm being the essence to any musical work, organize the sounding space in accordance with the cosmic order; The metaphysical nature of music is justified by the basic principles of Taoist philosophy and number theory. (shrink)

Ontology is the study of what exists and the nature of the most fundamental categories into which those existents fall. Ontologists offer a map of reality, one divided into such broad, overlapping territories as physical and mental, concrete and abstract, universal and particular. Such a map provides the setting for further philosophical investigation. Ontologists of art seek to locate works of art in this wider terrain, to say where in our universe they fit in. Their governing question is, thus, (...) “What kind of thing is a work of art?”. (shrink)

This paper defends Musical Stage Theory as a novel account of the ontology of musical works. Its main claim is that a musical work is a performance. The significance of this argument is twofold. First, it demonstrates the availability of an alternative, and ontologically tenable, view to well-established positions in the current debate on musical metaphysics. Second, it shows how the revisionary approach of Musical Stage Theory actually provides a better account of the ontological status of musical works.