Download Action, art, history : engagements with Arthur C. Danto by Daniel Herwitz, Michael Kelly PDF

By Daniel Herwitz, Michael Kelly

Arthur C. Danto is exclusive between philosophers for the breadth of his philosophical brain, his eloquent writing type, and the beneficiant spirit embodied in all his paintings. Any selection of essays on his philosophy has to interact him on most of these degrees, simply because this can be how he has continuously engaged the realm, as a thinker and person.

In this quantity, popular philosophers and artwork historians revisit Danto's theories of paintings, motion, and heritage, and the intensity of his innovation as a thinker of tradition. Essays discover the significance of Danto's philosophy and feedback for the modern artwork international, together with his theories of notion, motion, historic wisdom, and, most significantly for Danto himself, the conceptual connections between those subject matters. Danto himself keeps the dialog through including his personal remark to every essay, extending the controversy with attribute perception, graciousness, and wit.

Contributors contain Frank Ankersmit, Hans Belting, Stanley Cavell, Donald Davidson, Lydia Goehr, Gregg Horowitz, Philip Kitcher, Daniel Immerwahr, Daniel Herwitz, and Michael Kelly, attesting to the far-reaching results of Danto's proposal. Danto dropped at philosophy the artist's unfettered mind's eye, and his principles approximately postmodern tradition are digital street maps of the current artwork global. This quantity can pay tribute to either Danto's incredible means to maneuver among philosophy and modern tradition and his pathbreaking achievements in philosophy, artwork historical past, and paintings feedback.

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Additional info for Action, art, history : engagements with Arthur C. Danto

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Cavell is somewhat leery of the use of the term “artwork”—there is the fastidious Austinian speaking, for whom the OED lists accepted usages that may at best include “work of art” as “American” and “rare”—though I imagine that by this time it has become accepted English usage. He allows me the usage specifically for the admittedly somewhat barren kinds of examples from the ’60s that meant so much to me philosophically, which he calls “artwork art,” listing a few examples that even he might tolerate, without quite asking what makes “artwork art” art, when the real question is what makes art art, whether we are speaking of Rembrandts or Warhols.

If someone, as the result of a murderous action, dies on board a ship, that falls under one jurisdiction; if he dies overboard, it falls under a different jurisdiction. Those are fascinating issues, but what was of concern to me could not be a matter of jurisdiction. The difference between a basic action and a bodily movement was never a matter of convention and legal negotiation, but of how the universe is made up. It does not depend upon mere law. I was in that way a pretty old-fashioned philosopher.

Wittgenstein uses the humble example of games, and concludes that we all more or else know which are the games, are able to define the common properties in virtue of which, say, chess and kick-the-can are games—despite not having a definition. Would we be any the wiser if we had one? If we followed his injunction to “look and see,” we would indeed find it hard to see what kick-the-can has in common with pinochle or blind man’s bluff. Wittgenstein’s disciples in the philosophy of art said works of art are like games—we can all pick them out without 40 STANLEY CAVELL having a definition of art, so we do not need one.

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