Contemporary Art and the Problem of Indiscernibles. An Adverbialist Approach

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F67985955%3A_____%2F23%3A00570623" target="_blank" >RIV/67985955:_____/23:00570623 - isvavai.cz</a>

Výsledek na webu

<a href="https://doi.org/10.33134/eeja.283" target="_blank" >https://doi.org/10.33134/eeja.283</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.33134/eeja.283" target="_blank" >10.33134/eeja.283</a>

Jazyk výsledku

angličtina

Název v původním jazyce

Contemporary Art and the Problem of Indiscernibles. An Adverbialist Approach

Popis výsledku v původním jazyce

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.

Název v anglickém jazyce

Contemporary Art and the Problem of Indiscernibles. An Adverbialist Approach

Popis výsledku anglicky

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.

Druh

J_imp - Článek v periodiku v databázi Web of Science

CEP obor

—

OECD FORD obor

60301 - Philosophy, History and Philosophy of science and technology

Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2023

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Estetika: The European journal of aesthetics

ISSN

2571-0915

e-ISSN

2571-0915

Svazek periodika

60

Číslo periodika v rámci svazku

1

Stát vydavatele periodika

FI - Finská republika

Počet stran výsledku

17

Strana od-do

19-35

Kód UT WoS článku

000960121700002

EID výsledku v databázi Scopus

2-s2.0-85153612907