• Medientyp: Buch
  • Titel: Art and abstract objects
  • Enthält: Introduction : art, metaphysics, and the paradox of standards / Christy Mag Uidhir[part] I. General ontological issues. Must ontological pragmatism be self-defeating? / Guy Rohrbaugh
    Indication, abstraction, and individuation / Jerrold Levinson
    Destroying artworks / Marcus Rossberg
    [part] II. Informative comparisons. Art, open-endedness, and indefinite extensibility / Roy T. Cook
    Historical individuals like Anas platyrhynchos and 'classical gas' / P.D. Magnus
    Repeatable artwork sentences and generics / Shieva Kłeinshcmidt and Jacob Ross
    [part] III. Arguments against and alternatives to. Against repeatable artworks / Allan Hazlett
    How to be a nominalist and a fictional realist / Ross P. Cameron
    Platonism vs. nominalism in contemporary musical ontology / Andrew Kania --[part] IV. Abstracta across the arts. Reflections on the metaphysics of sculpture / Hud Hudson
    Installation art and performance : a shared ontology / Sherri Irvin
    What type of 'type' is a film? / David Davies
    Musical works : a mash-up / Joseph G. Moore.
  • Beteiligte: Mag Uidhir, Christy [Hrsg.]
  • Erschienen: Oxford: Oxford University Press, 2012
  • Ausgabe: 1. ed.
  • Umfang: VI, 310 S.
  • Sprache: Englisch
  • ISBN: 9780199691494; 0199691495
  • RVK-Notation: LH 65880 : 21. Jahrhundert
    LH 65826 : Abstraktes, Informel, Abstrakter Expressionismus
    LH 65827 : Kunst nach 1945 (verschiedene Richtungen)
  • Schlagwörter: Kunst > Abstrakter Gegenstand > Idee > Darstellbarkeit > Geschichte
    Ästhetik > Ontologie > Abstraktion > Abstrakter Gegenstand
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  • Anmerkungen:
  • Beschreibung: This book presents a lively philosophical exchange between the philosophy of art and the core areas of philosophy. The standard way of thinking about non-repeatable (single-instance) artworks such as paintings, drawings, and non-cast sculpture is that they are concrete (i.e., material, causally efficacious, located in space and time). This volume examines how philosophical enquiry into art might itself productively inform or be productively informed by enquiry into abstracta taking place within not just metaphysics but also the philosophy of mathematics, epistemology, philosophy of science, and philosophy of mind and language. While the contributors chiefly focus on the relationship between philosophy of art and contemporary metaphysics with respect to the overlap issue of abstracta, they provide a methodological blueprint from which scholars working both within and beyond philosophy of art can begin building responsible, mutually informative, and productive relationships between their respective fields

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