 |
| Katkey: | 7268810 |
| Volltext: | Index Acconci, V., 5, lOn, 59 Adaptation Studies, 195-9, 234 Conversions, 195-9, 232n, 234 Following Piece, 195-9, 208-9, 229, 233-4 action-tokens "doings" contrasted with action-tokens strictu sensu, 171-3 modal and constitutive properties of, 168-73 action-type hypothesis, 120, 127-45, 180, 182, 188, 236, 263 contrasted with the performance theory, 147-55, 175-6 outlined, 128-31, 203 problems with, 112n, 123, 132—10, 146-9, 152-4 and the revisionism objection, 141-5 actual intentionalism, see intentionalist models of interpretation aesthetic empiricism defined, 25-6 direct arguments against, assessed, 38-49, 62-74 indirect and direct arguments against, 28 indirect arguments against, assessed, 28-38 Alperson, P., 225-6 Anderson, L., 193 animation, 68 Arnheim, R., 61 Arte Povera, 9n, 69, 71n art-historical context, defined, 64-5 artistic medium, 61n, 64-5, 67, 71n, 75, 81, 83, 114, 146, 149-50, 157, 199, 202, 214, 225, 229, 258 bearing of provenance on, 71—4 and Goodman's "symptoms of the aesthetic, " 250-3 and the institutional nature of art, 245-8 the problem of defining, 80, 237 two aspects of, 59-60 and vehicular medium, 56-62 artistic properties, defined, 26 artistic statement, articulation of, 52—1 artistic value and art-historical value, 26, 32, 36 "enlightened empiricist" conception of, 255-62 Artschwager, R, 68 Bach, J. S., 6, 212-13 Banes, S., 17 Barnes, В., 2n Barry, R, 5, 8, 10, lOn, 58, 194 Bartok, В., 41 Baxandall, M., 3n, 61n, 135n, 230, 232n on the bearing of provenance on appreciation, 27, 39, 188-9 on Piero's Baptism of Christ, 52, 66-7, 222n Bazin, A., 61n Beardsley, M. C., 8, 29n, 242n on dance, 17, 56, 59 274 Index Beardsley, M. С. cont'd on intentionalist models of interpretation, 84, 94, 96-7 on Readymades, 11, 13 Beethoven, L. van, 46-8, 54, 74, 130, 142, 184-5, 219 Bell, C., 7-8, 14, 29n, 67, 220, 239-10, 256 Benton, T., 4 Berg, A., 6 Beuys, J., 12 Binkley, T. on artworks as specified pieces, lOn, 12, 77, 180-1, 183n, 191-2, 237, 245 on defining "art, " 241, 244n, 247 on medium in art, 57-60 on piece-specification and the articulation of artistic statements, 52^, 262 on the pragmatic constraint, 19-20 Bloor, D., 2n Bogosian, E., 193 Bonzon, R., 8n, 255 Borges, J. L., 137n Pierre Menard, 40-1, 48, 65, 122 Brahms, J. (Piano Sonata op. 2), 41, 46-8, 54, 74, 83, 184-5, 219 Braque, G., 5, 103 Braxton, A., 6 Breton, A., 4 Budd, M., 8n, 127n, 142n, 255 Bürge, T., 164n, 182n Burgess, A., A Clockwork Orange, 142 Cage, J., 6 camera obscura, x, 15-16, 81-2 Carroll, N., 17, 91, 94 categories of art and artistic medium, 73 Walton on, 31-2, 37, 58, 72-3 Celine, L., 157 Cervantes, M., 40 Cézanne, P., 4, 5, 111-12, 115, 140 Chapman, J. and D., 2n Christo, 192 Clark, K., 54-5, 56, 69, 70, 82, 157, 258-9 Cleland, C., 168 Close, C., 68 Cochrane, R., 225, 227n Coleridge, S. T. Ancient Mariner, 113, 115 Kubla Khan, 59, 104, 110, HOn, 115, 155-6, 169 Collingwood, R. G., 35n Collins, J., lOn Coltrane, J., My Favorite Things, 208, 226-7 common-sense theory of art, 23-4, 25 empiricist nature of, 7, 254 and forgeries, 13-15, 201 and modernism, 8-13, 189-90 outlined, 6-8 summary of the case against, 253-5 constitution, and identity, 175 constitutive property, 104—5, 123 contextualism and the bearing of provenance on artistic appreciation, 100-1 defined, 77 and forgeries, 201-2 and modernism, 191-8 and the revisionism objection, 180-6 summary of the case against, 262-5 counter-empiricist thesis strong and weak forms of, 39—10 strong form of, endorsed, 73—1 Croce, В., 35n Currie, G., 85, 91n, 162, 219 on the action-type hypothesis, 112n, 120, 123, 127-15, 146-9, 152-4, 175-6, 177, 180, 182, 188, 203, 236, 263, see also action-type hypothesis on aesthetic empiricism, 25-6, 28-39, 260 on "creationist" ontologies of art, 130-2 on hypothetical intentionalism, 87 on the pragmatic constraint, 18, 20 on structuralist ontologies of art, 43, 45-9, 75 dance, 17 Danto, A. on artworks as contextualized entities, 41-2, 77, 108n, 181n, 183n, 191, 262 on the "artworld, " 27-8, 237, 245, 253 on the institutional theory of art, 246-7 on medium in art, 57 Index 275 on perceptually indistinguishable art-objects, 42, 63-4, 73, 201 on the pragmatic constraint, 19 Davidson, D., 117, 168, 182-5 Davies, S., 12n, 19, 217n defense of a proceduralist definition of art, 247-8 on "functionalist" and "procedural" definitions of art, 238-9, 242 Davis, M., All Blues, 208, 223, 226, 228, 229, 233 de Duve, T., 9, lin, 194n, 196n definitions of "art" Davies on "functionalist" and "procedural" definitions, 238-9 defining "art" as performance, 249-53 functionalist definitions of "art, " 239—41 historical definitions of "art, " 241-2 procedural definitions of "art, " 242-9 de Kooning, W., 9 Descartes, R., 164 Dickie, G., lln, 12, 88 on the institutional theory of art, 53n, 190n, 243-9 Dodd, J., 44n, 185-6, 264 Dogme, 95, 70-1 "doings, " 169-73 Duchamp, M., Fountain, 8, 9, 11-13, lln, 12n, 41, 59, 136, 150, 189-92, 194, 196, 243-4 Dutton, D., 27, 67, 202-5, 206-7, 260 Eaton, K., 225 Elgar, E., Cello Concerto, 208, 210, 218, 226, 229 Emin, T., 2n enlightened empiricism, 255-62 epistemological argument in the ontology of art against structuralism, 42-9 defined, 22-3 for a contextualist ontology of art, 77-8 for Currie's action-type hypothesis, 128-9 focus of appreciation bearing of provenance upon, 62-74 defined, 26 fine structure of, analyzed, 50-62 fine structure of, as bearing on the institutional nature of art, 245-7 in the performance arts, 210-15 forgeries, 13-15, 27, 200-5 Gaut, В., 222 Gerrard, N., 2n Gilardi, P., 69 Godard, J-L., Weekend, 142 Goethe, J., 204 Goldberg, R., 261 Goodman, N., 20n, 43-4, 44n, 5In, 76-7, 135, 153n on arthood as a matter of symbolic functioning, 249-50 on the nature of the musical work, 210-13, 215 on symptoms of the aesthetic, 250-1, 253 Gould, C. S., 225 Gould, G., 221 Greenaway, P., I l l Greenberg, C., 5n, 70, 259 on color-field painting, 4-5 on Pollock, 2—4 on Readymades, 11 Guggenheim, P., 2-3 Heidegger, M., 21n Hermeren, G., 91 Hillary, E., 101-2 Hirsch, E. D., 85, 94 Hirst, D., 2n, 59, 189 The Physical Impossibility of Death in the Mind of Someone Living, 251-3 "spot" paintings, 231-2 history of art, internalist and externalist, 2-5 Hoban, R., 86 Hofmann, H., 4 Hopkins, G. M., Henry Purcell, 95 Huelsenbeck, R, 61n Hume, G., 2n hypothetical intentionalism, see intentionalist models of interpretation improvisation, 225-9 improvisational composition, 227-8 improvisational interpretation, 226-7 and interpretation, 225-6 pure improvisation, 228-9 276 Index incomplete works, 109-11 indicated structure theory, 117, 147, 177, 237 and the charge of metaphysical obscurity, 122, 181-5 on the creatability of artworks, 44n, 185-6, 264 on the modal properties of artworks, 106-7, 113, 122 outlined, 77, 105-7, 210 and the revisionism objection, 180-6 individuating conditions, 104-5, 121-2 institutional theory of art as defended by Dickie, 190, 242-9 and the fine structure of the focus of appreciation, 245-7 intentional fallacy, 84 intentionalist models of interpretation actual intentionalism, 85-7 "broad" and "narrow" construals of the contents of intentions, 163-7 hypothetical intentionalism, 87-8 interpretive intentionalism, 89 interpretive intentionalism, see intentionalist models of interpretation Iseminger, G., 85, 88, 91n, 94-5 James, W., 40 Jarrett, K., Koln Concerts, 209, 219, 222, 228 Joyce, J., 157 Juhl, P. D., 91 Kant, I., 255 Kieran, M., 8n, 255-7, 261n Kim, J., 168 Kivy, P., 43, 136n Knapp, S., 91 Kosuth, J., 11 Kounellis, J., 9n, 69 Kripke, S., 105, 108n, 123-4, 216 Kuhn, T., 20n, 133n Lakatos, I., 133, 135n Latham, J., lOn Laudan, L., 2n Lessing, A., 14-16, 29n, 35, 206, 220, 260 Levinson, J. on the action-type hypothesis, 127n, 142n on aesthetic empiricism, 41-2 on "art" defined historically, 241-2, 244-5 on art-historical context, 64-5 on artistic value, 254-7, 260-1 on being a work-performance, 216-17 on hypothetical intentionalism, 87-8 on medium in art, 56-7, 58n on the pragmatic constraint, 18 on structuralist ontologies of art, 42, 46-9, 54, 75, 83, 91n, 117, 138, 139, 219 on works as indicated structures, 44n, 77-8, 105-7, 113, 117, 122, 147, 177, 180-6, 210, 237, 263-1, see also indicated structure theory LeWitt, S., 9n, 35n, 208, 229-33 Wall Drawing No. 623, 231 Lichtenstein, IL, 65, 199 Linker, К., 197-8 Lippard, L., 2, 9, 136n, 192, 195, 208n Liszt, F., 41 Livingston, P., 94, 109 Louis, M., 8, 70, 82, 259-61 Lucie-Smith, E., 4, 70, 82, 259 MacKay, A., 85n Malade imaginaire, Le (Molière), 143, 144, 178 Mandelbaum, M., 242-3 Margolis, J. on medium in art, 56-7, 59-60 on works as culturally emergent entities, 77, 180, 192 Marinetti, F. T., 61n, 261 Matheson, C., 226n medium "artistic" and "vehicular" mediums distinguished, 56-62 knowledge of provenance as bearing on the appreciation of, 64-74 see also artistic medium; vehicular medium Mendelssohn, F., 41 Michael, W. В., 91 Mingus, С., 226, 226n Index 2 77 modality principle defense of, 120-6 defined, 104-5 see also work-relativity of modality modernism as a challenge to the common-sense view of art, 8-13, 189-90 and contextualism, 191-8 and the performance theory, 198-200 Monk, T., 226 Moore, H., 8 Morris, R., 5, 9 Mozart, W. A., Ill, 140 Mueck, R., 9 Nathan, D., 87-8 Naumann, В., 209, 229, 232-3 Newman, В., 5, 8, 189 Nyman, M., Ill, 140 Oldenberg, С., 192-3 Orwell, G. , I l l Perec, G., 71, 108n, 199 performance arts, 207-35 defined, 207 the focus of appreciation in, 210-15 improvisation in, 225-9 relation between performed works and work-performances, 210-19 work-performances as performance-works, 219-25 performance theory argument for, from the bearing of artistic intentions on artistic appreciation, 84-102 argument for, from the work-relativity of modality, 107-20 on artworks as "doings" rather than action-tokens strictu sensu, 167-76 on artworks as specifications of focuses of appreciation, 148-51 characterized, 80 on the contents of artistic intentions taken to be work-constitutive, 163-7 contrasted with the action-type hypothesis, 147-55, 175-6 and forgeries, 202-5 on the individuation of artworks, 151-8 and modernism, 198-200, 229-35 and the performance arts, 207-25 on provenance-based properties of the work-focus, 159-63 and the revisionism objection, 141-5, 178-80, 186-9 performance-works defined, 219 improvisation in, 225-9 work-performances as, 219-25 performed works defined, 210 relation to work-performances, 210-19 Picasso, P., 5, 31 Demoiselles d'Avignon, Les, 32, 34, 83, 101, 103, 111-12, 114-15, 140, 155 Guernica, 31, 32, 34, 50-1, 59, 66, 72-3, 111 Piero della Francesca, The Baptism of Christ, 51-2, 66-7, 164-7, 222n Pietroski, P., 212n Pollock, J., 2-4, 8, 9, 199 pragmatic constraint on the ontology of art, 21n, 43, 45, 46, 48, 62, 75, 78, 96, 103, 129-30, 140-1, 143, 188, 237 defined and defended, 18-22 place in epistemological arguments, 22-3 Putnam, H., 164n, 165n, 216 Rainer, Y., 17 Rawls, J., 20n Rembrandt, 5 Ridley, A., 35n Rivera, D., 4 Readymades, philosophical significance of, 11-13, lln, 12n, 41, 59, 136, 150, 189-92, 194, 196, 243-4 revisionism objection to process ontologies of art and contextualism, 180-6 and Currie's action-type hypothesis, 141-5 and the performance theory, 178-80, 186-9 rigid designators, names of works as, 105, 123-4 Rodin, A., 8 278 Index Rosenberg, H., 2 Rothko, M., 5, 189 Rudder Baker, L., 175n Russolo, L., 61n, 261 Saatchi, C., 2n Schubert, F., 204 Scruton, R, 66 Shakespeare, W., 217 Shields, С., 127n Sibelius, J., 106 Sibley, F., 29n Stamitz, J., 41 Steadman, P., ix-x, 15n Stecker, R historical functionalist definition of "art, " 246 on intentionalist models of interpretation, 88, 94 on the pragmatic constraint, 18 Stella, F., 5, 189 Still, C., 5 structuralism in the ontology of art defined, 43 epistemological arguments against, 43-9 and the strong counter-empiricist thesis, 74-5 symmetry, in Renaissance and Baroque art, 37 Thompson, J. J., 175n Tolhurst, W., 87n Tolstoy, L., 21, 239-40 Turner, J. M. W., 69, 112, 157, 199 Snowstorm, 54-5, 56, 70, 82-3, 123, 141, 144, 179, 258-61 van Meegeren, H., The Disciples at Emmaeus, ix, 14-15, 32, 34, 202, 259-60 vehicular medium, 71n, 72-5 passim, 80-3 passim, 101, 114-9 passim, 146, 150-1, 154-8, 158n, 161, 163-6, 167, 173-4, 192, 194, 199n, 201, 211, 214, 221, 226n, 237, 239, 245, 250-2, 258, 262 and artistic medium, 56-62 bearing of provenance on, 67-71 defined, 59 Vermeer, J. The Art of Painting, ix-x use of the camera obscura, 15-16, 35 and van Meegeren, 14-16, 34, 202, 259-60 Vinterberg, T., 71 Walton, К, 31-2, 37, 58, 72-3 Warhol, A., 41, 59, 108, 139, 169, 189-90 Weitz, M., 21n, 240-2, 253 Wiggins, D., 120 Wimsatt, W., 84, 96-7 Wittgenstein, L., 240 Wolfe, T., 1-13, 16, 25, 190, 193, 234 Wölfflin, H., 4-5, 37 Wollheim, R, 19, 27, 29n, 35n on minimalist art, 12 on the ontology of art, 43-4, 76, 127 on "two-foldness, " 55-6 Wolterstorff, N., 19n, 127n, 142n on arguments against structuralism, 47-8, 74-5 on musical works as norm-kinds, 77, 181n, 184, 210, 212n, 216n Woolf, V., To the Lighthouse, 139^10 work-performances appreciation of, 223-5 correctness of, 217-19 defined, 210 as performances of particular works, 215-17 as performance-works, 219-25 relation to performed works, 210-19 work-relativity of modality defined, 112 examples in support of, 107-12 ontological implications of, 113-20 strategy for accommodating, 114-117, 147 Young, J., 217n, 226n Ziff, P., 91 Zorn, J., 226n |
|
