Art and Abstract Objects PDF
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Art and Abstract Objects This page intentionally left blank Art and Abstract Objects EDITED BY Christy Mag Uidhir 1 3 GreatClarendonStreet,Oxford,OX26DP, UnitedKingdom OxfordUniversityPressisadepartmentoftheUniversityofOxford. ItfurtherstheUniversity’sobjectiveofexcellenceinresearch,scholarship, andeducationbypublishingworldwide.Oxfordisaregisteredtrademarkof OxfordUniversityPressintheUKandincertainothercountries #theseveralcontributors2012 Themoralrightsoftheauthorshavebeenasserted FirstEditionpublishedin2012 Impression:1 Allrightsreserved.Nopartofthispublicationmaybereproduced,storedin aretrievalsystem,ortransmitted,inanyformorbyanymeans,withoutthe priorpermissioninwritingofOxfordUniversityPress,orasexpresslypermitted bylaw,bylicenceorundertermsagreedwiththeappropriatereprographics rightsorganization.Enquiriesconcerningreproductionoutsidethescopeofthe aboveshouldbesenttotheRightsDepartment,OxfordUniversityPress,atthe addressabove Youmustnotcirculatethisworkinanyotherform andyoumustimposethissameconditiononanyacquirer BritishLibraryCataloguinginPublicationData Dataavailable LibraryofCongressCataloginginPublicationData Dataavailable ISBN978–0–19–969149–4 PrintedinGreatBritainby MPGBooksGroup,BodminandKing’sLynn LinkstothirdpartywebsitesareprovidedbyOxfordingoodfaithand forinformationonly.Oxforddisclaimsanyresponsibilityforthematerials containedinanythirdpartywebsitereferencedinthiswork. Contents List of Contributors vii Acknowledgements viii Introduction: Art, Metaphysics, and the Paradox of Standards 1 Christy Mag Uidhir I. General Ontological Issues 1. Must Ontological Pragmatism be Self-Defeating? 29 Guy Rohrbaugh 2. Indication, Abstraction, and Individuation 49 Jerrold Levinson 3. Destroying Artworks 62 Marcus Rossberg II. Informative Comparisons 4. Art, Open-Endedness, and Indefinite Extensibility 87 Roy T. Cook 5. Historical Individuals Like Anas platyrhynchos and ‘Classical Gas’ 108 P.D. Magnus 6. Repeatable Artwork Sentences and Generics 125 Shieva Kleinschmidt and Jacob Ross III. Arguments Against and Alternatives To 7. Against Repeatable Artworks 161 Allan Hazlett 8. How to be a Nominalist and a Fictional Realist 179 Ross P. Cameron vi CONTENTS 9. Platonism vs. Nominalism in Contemporary Musical Ontology 197 Andrew Kania IV. Abstracta Acrossthe Arts 10. Reflections on the Metaphysics of Sculpture 223 Hud Hudson 11. Installation Art and Performance: A Shared Ontology 242 Sherri Irvin 12. What Type of ‘Type’ is a Film? 263 David Davies 13. Musical Works: A Mash-Up 284 Joseph G. Moore Index 307 List of Contributors ROSSP.CAMERON,LeedsUniversity ROYT.COOK,UniversityofMinnesota,TwinCities DAVIDDAVIES,McGillUniversity ALLANHAZLETT,UniversityofEdinburgh HUDHUDSON,WesternWashingtonUniversity SHERRIIRVIN,UniversityofOklahoma ANDREWKANIA,TrinityUniversity SHIEVAKLEINSCHMIDT,UniversityofSouthernCalifornia JERROLDLEVINSON,UniversityofMaryland,CollegePark P.D.MAGNUS,UniversityatAlbany,StateUniversityofNewYork CHRISTYMAGUIDHIR,UniversityofHouston JOSEPHG.MOORE,AmherstCollege GUYROHRBAUGH,AuburnUniversity JACOBROSS,UniversityofSouthernCalifornia MARCUSROSSBERG,UniversityofConnecticut,Storrs Acknowledgements The idea for this volume grew out of a panel on the titular subject matter puttogetherbymyself, RoyT.CookandMarcusRossbergandpresented tothe2009AnnualMeetingoftheAmericanSocietyforAestheticsheldin Denver,Colorado.Icountmyselfstupendouslyluckytohavebeenableto amass such a Murderers’ Row of frighteningly talented philosophers to contribute to this volume; I am grateful to them all for their patience in working with a first-time editor. I’d also like to extend special thanks to Wylie Breckenridge for lending a critical eye, to L.A. Paul and Amie Thomasson for their words of encouragement and support, to Donald Baechler for so generously providing the fantastic cover image, and to Peter Momtchiloff for his tireless editorial assistance. Introduction: Art, Metaphysics, and the Paradox of Standards CHRISTY MAG UIDHIR* I think it safe to say that philosophical aesthetics has had a less than stellar record of its principal work being actively and substantively informed by work in philosophical areas outside itself.1 Although I’m not entirely sure what might fully explain the fact that aesthetics has for so long cultivated a disturbingly insular character (or at least why it has achieved such a reputation), I am quite certain that this protracted insularity has not only effectively hobbled progress and productivity within philosophy of art but also ostensibly poisoned any substantive and informative relationships aesthetics might cultivate with outside areas (further fueling moves toward insularity). Of course, while I may share—or at least regard as neither hasty nor terribly uncharitable—the view that aesthetics has to some extent heretofore been a comparatively dim, unproductive, and deleteriously insular area of philosophical enquiry, this should by no means suggest that I also share the sadly not altogether uncommon outside sentiment that * IwouldliketothankP.D.MagnusandL.A.Paulforhelpfulcommentsonearlierdrafts. 1 Afterall,oneneedn’tlooktoohardtofindastandardpositionwithinphilosophicalaestheticsthat runsdirectlycountertotherelevantstandard(ifnotreceived)positionsinsomeotherfield(e.g.dominant theories of art interpretation sharply diverging from the dominant theories of interpretation within philosophyoflanguage,well-establishedconceptualaccountsofartandtheaestheticbeingpredicated uponhighlycontroversialif notlargelydiscreditedtheoriesofconceptswithinphilosophyof mind, object-kinds considered standard for art ontology being conspicuously absent from and utter alien- looking within contemporary metaphysics). By contrast, consider the comparative ease in showing theprincipalworkwithinmeta-ethicsroutinelyandproductivelytoengagewith,andbeinformedby, areaswelloutsideitself(e.g.metaphysics,epistemology,philosophyofmindandlanguage,philosophy ofscience).
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