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1

METAESTETICKÉ RIEŠENIE SPORU KLASIFIKAČNÉHO A HODNOTIACEHO POJMU UMENIA U EDDYHO ZEMACHA

100%
Hrkút J.
Filozofia (Philosophy)
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2018
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vol. 73
|
issue 5
378 – 388
EN
In analytic aesthetics the discussion on the classification and evaluation of the term "art" was and still is alive. The article briefly introduces this tradition (analytic aesthetic framework), which has its roots in the reception of Wittgenstein's Philosophical Investigations and includes authors such as Moris Weitz and Frank Sibley. The later reflection of the first themes and approaches, also called meta-aesthetics, is a parallel project to other disciplines of post-analytical philosophy, e.g. meta-ethics. Further, the study examines Joseph Kosuth´s conceptualism which serves as an example of the challenges faced by the philosophy of art in the 60s and 70s of the twentieth century. The particular aim of the study is a closer analysis of the dispute between classifying and evaluating of the term "art". Here the key part is played by the contribution of the Israeli philosopher Eddy Zemach. His approach is considered to be a functionalist solution to the problem of defining art. This solution implies the impossibility of neither temporal nor logical separation of classification and evaluation.
2
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AKO NÁM V ONTOLÓGII UMENIA POMÔŽE ODLÍŠENIE DIELA A OBJEKTU? (LAMARQUE O FYZIKÁLNYCH A KULTÚRNYCH OBJEKTOCH)

86%
Hrkút J.
ESPES
|
2018
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vol. 7
|
issue 1
2 – 9
EN
Diverse and extended philosophical approaches to the art cover also the ontological questions. There are plenty authors who are doing their research to explore the question on the nature of the existence of works of art. What is challenging on the existence of works of art? Artworks are basically things, but necessarily artefact, products of human intentional activity. But from the other point of view, they are just objects, sometimes strange, sometimes old, but (physical) objects. Nobody denies particular function and value of artworks. Nevertheless, this function and value of artworks is hidden in very interesting way. Someone who is not familiar to the work could miss artistic meaning of the work at all. Therefore, we can argue there are not explicit artistic properties in art. On the other hand, physical configuration of the artwork-object offers magnificent and enormous source of meaning, pleasure and content. But there are no other properties then physical. So, philosophers of art should explain how artworks exist in contrary to the nature existence of others entities or artefacts. The text examines the hypothesis of the physical object and R. Wollheim's arguments against this hypothesis. He put the robust argumentation in his famous ‘Art and its objects’. But, the core of the article is the reconstruction of P. Lamarque's approach. Lamarque in his book ‘Art & Object’ distinguishes two elements: work and object. He considers this as a key to explain how works of art exist. The object is considered to be a medium, and work is entity depending on cultural and institutional contexts. Lamarque argues that art occurs where there is specific cultural and institutional background and understanding of objects as works of art. Pure existence of object (physically similar to artwork) does not guarantee existence of artworks. Surprisingly, identical entity could be and could not be artwork in the same time. The difference is in the presence of absence of appropriate cultural and institutional contexts.
3

P. F. STRAWSON AND STEPHEN DAVIES ON THE ONTOLOGY OF ART. A CRITICAL DISCUSSION

86%
Pettersson A.
Organon F. medzinárodný časopis pre analytickú filozofiu
|
2009
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vol. 16
|
issue 4
615-631
EN
P. F. Strawson's 'Individuals' (1959) contains a condensed version of the ontology of art. According to this ontology, musical and literary compositions are two similar types. They are abstract entities, instantiated in the performances of the piece of music or the copies of the literary work. Musical and literary compositions are 'well-entrenched', Strawson says - we cannot eliminate these abstractions, or perhaps we have no need to do so. Strawson's ontology of art forms an integral part of what he calls his 'descriptive metaphysics', and his resistance to the elimination of types and type-like entities is one example of his reservations against 'revisionary metaphysics'. Nowadays, Strawson's name is seldom mentioned in connection with the philosophy of art. Yet the general view of the ontology of art advocated in Individuals is still probably the one most widely held in analytical aesthetics today. Thus, for example, Stephen Davies adopts the same general position as Strawson in his article 'Ontology of Art' (2003), the best informed contemporary overview of the complex of problems surrounding the mode of existence of works of art. Unlike Strawson, Davies also adduces explicit reasons why concepts of musical and literary compositions cannot be successfully eliminated. Critically reviewing Strawson's and Davies' standpoints and arguments, the author maintains that concepts of artworks can in fact be successfully eliminated, and that the bracketing of such notions leads to a better theoretical perspective on musical and literary communication. Throughout the paper, he speaks for an open-minded approach to conceptual revision.
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