Artworks versus designs

British Journal of Aesthetics

Volumn 41, Issue 2, 2001, Pages 162-177

  Dilworth, John ^a  

^a WESTERN MICHIGAN UNIVERSITY   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 63149163478     PISSN: 00070904     EISSN: None     Source Type: Journal    
DOI: 10.1093/bjaesthetics/41.2.162     Document Type: Article

References (16)

1. The locus classicus for a distinction of art from craft is R. G. Collingwood, The Principles of Art (New York: Oxford U.P., 1945).
2. There is a useful recent discussion of the distinction in M. A. Boden, 'Crafts, Perception, and the Possibilities of the Body', British Journal of Aesthetics, vol. 40 (2000), pp. 289-301.
3. Stephen Davies, in his book Definitions of Art (Ithaca: Cornell U.P., 1991), provides a useful overview of various positions on artefacts and artworks.
4. George Dickie, in his later works such as The Art Circle: A Theory of Art (New York: Haven, 1984), argues for this view.
5. For example, as in A. C. Danto, The Transfiguration of the Commonplace: A Philosophy of Art (Cambridge, MA: Harvard U.P., 1981).
6. Danto, The Transfiguration of the Commonplace, ch. 1.
7. For various criticisms of Danto's view see M. Rollins, Danto and His Critics (Oxford and Cambridge, MA: Blackwell, 1993).
8. Support for a 'type' view as applied to at least some works of art is provided by (among others) N. Carroll, A Philosophy of Mass Art (Oxford: Clarendon Press, 1998);
9. G. Currie, An Ontology of Art (Basingstoke: Macmillan, 1989);
10. J. Margolis, Art and Philosophy (Brighton: Harvester, 1980);
11. and R. Wollheim, Art and Its Objects: With Six Supplementary Essays, 2nd edn (Cambridge: Cambridge U.P., 1980).
12. S. Knapp and W. Michaels discuss a sand-configuration case in G. Iseminger (ed.), Intention and Interpretation (Philadelphia: Temple U.P., 1992), ch. 4.
13. For example in Dickie, The Art Circle, ch. 4.
14. In 'Art: Function or Procedure - Nature or Culture?', Journal of Aesthetics and Art Criticism, vol. 55 (1997), pp. 19-28, G. Dickie argues that both his theory, and that of Danto, are of such a procedural type.
15. Borges, 'Pierre Menard, Author of the Quixote', in J. L. Borges, Labyrinth (Harmondsworth: Penguin, 1985).
16. It should be noted that this kind of double artwork counter-example is potentially effective against any type-based theory of art, including sophisticated versions such as that of Jerrold Levinson as applied to music in his article 'What A Musical Work Is', in J. Levinson, Music, Art, and Metaphysics: Essays in Philosophical Aesthetics (Ithaca: Cornell U.P., 1990), in that double artwork counter-examples specifically undermine the type-based logical status of a theory, no matter how (otherwise) successfully any types in question might be characterized.