Vagueness and the Ontology of Art
Autor(a) principal: | |
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Data de Publicação: | 2013 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Cognitio (São Paulo. Online) |
Texto Completo: | https://revistas.pucsp.br/index.php/cognitiofilosofia/article/view/13607 |
Resumo: | Vagueness and the ontology of art are both thorny issues. Although a lot of original work has been conducted in the XXth century in the domain of the ontology of art, trying to clarify, the nature of a work of art, its conditions of identity and individuation, and the status of aesthetic properties, there has also been some suspicion about the relevance of such ontological reflexions which seem to take us too far away from aesthetic experiences, artistic practices and the works themselves. As far as vagueness is concerned, it is often viewed as a mere epistemic or semantic notion, and the claim that there might be vague objects, namely ontic vagueness, is very seldom taken as a serious option1 .However, if the apparent lack of boundaries, whatever its sources, is characteristic of vagueness, art would seem to be, prima facie, one of the domains that might be most hospitable to it. But if there are strong reasons against making sense of ontic vagueness, our prima facie intuitions may be just as hard to sustain here as anywhere else. Is there a way to avoid such conclusions? To view vagueness not only as an objective property but even as an irreducible constituent of reality, and as such, of the ontology of art itself? Following some original insights offered by Ch.S. Peirce, at the turn of the century, on the semiotic, epistemology and ontology of vagueness, I shall suggest that there is such a way, and that it may even help to favor some form of realism of vagueness in art. |
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Vagueness and the Ontology of ArtA Vagueza e a Ontologia da ArteVaguenessOntology of vaguenessArtRealismVaguezaOntologia da vaguezaArteRealismoVagueness and the ontology of art are both thorny issues. Although a lot of original work has been conducted in the XXth century in the domain of the ontology of art, trying to clarify, the nature of a work of art, its conditions of identity and individuation, and the status of aesthetic properties, there has also been some suspicion about the relevance of such ontological reflexions which seem to take us too far away from aesthetic experiences, artistic practices and the works themselves. As far as vagueness is concerned, it is often viewed as a mere epistemic or semantic notion, and the claim that there might be vague objects, namely ontic vagueness, is very seldom taken as a serious option1 .However, if the apparent lack of boundaries, whatever its sources, is characteristic of vagueness, art would seem to be, prima facie, one of the domains that might be most hospitable to it. But if there are strong reasons against making sense of ontic vagueness, our prima facie intuitions may be just as hard to sustain here as anywhere else. Is there a way to avoid such conclusions? To view vagueness not only as an objective property but even as an irreducible constituent of reality, and as such, of the ontology of art itself? Following some original insights offered by Ch.S. Peirce, at the turn of the century, on the semiotic, epistemology and ontology of vagueness, I shall suggest that there is such a way, and that it may even help to favor some form of realism of vagueness in art.A vagueza e a ontologia da arte são duas questões espinhosas. Embora muito trabalho original tenha sido conduzido no século XX no domínio da ontologia da arte, tentando esclarecer a natureza de uma obra de arte, suas condições de identidade e individuação e o estatuto de propriedades teóricas, também houve alguma suspeita sobre a relevância dessas reflexões ontológicas que parecem nos levar muito longe de experiências estéticas, práticas artísticas e das próprias obras. No que tange à vagueza, ela é com freqüência vista como uma mera noção semântica ou epistêmica, e a alegação de que poderia haver objetos vagos, nomeadamente, vagueza ôntica, é muito raramente considerada como uma opção séria.Entretanto, se a aparente falta de fronteiras, quaisquer que sejam suas fontes, é característica de vagueza, a arte pareceria ser, prima facie, um dos domínios que poderiam ser mais hospitaleiros à vagueza. Mas se há fortes razões contra fazer a vagueza ôntica ter sentido, nossas intuições prima facie podem ser tão dificilmente sustentáveis aqui quanto em qualquer outro lugar. Há uma maneira de evitar tais conclusões? Ver a vagueza não somente como uma propriedade objetiva, mas também como um constituinte irredutível da realidade e, como tal, da ontologia da própria arte? Seguindo alguns insights originais oferecidos por Ch.S. Peirce, na virada do século XIX para o XX, sobre a semiótica, a epistemologia e a ontologia da vagueza, sugerirei que esse caminho existe, e que ele pode até mesmo ajudar a favorecer alguma forma de realismo da vagueza na arte.Pontifícia Universidade Católica de São Paulo2013-02-08info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistas.pucsp.br/index.php/cognitiofilosofia/article/view/13607Cognitio: Revista de Filosofia; Vol. 6 No. 2 (2005); 221-253Cognitio: Revista de Filosofia; v. 6 n. 2 (2005); 221-2532316-52781518-7187reponame:Cognitio (São Paulo. Online)instname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPenghttps://revistas.pucsp.br/index.php/cognitiofilosofia/article/view/13607/10118Copyright (c) 2013 http://creativecommons.org/licenses/by/4.0/info:eu-repo/semantics/openAccessTiercelin, Claudine2024-07-01T13:09:36Zoai:ojs.pkp.sfu.ca:article/13607Revistahttps://revistas.pucsp.br/index.php/cognitiofilosofiaPRIhttps://revistas.pucsp.br/index.php/cognitiofilosofia/oairevcognitio@gmail.com2316-52781518-7187opendoar:2024-07-01T13:09:36Cognitio (São Paulo. Online) - Pontifícia Universidade Católica de São Paulo (PUC-SP)false |
dc.title.none.fl_str_mv |
Vagueness and the Ontology of Art A Vagueza e a Ontologia da Arte |
title |
Vagueness and the Ontology of Art |
spellingShingle |
Vagueness and the Ontology of Art Tiercelin, Claudine Vagueness Ontology of vagueness Art Realism Vagueza Ontologia da vagueza Arte Realismo |
title_short |
Vagueness and the Ontology of Art |
title_full |
Vagueness and the Ontology of Art |
title_fullStr |
Vagueness and the Ontology of Art |
title_full_unstemmed |
Vagueness and the Ontology of Art |
title_sort |
Vagueness and the Ontology of Art |
author |
Tiercelin, Claudine |
author_facet |
Tiercelin, Claudine |
author_role |
author |
dc.contributor.author.fl_str_mv |
Tiercelin, Claudine |
dc.subject.por.fl_str_mv |
Vagueness Ontology of vagueness Art Realism Vagueza Ontologia da vagueza Arte Realismo |
topic |
Vagueness Ontology of vagueness Art Realism Vagueza Ontologia da vagueza Arte Realismo |
description |
Vagueness and the ontology of art are both thorny issues. Although a lot of original work has been conducted in the XXth century in the domain of the ontology of art, trying to clarify, the nature of a work of art, its conditions of identity and individuation, and the status of aesthetic properties, there has also been some suspicion about the relevance of such ontological reflexions which seem to take us too far away from aesthetic experiences, artistic practices and the works themselves. As far as vagueness is concerned, it is often viewed as a mere epistemic or semantic notion, and the claim that there might be vague objects, namely ontic vagueness, is very seldom taken as a serious option1 .However, if the apparent lack of boundaries, whatever its sources, is characteristic of vagueness, art would seem to be, prima facie, one of the domains that might be most hospitable to it. But if there are strong reasons against making sense of ontic vagueness, our prima facie intuitions may be just as hard to sustain here as anywhere else. Is there a way to avoid such conclusions? To view vagueness not only as an objective property but even as an irreducible constituent of reality, and as such, of the ontology of art itself? Following some original insights offered by Ch.S. Peirce, at the turn of the century, on the semiotic, epistemology and ontology of vagueness, I shall suggest that there is such a way, and that it may even help to favor some form of realism of vagueness in art. |
publishDate |
2013 |
dc.date.none.fl_str_mv |
2013-02-08 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://revistas.pucsp.br/index.php/cognitiofilosofia/article/view/13607 |
url |
https://revistas.pucsp.br/index.php/cognitiofilosofia/article/view/13607 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
https://revistas.pucsp.br/index.php/cognitiofilosofia/article/view/13607/10118 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2013 http://creativecommons.org/licenses/by/4.0/ info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2013 http://creativecommons.org/licenses/by/4.0/ |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Pontifícia Universidade Católica de São Paulo |
publisher.none.fl_str_mv |
Pontifícia Universidade Católica de São Paulo |
dc.source.none.fl_str_mv |
Cognitio: Revista de Filosofia; Vol. 6 No. 2 (2005); 221-253 Cognitio: Revista de Filosofia; v. 6 n. 2 (2005); 221-253 2316-5278 1518-7187 reponame:Cognitio (São Paulo. Online) instname:Pontifícia Universidade Católica de São Paulo (PUC-SP) instacron:PUC_SP |
instname_str |
Pontifícia Universidade Católica de São Paulo (PUC-SP) |
instacron_str |
PUC_SP |
institution |
PUC_SP |
reponame_str |
Cognitio (São Paulo. Online) |
collection |
Cognitio (São Paulo. Online) |
repository.name.fl_str_mv |
Cognitio (São Paulo. Online) - Pontifícia Universidade Católica de São Paulo (PUC-SP) |
repository.mail.fl_str_mv |
revcognitio@gmail.com |
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1803387421285416960 |