Action, art, history : engagements with Arthur C. Danto by Daniel Herwitz, Michael Kelly PDF

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By Daniel Herwitz, Michael Kelly

ISBN-10: 0231510845

ISBN-13: 9780231510844

Arthur C. Danto is exclusive between philosophers for the breadth of his philosophical brain, his eloquent writing sort, and the beneficiant spirit embodied in all his paintings. Any selection of essays on his philosophy has to have interaction him on a majority of these degrees, simply because this can be how he has constantly engaged the area, as a thinker and person.

In this quantity, well known philosophers and paintings historians revisit Danto's theories of artwork, motion, and background, and the intensity of his innovation as a thinker of tradition. Essays discover the significance of Danto's philosophy and feedback for the modern artwork global, together with his theories of conception, motion, old wisdom, and, most significantly for Danto himself, the conceptual connections between those subject matters. Danto himself maintains the dialog by means of including his personal observation to every essay, extending the controversy with attribute perception, graciousness, and wit.

Contributors contain Frank Ankersmit, Hans Belting, Stanley Cavell, Donald Davidson, Lydia Goehr, Gregg Horowitz, Philip Kitcher, Daniel Immerwahr, Daniel Herwitz, and Michael Kelly, attesting to the far-reaching results of Danto's proposal. Danto delivered to philosophy the artist's unfettered mind's eye, and his rules approximately postmodern tradition are digital highway maps of the current paintings global. This quantity can pay tribute to either Danto's incredible ability to maneuver among philosophy and modern tradition and his pathbreaking achievements in philosophy, artwork historical past, and artwork feedback.

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Additional info for Action, art, history : engagements with Arthur C. Danto

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These constructions were read by Cage sitting before a table on the lit platform/stage of a dimmed Victorian quasiamphitheater with a balcony running through a full semicircle, the hall 34 STANLEY CAVELL seating better than a thousand people, reading from what I recall as an ordinary notebook in a clear, fluent, rather sing-song tenor voice, at a steady pace, never looking up from his text. I found myself charmed, my overall mood as of hovering in a sort of active peacefulness, freed from the demands either of sense or of silence, punctuated from time to time by the wonder whether something intelligible had found its way to speech, and more rarely, but striking with the force of revelation, by a completely pure, unmistakable sentence, after which I actively for a while held myself in readiness for another such incredible gift.

Philosophizing Art 77–78) Let’s remember that there was a further element often playing a role in the characteristic reception of each of these two shifts, or turns, namely the sense of the ending of something—in the case of art, of the end, or inertia, of painting; in the case of the work of Wittgenstein and of Austin, of the end of philosophy. I did not share this quite widespread feeling about 28 STANLEY CAVELL the significance of these philosophers, and if I did not find Danto’s articulation of the subsequent course of art perfectly satisfying, I was less satisfied by what various of his philosophical critics were saying in response.

Sosa is of course not the first artist to elevate, or sublate, and incorporate the debris or leavings of life into a work of art. ) Yet Thoreau’s text about Walden, which Sosa’s installation brought to mind, urges us to get rid of our debris, which he names dust, which for him includes the bulk of our possessions, on the ground that we fail to know what is of real interest and importance to us, what we live for. ” (sec. 118). His answer is, in effect, that whatever we, after him, seem to destroy was already of the value of dust.

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Action, art, history : engagements with Arthur C. Danto by Daniel Herwitz, Michael Kelly


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