By Daniel Herwitz, Michael Kelly
Arthur C. Danto is exclusive between philosophers for the breadth of his philosophical brain, his eloquent writing kind, and the beneficiant spirit embodied in all his paintings. Any number of essays on his philosophy has to interact him on a majority of these degrees, simply because this can be how he has continually engaged the area, as a thinker and person.
In this quantity, well known philosophers and artwork historians revisit Danto's theories of paintings, motion, and historical past, 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 international, together with his theories of conception, motion, ancient wisdom, and, most significantly for Danto himself, the conceptual connections between those themes. Danto himself maintains the dialog through including his personal remark 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 inspiration. Danto dropped at philosophy the artist's unfettered mind's eye, and his rules approximately postmodern tradition are digital highway maps of the current paintings international. This quantity can pay tribute to either Danto's outstanding ability to maneuver among philosophy and modern tradition and his pathbreaking achievements in philosophy, paintings heritage, and artwork feedback.
Read or Download Action, art, history : engagements with Arthur C. Danto PDF
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Extra info for Action, art, history : engagements with Arthur C. Danto
I became obsessed with questions that objections against basic sentences on antiformalistic grounds never dealt with. I supposed there is a normal repertoire of modes of cognitive access to the world, viz “the ﬁve senses”—natural cognitive gifts most of us are born with. There are negative abnormalities—cognitive deﬁcits, like blindness or deafness. And there are positive abnormalities—cognitive gifts, whereby someone knows immediately and, as we say, intuitively, what others at best can eke out indirectly.
That makes it all the more interesting that we should have turned out so differently. I think 38 STANLEY CAVELL the history that we shared is rather richer than his sparse narrative of actual crossed paths, but even so it remains more a history of perceived philosophical otherness than of actual encounters. It underwrites William James’s wry observation that philosophers must travel in herds of one, like the rhinoceros. The otherness tinges even the episodes we shared. I cherish the memory of that bright afternoon near Walden Pond when, for an improbable moment, Stanley, Sidney Morgenbesser, and I played ourselves in a scene for what proved to be the only feature-length ﬁlm in the tragically brief career of the ﬁlmmaker, David Brooks, who was regarded, I have been told by Larry Kardash—curator of ﬁlms for the Museum of Modern Art—as the rising star of the underground ﬁlm movement of the 1960s.
Stanley doubtless saw the ﬁlm through the perspective of Hollywood movies, for which he has an understandable passion. My perspective was more sympathetic. It is important that the “three men” were philosophers, and that, while playing kick-thecan, they are continuing the argument they had been engaged in when they picked up the hitchhiker. And it is important that the world of the philosophers is in monochrome. Hegel had spoken of philosophy “painting CROSSING PATHS 39 its gray in gray,” but “red in red” was even better for the artistic purposes of David Brooks’s ﬁlm.