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Tra il foglio vuoto e lo schermo

Type e token alla prova dell’arte post-mediale

Francesco Ragazzi    Università Ca’ Foscari Venezia, Italia; Paris 1 Panthéon-Sorbonne, France    

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abstract

What kind of entities are works of art from an ontological point of view? This question has become canonical in the framework of analytic philosophy. One way of answering the puzzle seemed to be conclusive. It is the hypothesis that all, or the majority of artworks can be identified with types embedded into tokens. To begin with, I will survey how the type-token distinction transitioned from semiotics to ontology. Secondly, I will consider how some contemporary art forms contributed to questioning this approach to the ontology of artworks. Lastly, I will suggest how the nature of types and tokens should be reassessed in order to properly describe artworks in their historical and socially construed nature.

Published
Dec. 22, 2020
Language
IT
ISBN (PRINT)
978-88-6969-463-9
ISBN (EBOOK)
978-88-6969-462-2

Keywords: Joseph MargolisRichard WollheimType-token distinctionArt ontologyArtie VierkantPost-media condition

Copyright: © 2020 Francesco Ragazzi. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.