Tra il foglio vuoto e lo schermo

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Campo DC	Valore
dc.contributor.author	Ragazzi Francesco
dc.title	Tra il foglio vuoto e lo schermo
dc.type	Book Chapter
dc.language.iso	it
dc.description.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.
dc.relation.ispartof	Quaderni di Venezia Arti
dc.publisher	Edizioni Ca’ Foscari - Digital Publishing
dc.date.issued	2020-12-22
dc.dateAccepted	None
dc.dateSubmitted	None
dc.identifier.uri	http://doi.org/10.14277/978-88-6969-462-2/014
dc.identifier.issn	None
dc.identifier.eissn	0000-0000
dc.identifier.isbn	978-88-6969-463-9
dc.identifier.eisbn	978-88-6969-462-2
dc.rights	Creative Commons Attribution 4.0 International Public License
dc.rights.uri	http://creativecommons.org/licenses/by/4.0/
item.fulltext	with fulltext
item.grantfulltext	open
dc.subject	Art ontology
dc.subject	Type-token distinction
dc.subject	Post-media condition
dc.subject	Richard Wollheim
dc.subject	Joseph Margolis
dc.subject	Artie Vierkant

Chapter

Tra il foglio vuoto e lo schermo

Type e token alla prova dell’arte post-mediale

open access

Francesco Ragazzi Università Ca’ Foscari Venezia, Italia

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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.

keywords: Art ontology. Type-token distinction. Post-media condition. Richard Wollheim. Joseph Margolis. Artie Vierkant.

Language: it

Published: Dec. 22, 2020
permalink: http://doi.org/10.30687/978-88-6969-462-2/014

This work is licensed under a Creative Commons Attribution 4.0 International License