Series | Quaderni di Venezia Arti
Edited book | Taking and Denying
Chapter | Tra il foglio vuoto e lo schermo
Tra il foglio vuoto e lo schermo
Type e token alla prova dell’arte post-mediale
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
Keywords Art ontology • Type-token distinction • Richard Wollheim • Artie Vierkant • Post-media condition • Joseph Margolis
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.
Permalink http://doi.org/10.30687/978-88-6969-462-2/014
