Art and Abstract Objects presents a lively philosophical exchange
between the philosophy of art and the core areas of philosophy. The
standard way of thinking about non-repeatable (single-instance)
artworks such as paintings, drawings, and non-cast sculpture is
that they are concrete (i.e., material, causally efficacious,
located in space and time). Da Vinci's Mona Lisa is currently
located in Paris. Richard Serra's Tilted Arc is 73 tonnes of solid
steel. Johannes Vermeer's The Concert was stolen in 1990 and
remains missing. Michaelangelo's David was attacked with a hammer
in 1991. By contrast, the standard way of thinking about repeatable
(multiple-instance) artworks such as novels, poems, plays, operas,
films, symphonies is that they must be abstract (i.e., immaterial,
causally inert, outside space-time): consider the current location
of Melville's Moby Dick, the weight of Yeats' "Sailing to
Byzantium", or how one might go about stealing Puccini's La Boheme
or vandalizing Mozart's Piano Concerto No. 9. Although novels,
poems, and symphonies may appear radically unlike stock abstract
objects such as numbers, sets, and propositions, most philosophers
of art think that for the basic intuitions, practices, and
conventions surrounding such works to be preserved, repeatable
artworks must be abstracta. This volume examines how philosophical
enquiry into art might itself productively inform or be
productively informed by enquiry into abstracta taking place within
not just metaphysics but also the philosophy of mathematics,
epistemology, philosophy of science, and philosophy of mind and
language. While the contributors chiefly focus on the relationship
between philosophy of art and contemporary metaphysics with respect
to the overlap issue of abstracta, they provide a methodological
blueprint from which scholars working both within and beyond
philosophy of art can begin building responsible, mutually
informative, and productive relationships between their respective
fields.
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