期刊
PHILOSOPHICAL QUARTERLY
卷 72, 期 3, 页码 595-614出版社
OXFORD UNIV PRESS
DOI: 10.1093/pq/pqab055
关键词
ontology of art; metaontology; descriptivism; determination thesis; aesthetics
类别
资金
- Juan de la Cierva Fellowship of the Ministerio de Ciencia e Innovacion del Gobierno de Espana [FJC2019-041 091-I]
- University of Murcia [PID2019-106351GB-I00]
The paper criticizes the application of descriptivism in the metaontology of art, arguing that this approach is ungrounded due to the presupposition failure of the determination thesis it is based on. The author points out that descriptivism assumes the existence of a folk ontological conception of artworks, which is undermined by the evolution of artistic practices.
The determination thesis is the idea that art-ontological facts are determined by the folk ontological conception of artworks embedded in our artistic practices. From this thesis, descriptivism in the metaontology of art has been often characterized as the view that the task of art-ontology is to describe that folk conception. Amie Thomasson and Andrew Kania provide two paradigmatic accounts within this path. In this paper, I argue that this descriptivist approach is ungrounded because the determination thesis suffers from presupposition failure. It presupposes that, whenever there is a practice of producing and appreciating artworks, there is also a folk ontological conception about those artworks. This presupposition, an implicit premise in Thomasson's and Kania's accounts, will be revealed as false, paying attention to the way artistic practices have evolved. I will conclude that descriptivism should abandon this approach and embrace metaontological realism if it aims to be a plausible view.
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