Arthur Danto is the Johnsonian Professor Emeritus of Philosophy at Columbia University and the most influential philosopher of art in the last half century. As an art critic for The Nation for 25 years and frequent contributor to other widely read outlets such as the New York Review of Books, Danto also has become one of the most respected public intellectuals of his generation. He is the author of some two dozen important books, along with hundreds of articles and (...) reviews which have been the center of both controversy and discussion. In this volume Danto offers his intellectual autobiography and responds to essays by 27 of the keenest critics of his thought from the worlds of philosophy and the arts. The book includes 16 pages of color art reproductions. Danto is the author dozens of books on art, philosophy, the philosophy of art, and art criticism. He is a rare philosopher who is also a public intellectual. (shrink)

Those rights are human rights which, in Professor Gewirth's phrase, “all persons equally have simply insofar as they are human.” His task is to demonstrate that there are human rights, and to demonstrate that such demonstration is necessary to the very existence of these rights. “That human rights exist…is a proposition whose truth depends upon the possibility, in principle, of constructing a body of moral justificatory argument from which that proposition follows as a logical consequence.” As philosophers we should no (...) doubt like to be able to prove the existence of human rights – prove that there are such rights in the event that the fool shall have said in his heart that there are none, even using his folly against him by showing his denial to entail its denial – but it is a bold claim that rights are things whose esse est demonstrari. (shrink)

Now in its third edition, _Narration and Knowledge_ is a classic work exploring the nature of historical knowledge and its reliance on narrative. Analytical philosopher Arthur C. Danto introduces the concept of "narrative sentences," in which an event is described with reference to later events and discusses why such sentences cannot be understood until the later event happens. Danto compares narrative and scientific explanation and explores the legitimacy of historical laws. He also argues that history is an autonomous and (...) humanist discipline incapable of being reduced to scientific descriptions. Lydia Goehr's new introduction illustrates Danto's main arguments by questioning her very role, first, as an introducer of a book that has not yet been read by readers and, second, as an interpreter of a book written forty years ago. Frank Ankersmit's conclusion revisits the initial impact of the publication of _Narration and Knowledge_ and considers its enduring legacy. (shrink)

_A lively meditation on the nature of art by one of America's most celebrated art critics_ What is it to be a work of art? Renowned author and critic Arthur C. Danto addresses this fundamental, complex question. Part philosophical monograph and part memoiristic meditation, _What Art Is _challenges the popular interpretation that art is an indefinable concept, instead bringing to light the properties that constitute universal meaning. Danto argues that despite varied approaches, a work of art is always defined (...) by two essential criteria: meaning and embodiment, as well as one additional criterion contributed by the viewer: interpretation. Danto crafts his argument in an accessible manner that engages with both philosophy and art across genres and eras, beginning with Plato’s definition of art in _The Republic_, and continuing through the progress of art as a series of discoveries, including such innovations as perspective, chiaroscuro, and physiognomy. Danto concludes with a fascinating discussion of Andy Warhol’s famous shipping cartons, which are visually indistinguishable from the everyday objects they represent. Throughout, Danto considers the contributions of philosophers including Descartes, Kant, and Hegel, and artists from Michelangelo and Poussin to Duchamp and Warhol, in this far-reaching examination of the interconnectivity and universality of aesthetic production. (shrink)

One of the most extensive yet least conclusive methodological debates within religious studies revolves around the question of what, precisely, the phenomenology of religion is and what contribution it can make to the study of religion. I do not intend to answer this important question here. To do so satisfactorily would require a range of historical, philosophical and methodological inquiry which would go quite beyond the bounds of a single article. My intention in this paper is, by comparison, unambitious. It (...) is to take one view of what phenomenology of religion is and to consider an area outside that usually explored by students of religion which can, nonetheless, shed some light on how religions might be studied in a way which is in accordance with the phenomenology of religion so understood. What follows will offer an answer to the question of what contribution one particular understanding of phenomenology might make to the study of religion, but no attempt will be made to establish whether or not this particular understanding ought to be regarded as normative. (shrink)

A study of the philosophical problems associated with the concept of action. Professor Danto is concerned to isolate logically the notion of a 'basic action' and to examine the way in which context and intention, for example, can convert physiological movements into significant actions. He finds many suggestive parallels between the concepts - the logical architecture - of action and cognition and in developing this theme he becomes involved in and proposes new approaches to various long-standing problems connected with causality, (...) determinism and materialism. As in his earlier books, Analytical Philosophy of History and Analytical Philosophy of Knowledge, Professor Danto places the discussion in a broad historical and philosophical perspective and brings to it a wide reading and an unusual range of interests. He is always prepared to venture novel ideas to stimulate further debate and research and the book as a whole is presented as an original contribution to a subject which is attracting increasing attention from philosophers and from psychologists with an interest in the conceptual assumptions behind their work. (shrink)

Danto reageert op het essay van Jean Clair uit Nexus 27 en op zijn typering van de hedendaagse kunst als die van 'afschuw en walging'; Danto plaatst deze walging tegenover het begrip smaak. Hij gaat in op Clairs oordeel dat Duchamp meer dan wie ook het walgelijke in het hedendaagse artistieke repertoire binnenleidde.

From the 1990s until just before his death, the legendary art critic and philosopher Arthur C. Danto carried out extended conversations about contemporary art with the prominent Italian critic Demetrio Paparoni. Their discussions ranged widely over a vast range of topics, from American pop art and minimalism to abstraction and appropriationism. Yet they continually returned to the concepts at the core of Danto’s thinking—posthistory and the end of aesthetics—provocative notions that to this day shape questions about the meaning and (...) future of contemporary art. Art and Posthistory presents these rich dialogues and correspondence, testifying to the ongoing importance of Danto’s ideas. It offers readers the opportunity to experience the intellectual excitement of Danto in person, speculating in a freewheeling yet erudite style. Danto and Paparoni discuss figures such as Andy Warhol, Marcel Duchamp, Franz Kline, Sean Scully, Clement Greenberg, Cindy Sherman, and Wang Guangyi, offering both insightful comments on individual works and sweeping observations about wider issues. On occasion, the artist Mimmo Paladino and the philosopher Mario Perniola join the conversation, enlivening the discussion and adding their own perspectives. The book also features an introductory essay by Paparoni that provides lucid analysis of Danto’s thinking, emphasizing where the two disagree as well as what they learned from each other. (shrink)

Block’s, 5–43 1981) anti-behaviourist attack of the Turing Test not only illustrates that the test is a non-sufficient criterion for attributing thought; I suggest that it also exemplifies the limiting case of the more general concern that a machine which has access to enormous amounts of data can pass the Turing Test by simple symbol-manipulation techniques. If the answers to a human interrogator are entailed by the machines’ data, the Turing Test offers no clear criterion to distinguish between a thinking (...) machine and a machine that merely manipulates representations of words and sentences as it is found in contemporary Natural Language Processing models. This paper argues that properties about vagueness are accessible to any human-like thinker but do not normally display themselves in ordinary language use. Therefore, a machine that merely performs simple symbol manipulation from large amounts of previously acquired data – where this body of data does not contain facts about vagueness – will not be able to report on these properties. Conversely, a machine that has the capacity to think would be able to report on these properties. I argue that we can exploit this fact to establish a sufficient criterion of thought. The criterion is a specification of some of the questions that, as I explain, should be asked by the interrogator in a Turing Test situation. (shrink)

The proposed multilevel framework of discourse comprehension includes the surface code, the textbase, the situation model, the genre and rhetorical structure, and the pragmatic communication level. We describe these five levels when comprehension succeeds and also when there are communication misalignments and comprehension breakdowns. A computer tool has been developed, called Coh-Metrix, that scales discourse (oral or print) on dozens of measures associated with the first four discourse levels. The measurement of these levels with an automated tool helps researchers track (...) and better understand multilevel discourse comprehension. Two sets of analyses illustrate the utility of Coh-Metrix in discourse theory and educational practice. First, Coh-Metrix was used to measure the cohesion of the text base and situation model, as well as potential extraneous variables, in a sample of published studies that manipulated text cohesion. This analysis helped us better understand what was precisely manipulated in these studies and the implications for discourse comprehension mechanisms. Second, Coh-Metrix analyses are reported for samples of narrative and science texts in order to advance the argument that traditional text difficulty measures are limited because they fail to accommodate most of the levels of the multilevel discourse comprehension framework. (shrink)

Ordinary objects are experienced to endure over space and time, to not be collocated with each other, to be composed of proper parts, and to survive the loss of some of their parts. These qualities are on the one hand difficult to reconcile for theorists of perception and on the other hand pose a variety of problems when considered in isolation. Relying on the theoretical framework of predictive processing, this paper argues that we can use the category of a robust (...) predictive process to conceptualize qualities such as persistence and compositionality in a unified manner. Traditional problems concerning the structural properties of ordinary objects, such as the question of when two objects compose, can then be reformulated using this new category. (shrink)

Zygon®, Volume 57, Issue 2, Page 297-298, June 2022.

Zygon®, Volume 57, Issue 1, Page 3-4, March 2022.

Zygon®, Volume 57, Issue 3, Page 523-524, September 2022.

In this acclaimed work, first published in 1986, world-renowned scholar Arthur C. Danto explored the inextricably linked but often misunderstood relationship between art and philosophy. In light of the book's impact -- especially the essay "The End of Art," which dramatically announced that art ended in the 1960s -- this enhanced edition includes a foreword by Jonathan Gilmore that discusses how scholarship has changed in response to it. Complete with a new bibliography of work on and influenced by Danto's (...) ideas, _The Philosophical Disenfranchisement of Art_ continues to be of interest to anyone who thinks seriously about art, as well as to philosophers, aestheticians, and art historians. (shrink)

L’estetica classica - quella di Kant, e di Greenberg che considera la bellezza come un misto di piacere, disinteresse, contemplazione e universalità - ha scarsa applicazione nell’ambito dell’arte contemporanea. Questo non vuol dire non vi trovi applicazione l’estetica intesa in un senso più ampio. Qualità come la tetraggine, la rozzezza, la lucentezza ecc. si collocano all’interno dell’ampio raggio delle qualità estetiche che nel contesto contemporaneo hanno rilevanza, così come molte altre q...

Al eerder stelde filosoof en kunstkenner Arthur Danto vast dat de kunst ten einde is gekomen in onze tijd. Alles kan nu een kunstwerk zijn, en in deze openheid en onbepaaldheid is geen plaats meer voor grote verhalen. Het einde van de kunst is dus ook het einde van grootheid. Toch wordt er ook na dat einde kunst gemaakt, en ontstaat er ook nog altijd grote kunst. Sterker nog: grootheid, als 'absolute geest', is volgens Danto de essentie van kunst. (...) Juist in onze tijd vindt die geniale geest zijn expressie in een veelheid aan vormen. (shrink)

Philosophers acquired their designation in ancient times, in consequence of a becoming modesty. Philosophers love cleverness, acuity, fertility in inventing novel arguments, and ingenuity in finding surprising counter‐examples. The great virtues of clarity, concision, and coherence have immunized the profession against the stylistic barbarity of Continental philosophy, which has had a disastrous effect, especially on academic culture, severely limiting the ability of those with advanced education to contribute to the intellectual needs of our society. Wittgenstein felt that no philosophical problem (...) could be solved but only dissolved, since no such problem is real, philosophy in his view being nonsense through and through. An artist, whose project is painting portraits of art‐world figures as famous works of art, has painted a portrait of the author as a bust of Socrates. (shrink)