Articles
Are there any Essential Differences amongst Artistic and Scientific Representations? Consequences for a General Theory of Scientific Representation
Published 2014-11-01
Keywords
- Representación cientÃfica,
- Representación artÃstica,
- Modelos cientÃficos,
- Arthur Danto,
- Estatus ontológico de las representaciones
- Scientific representation,
- Artistic representation,
- Scientific models,
- Arthur Danto,
- Ontological Status of representations
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Abstract
The goal of this paper is to show, by means of a thought experiment, and of the explication of the concept of artistic representation in the work of Arthur Danto, that there are important difficulties to provide an essentialist distinction among artistic and scientific representations. As a consequence of this, I will challenge the view according to which there is a need of providing a general theory of scientific representation. I will claim, though, that there is the need to focus on the normative side of scientific representation, that related to the use of representations in the context of scientific practice.
References
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17. Kretzenbacher, H. (1995), "Wie durchsichtig ist die Sprache der Wissenschaft?", en Kretzenbacher, H. y Weinrich, H. (eds.), Linguistik der Wissenschaftssprache, Berlín, de Gruyter, pp. 15-40.
18. Kretzenbacher, H. y Weinrich, H. (eds.) (1995), Linguistik der Wissenschaftssprache, Berlín, de Gruyter.
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24. Suárez, M. (2003), "Scientific Representation: Against Similarity and Isomorphism", International Studies in the Philosophy of Science, 17 (3), pp. 226-244.
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27. Updike, J. (1963), Telephone Poles and Other Poems, Nueva York, Knopf.
2. Balzer, W., Moulines, U. y Sneed, J. (1947), An Architectonic for Science: The Structuralist Program, Dordretch, Reidel.
3. Callender, C. y Cohen, J. (2006), "There is no Special Problem about Scientific Representation", Theoria, 21 (55), pp. 67-85.
4. Carroll, N. (1990), "Review of The Transfiguration of the Commonplace, The Philosophical Disenfranchisement of Art, The State of Art", History and Theory, 29 (1), pp. 111-124.
5. Collins, H. (1985), Changing Order: Replication and Induction in Scientific Practice, Chicago, University of Chicago Press.
6. Danto, A. (1981/2004), La transfiguración del lugar común: Una filosofía del arte, Barcelona, Paidós.
7. Danto, A. (2007), "Embodied Meanings, Isotypes, and Aesthetical Ideas", Journal of Aesthetics and Art Criticism, 65 (1), pp. 121-129.
8. French, S. (2003), "A model-Theoretic Account of Representation (or I don't Know Much about Art, but I Know It Involves Isomorphism)", Philosophy of Science, 70, pp. 1472-1483.
9. Giere, R. (1988), Explaining Science: A Cognitive Approach, Chicago, University of Chicago Press.
10. Goodman, N. (1968/1976), Los lenguajes del Arte: Aproximación a la teoría de los símbolos, Barcelona, Seix Barral.
11. Hughes, R. (1997), "Models and Representation", Philosophy of Science, 64, s325-s336.
12. Irvin, S. (2007), "Are Artworks Constituted by Interpretation?", First Online Conference in Aesthetics. Recuperado de http://artmind. typepad.com/onlineconference/schedule/index.html (09-09-2008).
13. Kelly, M. (1998), "Essentialism and Historicism in Danto's Philosophy of Art", History and Theory, 37 (4), pp. 30-43.
14. Kelly, M. (2007), "Making a Brillo box red, white and blue is Easy, Making it an Artwork isn't", First Online Conference in Aesthetics. Recuperado de http://artmind.typepad.com/onlineconference/ schedule/index.html (09-09-2008).
15. Kennick, W. (1958), "Does Traditional Aesthetics rest on a mistake?", Mind, 67, pp. 317-334.
16. Koestler, A. (1959), The Sleepwalkers: A History of Man´s Changing Vision of the Universe, Londres, Penguin.
17. Kretzenbacher, H. (1995), "Wie durchsichtig ist die Sprache der Wissenschaft?", en Kretzenbacher, H. y Weinrich, H. (eds.), Linguistik der Wissenschaftssprache, Berlín, de Gruyter, pp. 15-40.
18. Kretzenbacher, H. y Weinrich, H. (eds.) (1995), Linguistik der Wissenschaftssprache, Berlín, de Gruyter.
19. Llatour, B. y Woolgar, S. (1979), Laboratory Life: The Social Construction of Scientific Facts, Beverly Hills, Sage.
20. Loran, E. (1943), Cezanne's Composition, Analysis of his Forms with Diagrams and Photographs of his Motifs, California, University of California Press.
21. Pauli, W. (1994), Writings on Physics and Philosophy, Enz, C.P. y von Meyenn, K. (eds.), Berlín, Springer.
22. Platón, República. [Reeve, C. D. C. (2004), Plato: Republic, Indianapolis, Hackett.]
23. Stecker, R. (2007), "Danto on Interpretation and Ontology of Art", First Online Conference in Aesthetics. Recuperado de http://artmind. typepad.com/onlineconference/schedule/index.html (09-09-2008).
24. Suárez, M. (2003), "Scientific Representation: Against Similarity and Isomorphism", International Studies in the Philosophy of Science, 17 (3), pp. 226-244.
25. Suárez, M. (2004), "An Inferential Conception of Scientific Representation", Philosophy of Science, 71, pp. 767-779.
26. Tozzi, V. (2009), "Danto y la definición esencialista del arte. ¿Una alternativa pluralista a los 'parecidos de familia'?", en Quintanilla, P., Ensayos sobre Metafilosofía, Lima, Fondo Editorial de la Pontificia Universidad Católica del Perú.
27. Updike, J. (1963), Telephone Poles and Other Poems, Nueva York, Knopf.