Artigos
¿Existen diferencias esenciales entre representaciones artísticas y científicas? Consecuencias para una teoría general de la representación científica
Publicado 2014-11-01
Este trabalho está licenciado sob uma licença Creative Commons Attribution-NonCommercial 4.0 International License.
Resumo
En este trabajo, partiendo de un experimento mental y de una exégesis del concepto de representación artística en la obra de Arthur Danto, mostraremos que hay serias dificultades para trazar una distinción de carácter esencialista entre representaciones artísticas y científicas. Negando la posibilidad de establecer dicha distinción y considerando la diferencia en cuestiones de uso y aplicación, cuestionaremos la necesidad de una teoría general de la representación científica y destacaremos, por el contrario, la importancia de la reflexión respecto de otros problemas asociados al uso de representaciones en la práctica científica, a saber, aquellos ligados con preguntas de carácter normativo.
Referências
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3. Callender, C. y Cohen, J. (2006), "There is no Special Problem about Scientific Representation", Theoria, 21 (55), pp. 67-85.
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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.
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.