This two‐part article examines the very limited engagement by philosophers with museums, and proposes analysis under six headings: cultural variety, taxonomy, and epistemology in Part I, and teleology, ethics, and therapeutics and aesthetics in Part II. The article establishes that fundamental categories of museums established in the 19th century – of art, of anthropology, of history, of natural history, of science and technology – still persist. Among them, it distinguishes between hegemonic (predominantly Western) and subaltern (minority or Indigenous) museums worldwide. (...) It argues that relations between hegemonic and subaltern museums are often agonistic, and are compromised by claims of universalism on the part of proponents of the former. The article observes that most discussion of museums focuses exclusively and misleadingly on their public exhibition function, and contends that scholarship – not exhibition – is central to all museums. However, that predominantly taxonomic scholarship, while innovative and central to a dominant epistemology based on the observation of tangible things in the 19th century, was compromised by the epistemic shift to abstraction and experimentation in the 20th, which resulted in a loss of initiative and authority. Although epistemological changes currently in progress favor a renewed attention to tangible things as complex matrices to which museums ought to contribute significantly, the fundamental taxonomy of museums by collection type is a clog on the ability of museum scholars to engage with and themselves produce big ideas. In order to function well as sites of scholarship in the future, museums will have to be far more adaptable and attentive to a wider range of things and ideas (including Indigenous ideas incompatible with Western assumptions) than their existing collection divisions permit. (shrink)

[ES] En este trabajo, ofreceré una reconstrucción sucinta de los argumentos sobre el significado de la noción de mundo del arte, así como de sus implicaciones en la ontología del arte. En primer lugar, describiré de manera esquemática los principios básicos de la noción de mundo del arte de Danto, y a partir de estos principios delinearé su influencia en la teoría institucional del arte de George Dickie. Sobre esta base, apoyado en la crítica al rol de la teoría en (...) estética de Morris Weitz, intentaré evidenciar las dificultades de lo que se ha dado en llamar la teoría institucional del arte al momento definir lo que es el arte. En la parte final del trabajo, presentaré algunas sugerencias que podrían tomarse en consideración al momento de abordar la relación entre el mundo del arte y la ontología del mundo del arte. [EN] In this paper, I will offer a succinct reconstruction of the arguments about the meaning of the notion of the world of art, as well as its implications in the ontology of art. First, I will outline the basic principles of Danto's notion of the art world, and from these principles I will outline its influence on George Dickie's institutional theory of art. On this basis, supported by Morris Weitz's critique to the role of the theory of aesthetics, I will try to highlight the difficulties of what has been called the institutional theory of art at the moment of defining what art is. In the final part of the paper, I will present some suggestions that could be taken into account when considering the relation between the world of art and the artworld ontology. (shrink)

Most philosophers of art assume that there are three categories with regard to arthood, namely ‘art’, ‘artful’ and ‘non-art’ and that, therefore, a definition must be able to account for ‘artful items’, also called ‘borderline cases of art’. This article, however, defends the thesis that, since there is no agreement over which items fall under the category ‘artful’, the ability to account for borderline cases of art should not be used as a criterion for evaluating definitions of art. The defended (...) thesis is important, not merely because it reveals that virtually all alleged descriptive definitions of art have strong recommendatory consequences, but also because the thesis has implications for the artefacts that are considered to be borderline cases of art. (shrink)

In this essay we introduce the idea of an epistemic triangle, with factual, theoretical, and conceptual investigations at its vertices, and argue that whereas scientific progress requires a balance among the three types of investigations, psychology's epistemic triangle is stretched disproportionately in the direction of factual investigations. Expressed by a variety of different problems, this unbalance may be created by a main operative theme—the obsession of psychology with a narrow and mechanical view of the scientific method and a misguided aversion (...) to conceptual inquiries. Hence, to redress psychology's epistemic triangle, a broader and more realistic conception of method is needed and, in particular, conceptual investigations must be promoted. Using examples from different research domains, we describe the nature of conceptual investigations, relate them to theoretical investigations, and illustrate their purposes, forms, and limitations. (shrink)

Bullot & Reber (B&R) put forth a design stance to fuse psychological and art historical accounts of visual thinking into a single theory. We argue that this aspect of their proposal needs further fine-tuning. Issues of transgression and coherence are necessary to provide stability to the design stance. We advocate looking to Art Education for such fundamentals of picture understanding.

Vilém Flusser introduces a Kulturrevolution produced by computers and by the universe of technical images, leading to a re-conceptualization of society and identity, thus producing a complex theory of the media. According to Flusser, communication always depends on the media and upon each medium’s own logic and ways of transmitting information. By changing the structure of the media, information also changes, and at the same time, the reality we experience. Flusser describes this communicational revolution starting from the proliferation of images (...) into multi-visual information. The collapse of texts and the hegemony of images, according to Flusser, led to a revolution of technical images, which no longer refer to an existing world, but to the concepts that we make. Technical images are born to rebuild guidance and a re-conquest of sense perception. The screen becomes the place, the skin in which the philosophy of feeling is currently developing. Through this new mirror-device, we have an aesthetic touch-screen that redefines our gestures. While McLuhan communicates, Flusser “envisions,” and Roy Ascott produces visions. Technologies and miniaturization invade the body inside and outside, thus bringing the digital world into the physical one, within and around us: ubiquitously. The new situation, beyond contemporary communication, is producing a new type of media: moist media. This advancing, post-digital mutations, imply a variable reality while our space-time dimension becomes an exciting constellation of Flusser's flows and movements. (shrink)