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  1. Appearance and History: The Autographic/Allographic Distinction Revisited.Enrico Terrone - 2018 - British Journal of Aesthetics 58 (1):71-87.
    Nelson Goodman notoriously distinguished between autographic works, whose instances should be identified by taking history of production into account, and allographic works, whose instances can be identified independently of history of production. Scholars such as Jerrold Levinson, Flint Schier, and Gregory Currie have criticized Goodman’s autographic/allographic distinction arguing that all works are such that their instances should be identified by taking history of production into account. I will address this objection by exploiting David Davies’ distinction between e-instances and p-instances of (...)
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  • Preserving the Autographic/Allographic Distinction.Jason D'Cruz & P. D. Magnus - 2015 - Journal of Aesthetics and Art Criticism 73 (4):453-457.
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  • Why Digital Pictures Are Not Notational Representations.John Zeimbekis - 2015 - Journal of Aesthetics and Art Criticism 73 (4):449-453.
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