Appearance and History: the Autographic/Allographic Distinction Revisited
British Journal of Aesthetics 58 (1):71-87 (2018)
Abstract
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 a work, thereby restating the autographic/allographic distinction. Then, I will show that this way of restating this distinction leads us to effective accounts of relevant related phenomena such as forgery, plagiarism, and digital technologies. Finally, I will show the theoretical advantages of my account of the autographic/allographic distinction in comparison with an alternative account recently proposed by Jason D’Cruz and P.D. Magnus.
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Archival date: 2019-01-06
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Дизайн онлайн-делиберации: Выбор, критерии и эмпирические данные.Todd Davies, Reid Chandler & Anatoly Kulik - 2013 - Политическая Наука 2013 (1):83-132.
Are Digital Images Allographic?Jason D'cruz & P. D. Magnus - 2014 - Journal of Aesthetics and Art Criticism 72 (4):417-427.
Enigmatic Variations.Davies, David
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2017-12-23
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14 ( #36,895 of 44,295 )
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