George Dickie’s institutional theory of art has been subject to extensive debate over the past 30 years. It has been both revered and deplored, garnering such attention for the seemingly controversial way in which Dickie answers the question, “What is art?” In Dickie’s view, an object derives its existence as a work of art in the context of the informal institution of the “artworld,” a concept which was borrowed from Arthur Danto’s earlier work on the theoretical context surrounding works of art. Another significant feature of Dickie’s institutional theory is that it provides a definition of art, a problem that philosophers of art have attempted to solve for the past few centuries. Dickie’s theory inclines one to dismiss other candidates for definitions as implausible, such as those put forth by R.G. Collingwood and Leo Tolstoy, since, as Dickie insists, an acceptable definition of art must be able to account for the many different kinds of practices that are all referred to as “art.” I do not wish to conclude that the task of defining “art” is no longer a viable option for philosophers, as others such as Morris Weitz and Peter Kivy have suggested. Instead, I will provide an alternative way of philosophizing about art that is similar in some ways and yet very different from the methods Weitz and Kivy have proposed. I will illuminate a new way of interpreting the theories of Collingwood, Tolstoy, and Danto which is different from those that have been proposed in the past, one that highlights their normative and institutional features. On the foundations of this new interpretation, I will propose a new role for the philosopher of art, one that takes into consideration the significance of the institutional structure of the artworld and how it can be normatively constrained. / Thesis (Master, Philosophy) -- Queen's University, 2007-09-24 12:31:06.391

This thesis is an analysis and synthesis of the geologic and archaeological history of the Dickie Carr site, 41PR26, on Mill Creek in north central Texas. Included are analyses of the stratigraphy, sedimentary environments, and soils of the locality. A regional comparison is made with respect to the Late Quaternary geology of the upper Trinity River basin, Texas to interpret the geologic data. Two stratigraphic units were identified that record the Pleistocene-Holocene transition. The buried lower unit is comprised of terrace, floodplain, and channel deposits with extensive pedogenesis. The unit is Late Pleistocene in age and contains the remains of Mammuthus columbi. The upper stratigraphic unit is comprised of terrace and floodplain sediments with well-expressed pedogenesis. The unit is Early Holocene in age with Late Paleoindian and Late Archaic occupations. The archaeological components are compared and contrasted with documented sites from the Elm and East Forks of the Trinity River. The occupations are examined in a geoarchaeological context. The Late Paleoindian occupation is post-depositional and located in terrace deposits. The Late Archaic occupation is syndepositional and located in floodplain deposits.

Thesis (M.S.)--University of North Texas, May, 2007. / Title from title page display. Includes bibliographical references.

Submitted by Maurílio Figueiredo (maurilioafigueiredo@yahoo.com.br) on 2013-02-26T20:55:07Z No. of bitstreams: 1 DISSERTAÇÃO_NaturezaInstitucionalArte.pdf: 545888 bytes, checksum: c26b3fc65deef0721dd9b94087cdfc96 (MD5) / Approved for entry into archive by Neide Nativa (neide@sisbin.ufop.br) on 2013-03-12T21:33:45Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO_NaturezaInstitucionalArte.pdf: 545888 bytes, checksum: c26b3fc65deef0721dd9b94087cdfc96 (MD5) / Made available in DSpace on 2013-03-12T21:33:45Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO_NaturezaInstitucionalArte.pdf: 545888 bytes, checksum: c26b3fc65deef0721dd9b94087cdfc96 (MD5) Previous issue date: 2012 / ABSTRACT: This research aims at the question "what is art?" and its possible developments in the production of contemporary philosophical analytical profile. To elaborate on this theme, we chose to separate the text into five distinct and complementary moments. The first is to present the problem of defining the nature of art, locating it historically and contextually, and linking it to our current art scene to facilitate its boundaries. The second phase aims to point out ways of identifying the nature of things and in this sense, which one would be more fruitful to investigate something like the art - so controversial in nature and plural. The third argues that George Dickie's institutional theory suggests a fruitful way and proper identification of what art is. His central thesis is that art can only be understood if understood within their own practice, always linked to a socio-cultural context. At this point, choose to work every aspect of this perspective in detail, including their objections. The fourth period covers the same author and his position on the value of art. In this case, experiments in the art to produce a value within the culture, and how such experiences can be measured through the qualities and elements of art works. The fifth and final moment brings a conclusion where it defines the extent to which Dickie perspective is relevant and where their vision is weak. In other words, our critique your perspective. / A presente pesquisa tem por objeto a questão “o que é arte?” e seus possíveis desdobramentos dentro da produção filosófica contemporânea de perfil analítico. Para dissertar sobre este tema, optou-se por separar o texto em cinco momentos distintos e complementares. O primeiro visa apresentar o problema sobre a definição da natureza da arte, localizando-o histórica e contextualmente, e vinculando-o ao nosso atual cenário artístico para facilitar sua delimitação. O segundo momento visa apontar caminhos de identificação da natureza das coisas e neste sentido, qual deles seria o mais fecundo para se investigar algo como a arte – de natureza tão controversa e plural. O terceiro defende que a teoria institucional de George Dickie indica um caminho fecundo e adequado de identificação daquilo que a arte é. Sua tese central é que a arte só pode ser compreendida se entendida dentro de sua própria prática, sempre vinculada a um contexto sociocultural. Neste ponto, escolhemos trabalhar cada aspecto desta perspectiva detalhadamente, incluindo suas objeções. O quarto momento aborda o mesmo autor e sua posição sobre o valor da arte. No caso, em a arte produzir experiências de valor dentro da cultura, e como tais experiências podem ser medidas através das qualidades e elementos das obras de arte. O quinto e último momento traz uma conclusão onde se delimita até que ponto a perspectiva de Dickie é pertinente e onde sua visão deixa a desejar. Ou seja, nossa crítica a sua perspectiva. ____________________________________________________________________________

Informe de Seminario para optar al grado de Licenciado en Filosofía

This master thesis "Perspectives of an Art Institution" focuses on the George Dickie's institutional theory of art (thereafter IT). This theory defines "work of art" as a result of the position of an artefact in the institutional framework of the artworld. The author of the thesis pays attention to the historical development of the IT- firstly published in 1969 in the article "Defining Art" and radically revisited in the book The Art Circle in 1984- as well as to the critical discussion based on Dickie's theory. In the first chapter she compares both the earlier and the later version of the theory; in following chapters she concerns with objections formulated against Dickie's IT. IT seems to be problematic in several aspects: the term "institution" is considered to be ambiguous; Dickie fails to give a full description of roles and rules which determine the operations of the artworld; the notion of appreciation seems to be contradictory with Dickie's opinions presented earlier; circularity; and Dickie's unsatisfactory attention to the historical dimension of the artworld. All of these objections are compared with Dickie's theory to prove their legitimacy or to refuse them as illegitimate. Not only aims the thesis to sum up the critical discussion but it aims to answer the question if the theory...

Denna uppsats handlar om namn och referens. Syftet är att jämföra Gareth Evans’ kausalteorimed Imogen Dickies. Efter en introduktion kommer jag att undersöka hur teorierna förklararhur en talare introduceras in i en namnanavändningspraxis, att objekt kan byta namn och attobjekt kan ha en oklar referens.Evans menar att egennamn får sin referens genom en grupp producenter för att sedananvändas i en namnanvändningspraxis i samhället. Producenterna är garanter för att namnetrefererar till objektet, eftersom de kan identifiera objektet såsom känt som NN. En gruppkonsumenter ansluter till producenternas namnanvändningspraxis, med avsikten att refereratill objektet som NN. Så länge som objektet är den dominanta källan till talarens tankar, hadedessa tankar objektet som sin referent.Dickie visar att Evans’ teori har svårt att förklara vissa exempel och föreslår en förbättradteori. Hon definierar principen om referens och berättigande, som, tillsammans med hjärnansbehov att representera, bildar en ram för referensfixering. Dickie identifierar tre grupper avnamnanvändare och visar att de fixerar sin referens på olika sätt. Producenterna genomutpekande, de parasitiska konsumenterna till vemhelst resten av gruppen talar om, och dedeltagande konsumenterna genom en försiktig upptagning av strömmar av vittnesbörd somsammanstrålar på objektet. Så länge som denna upptagning styrs av objektet, handlartrosuppfattningarna om objektet, och fixerar på så sätt referens.Jag hävdar att Dickies teori är en förbättring, även om det finns problem som behöver lösas. / This essay is about proper names and reference. Its purpose is to compare Gareth Evans’causal theory with Imogen Dickie’s theory of fixing reference. After an introduction, I willexamine how the theories deal with a speaker’s introduction into a proper-name-usingpractise, that objects can change their names and that an object can have an unclear reference.Evans claims that a proper name gets its reference to an object via a group of producers andthen it is used in a proper-name-using practise in the community. The producers guarantee thereference of the name to the object, because they can identify the object known as NN. Agroup of consumers picks up the name-using practise from the producers, with the intention torefer to the object as NN. As long as the object is the dominant source of the speaker’sthoughts, these thoughts have the object as their referent.Dickie shows that Evans’ theory has difficulties in explaining certain examples and proposesan improved theory. She defines the principle of reference and justification which, combinedwith the mind’s need to represent, gives a framework for reference-fixing. Dickie identifiesthree groups of name-users and shows that they fix their reference in different ways. Theproducers by demonstration, the parasitic consumers to whoever the rest of the group istalking about, and the participating consumers by a careful uptake from testimony streamsthat converge on the object. As long as this uptake is governed by the object, the body ofbeliefs is about the object, thus fixing reference.I argue that Dickie’s theory is an improvement, although there are some problems that need tobe resolved.

Arbetets ena syfte är att identifiera gatukonstnären Banksys stil och se vilka faktorer som kan lyftas fram som "Banksyska". Det andra syftet är att undersöka hur Banksy förhåller sig till begreppet "konstvärld" som teoretikerna Arthur Danto, George Dickie och Howard Becker talar om. Efter att ha observerat och granskat ett stort kvantitativt urval av Banksys gatukonstverk valdes ett antal verk ut, som sedan analyserades genom en semiotisk analysmetod. Genom de semiotiska analyserna och uttalanden från Banksy gick det att konstatera ett tydligt mönster av färgstarka, schablonmåleriska, ironiska, paradoxala och främmandegjorda bilder utifrån den auktoritära kontext som karaktärerna i bilderna brukar ses i. Det gick även att konstatera att Banksys relation till konstvärlden är paradoxal utifrån uttalanden och de semiotiska analyserna, då han påstår sig vara ointresserad av konstvärlden samtidigt som han deltar i den.

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寫作這篇論文的動機，是為了探討哲學家George Dickie的藝術制度理論(Dickie’s institutional theory of art)。在第一章中，回顧哲學家Arthur Danto與Morris Weitz的反本質主義(anti-essentialism)，及其如何影響Dickie藝術制度理論的發展，以及研究制度理論的重要性；第二章中，說明Dickie的藝術制度理論內容，並以實際的作品為例子講述藝術制度理論的應用；第三章至第四章中，整理反對藝術制度理論的數個哲學家(Jeffery Wieand, Robert Stecker, Stephen Davis, Richard Wollheim, Noël Carroll)的重要論點，並為Dickie的藝術制度理論辯護。最後第五章為結論，提出「藝術眼鏡」此一觀點用以修正藝術制度理論。 / The purpose of this paper is to investigate George Dickie’s institutional theory of art. I will first discuss Arthur Danto and Morris Weitz’s anti-essentialism, which is the groundwork for Dickie’s institutional theory of art. I will then discuss Dickie’s institutional theory of art, which has been developed as two versions. Both versions have been widely criticized. Stephen Davis argues that art created outside any institution seems possible, although Dickie’s institutional theory of art rules it out. Noël Carroll argues that Dickie’s definition of art is circular, and his institutional theory of art fails to distinguish art institutions from other social institutions. Jeffery Wieand argues that Dickie’s perceptually indistinguishable objects argument fails to show that his institutional theory of art is tenable. In this paper, I will argue that Dickie’s theory can be modified as “the glass theory of art.” If this is true, then these criticisms fail to undermine Dickie’s theory, and Dickie’s theory is still powerful.