Thomas Adajian

It has been claimed that the prototype theory of concepts supports two controversial claims in the philosophy of art: that art cannot be defined, and that the possession of a certain sort of historical narrative is a sufficient but not necessary means of determining the art status of contested works. It is argued here that two sorts of considerations undermine the thesis that prototype theory offers significant support to anti-definitionism and historical narrativism. First, there is reason to think that prototype theory is as a psychological theory not the sort of view that can support philosophical theories like anti-definitionism and historical narrativism. Second, well-known objections and theoretical alternatives to prototype theory theory raise serious questions about that theory’s own credentials.

The definition of art is controversial in contemporary philosophy. Whether art can be defined has also been a matter of controversy. The philosophical usefulness of a definition of art has also been debated. Contemporary definitions can be classified with respect to the dimensions of art they emphasize. One distinctively modern, conventionalist, sort of definition focuses on art’s institutional features, emphasizing the way art changes over time, modern works that appear to break radically with all traditional art, the relational properties of artworks that depend on works’ relations to art history, art genres, etc. – more broadly, on the undeniable heterogeneity of the class of artworks. The more traditional, less conventionalist sort of definition defended in contemporary philosophy makes use of a broader, more traditional concept of aesthetic properties that includes more than art-relational ones, and puts more emphasis on art’s pan-cultural and trans-historical characteristics – in sum, on commonalities across the class of artworks. Hybrid definitions aim to do justice to both the traditional aesthetic dimension as well as to the institutional and art-historical dimensions of art, while privileging neither.

The cluster account of art is a purportedly non-definitional account of art, inspired by Wittgenstein's notion of family resemblance, and recently defended by Berys Gaut. Gaut does not provide good reasons to think that art is not definable, and his approach to possible counterexamples to the cluster account would, applied consistently, preclude this. The cluster account's theory of error, its resources for accounting for borderline cases, and its heuristic usefulness are not impressive. Reasons strong enough to warrant accepting the cluster account, it is concluded, have not been given

The question of how to demarcate science from pseudo-science commands relatively little attention today. In the philosophy of logic, by contrast, the problem of demarcating the logical constants is less skeptically regarded. In aesthetics, where the problem is how to demarcate art from non-art, the question as to whether the problem is a real one or a pseudo-problem also continues to be debated. This paper discusses the hypothesis that the demarcation questions in these three areas are parallel, or at least similar enough to be interesting. Some arguments for the conclusion that the demarcation problem is a pseudo-problem are considered, as are some demarcation proposals of a deflationist or minimalist sort. All are found wanting.

Vagueness has gotten some attention in aesthetics, but deserves more. Vagueness is universally acknowledged to be ubiquitous. It has played a substantive role in some recent writing on the definition of art. It has figured importantly in analyses of the concept of literature, and (in connection with a thought experiment of Arthur Danto’s), of the ontology of art. Vagueness was a locus of contention in a debate between Alan Goldman and Eddy Zemach about the reality of aesthetic properties. This paper’s aim is to advance that debate, by focusing on the relevance of vagueness to the familiar argument that moves from premises about aesthetic disagreement to the conclusion that aesthetic properties are not real. In what follows, it is argued that, vis-á-vis aesthetic disagreement, the vagueness of aesthetic properties can do important theoretical work for aesthetic realism