Abstract

Whether we are philosophers or are members of the general public, during the course of our daily activities we sub-divide our phenomenological world and form categorial accounts of these experiences. The development of categorial ontologies, or sub-divisions of the most basic levels of our existence, has long been used to enable a clearer understanding of a specific domain of interest. Similarly, ontological scholarship has a long and distinguished history which continues to this day (see for example: Aristotle and Ackrill, 1975; Simons, 1987; Harte, 2002; Sider, 2005; Lowe, 2007; Chisholm, 2010; Poli and Seibt, 2010). Coffey (2016) provides an overall contemporary review of the use of ontologies by philosophers.

Highlights

  • By using the above mapping sentence, it is possible for an individual painting, drawing, sculpture, installation, piece of land art, etc., to be depicted in terms of its structuples

  • If the facets and elements that have been incorporated into the mapping sentence are both valid and comprehensively address the domain of abstract art this account will yield, through structuple combinations, a total definition of the phenomena of the abstract art object

  • It is important to note that the combination of pertinent characteristics of how we perceive and understand both two- and three-dimensional abstract art may suggest an overall framework for abstract art perception

Read more

Summary

Introduction

By using the above mapping sentence, it is possible for an individual painting, drawing, sculpture, installation, piece of land art, etc., to be depicted in terms of its structuples (profile of facets and its elements). If the facets and elements that have been incorporated into the mapping sentence are both valid and comprehensively address the domain of abstract art this account will yield, through structuple combinations, a total definition of the phenomena of the abstract art object. It is important to note that the combination of pertinent characteristics of how we perceive and understand both two- and three-dimensional abstract art may suggest an overall framework for abstract art perception.

Results
Conclusion
Full Text
Paper version not known

Talk to us

Join us for a 30 min session where you can share your feedback and ask us any queries you have

Schedule a call

Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.