The Work of Art and Its General Relations

Author(s): Stephen David Ross

Source: The Journal of Aesthetics and Art Criticism, Vol. 38, No. 4 (Summer, 1980), pp.
427-434
Published by: Wiley on behalf of The American Society for Aesthetics
Stable URL: https://www.jstor.org/stable/430324
Accessed: 19-06-2023 02:41 +00:00

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 STEPHEN DAVID ROSS

The Work of Art and Its

General Relations

MANY THEORIES of art emphasize the singu- terplay among the components of a work of
larity and sovereignty of individual works, art; and type-token relations among those
while a common appreciative and critical components. The two concepts are closely
response to such works looks to their gen- related. I will trace a few implications of
eral significations: reflections on the human my analysis for an understanding of genre
condition, the meaning of life, the richness and style. The main thrust of my analy-
or impoverishment of human experience. In sis is to demonstrate that the interplay of
addition, works of art conform to common uniqueness and generality in works of art
styles and genres, and such commonality fre- is relevant to all forms of analysis and ap-
quently enhances the values of the individ- preciation.
ual works. The subject is confused even Three major traditions in the theory of
more by theories which emphasize the the- art may be characterized as: immediacy of
matic nature of art: archetypal and symbolic apprehension; symbolic expression; unity in
theories. Too strong an emphasis on the sin-multiety. Two are faced with insuperable
gularity of the work cuts it off from thedifficulties in dealing with the phenomenon
larger range of human significations. Too considered here. The passage from the sin-
strong an emphasis on the general qualities gularity of a work to its general significance
of human experience diminishes the unique- within experience is difficult to understand
ness of the individual work. where immediacy and intuition are empha-
The natural conclusion is that works of sized. The uniqueness and sovereignty of a
art are valuable both for what they signify, work are difficult to explain where every
portray, or express of general importance work is viewed as a representative of a gen-
within life and experience and in their sin- eral archetype or principle. The conclusion
gular and unique characters. I will argueis that some-not all-of the central values
of art must be understood in terms of an
that in order to achieve artistic value, a work
must be apprehended at once in terms of interplay between unity and plurality. The
its sovereign uniqueness and in terms of first
its two views of art are therefore of limited
general relations. generality.
The joint relevance of singularity and The notion of interplay has been impor-
generality in works of art is a primary tant for the theory of art, and has been given
datum which I will discuss in terms of a
a variety of incomplete-sometimes unintel-
variety of arts and works. I will interpret
ligible-forms. An obvious precursor is Cole-
it in terms of two general concepts: an in- theory of "unity in multiety" with
ridge's
its forebears in Schelling and its descendants
STEPHEN DAVID ROSS is professor of philosophy at in Richards and Empson.' Coleridge seems
State University of New York, Binghamton. to emphasize the resulting unity, but in

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 428 ROSS

practice, the notion of multiety mediatelyis or

central.
intuitively: the visible influ-
An indefinite plurality of components ex-
ence of colors at their boundary. In addition,
presses multiety, each in relation to other the influence manifests important general
components and the work as a whole. A qualities of vision and perception. There
second precursor is Whitehead's notion of are elements here of both immediate appre-
contrast, upon which he grounds his theory hension and symbolic expression. But both
of beauty: "a synthesis (which) in its com- are now components of an interplay of fields
pleteness expresses the joint particularities of vision which interact idiosyncratically in
of that pair of relata, and can relate no oth- the work-those fields in that interaction.
ers."2 Again there is multiplicity in unity. The difficulty with such a concept is that
but the emphasis is on the particularities of no single mode of analysis is appropriate of
the unified relata. Peirce's triadic theory ofcomponents in interplay. The concept resists
signs might also be mentioned, but with formalization and verification. Yet this may
major qualifications.3 The point in all these be appropriate where art is concerned: art
cases is that what is relevant in a work of is neither entirely rule-governed nor intel-
art must be understood both in its own ligible in conceptual terms alone. Neverthe-
terms and in terms of its relations with other less, the concept of interplay emphasizes
components within the work and their sig-some striking forms of intelligibility appro-
nificance for human life and the nature of priate to critical analysis. Both the multi-
things. plicity of components and the multiplicity
The essential properties of an artistic in- of their interrelations must be understood.
terplay or contrast are: If emphasis is placed on unity, as in appre-
hension of feeling, it tends toward obscurity
a. that components in interplay interact and en- and implausibility. In practice, unity is as
gender something more than their mere sum or
analyzable as multiety-and is in fact a type
aggregation;
of multiplicity when understood as inter-
b. that components in interplay are not dissolved relation: the components of a work of art
into the unity of their interaction, but must be
understood in their own terms; therefore,
must be understood in their specific func-
tion in the work and in their interrelations.
c. that each component is a function in part of
interaction while the interaction is a function in
In great works, both the components and
part of its components. their interrelations are virtually inexhaust-
ible, for the forms of relatedness in such
In other words, a work of art or any of works are also to be regarded as components,
its elements regarded as an interplay is to interrelated with each other and with the
be understood as a joint expression of its other components of the work. Where a gen-
many components and their interrelations- eral notion, such as loyalty, is essential to
as a plurality of components and their inter- a work-for example, Lear-it serves to in-
relations. terrelate elements of plot and style, but must
An extreme but striking example of inter- be understood uniquely within the work.
play may be found in minimalist art. Con- Cordelia's loyalty is hers and could be no
sider a painting by Barnett Newman which other's. The concept of interplay, therefore,
consists of two fields of color juxtaposed. must include the possibility of levels of in-
Properties of the yellow and red fields are terrelation in rich works of art, and such
manifested at their boundary-but they are levels tend toward inexhaustibility. Both art-
properties only because of the juxtaposition ist and audience have a continuing respon-
and the boundary. We find here an inter- sibility for establishing new modes of under-
play of colors in which each is manifested standing in terms of which new types and
through the other, and depends on the par- levels of interplay are engendered.
ticular shades and their boundaries as well The inexhaustibility of art has been em-
as the overall size and shape of the painting. phasized by Heidegger and his followers-
It may be noted that certain aspects of Derrida and Gadamer. Of itself, it entails
such a painting are apprehendable only im- no skeptical conclusions. Since no strict rule

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The Work of Art and Its General Relations 429

of interaction governs an artistic interplay,characters of men in general. Some notable

since the components are not dissolved into examples are the younger Holbein's por-
their aggregate, there is always a doubling traits of Erasmus and Hermann Wedigh or
in interplay-an infinite doubling of multi- the elder Cranach's portrait of a Saxon
plicity and unity.4 Here we may see some prince. The more detailed and singular the
aspects of Derrida's concepts of trace and portrait, the more it illuminates our sense
diferance: the double life of an artistic com-
of human nature. Many extreme cases can
ponent emphasizes the inexhaustibility of be found. Literary characters are delineated
relevant difference. This difference is mani-so superficially that they can be little more
fested inexhaustibly insofar as new theories than representations of a type, caricatures
and principles of interaction are engendered of certain traits. Renaissance comedies are
in human life. New theories of human be- filled with such characters, but so are Tom
havior are absorbed into our interpretations
Jones and Pilgrim's Progress. Still lifes sim-
of works of art-for example, in psychoana- plify their objects to the point where no par-
lytic interpretations of Hamlet, Marxistticular
in- vase or apple can be recognized, but
terpretations of the Iliad. Equally relevant
at best vases or apples in general. The par-
is Gadamer's notion of an "excess of mean- simony of Kafka's parabolic style leads in-
ing." 5 A corollary of the interplay theoryevitably to general reflections on law and
is that the components of a work of art arejustice. Yet the wealth of detail in The
transformed by the interactions in which Brothers Karamazov has the same result.
they participate, and if these vary with ourSpecificity, singularity, and wealth of de-
view of life and experience, so will the com-tail are therefore not incompatible with gen-
ponents. I do not wish to suggest that the erality of purview, for an individual's warts
notion of interplay is wedded to the con- and idiosyncrasies pass readily into a unique-
troversial elements in post-Heideggerean ly human but generalized sense of foibles
hermeneutic theories, but that it incorpo-and particularities. Many sensitive people
rates some of their more plausible insights believe that a work of art is genuinely suc-
in connection with works of art. cessful only where specificity and generality
A full interplay theory cannot be given are coordinated: a drama in which literal
here. Instead, I am presenting the interplayand symbolic levels are organically related;
between singularity and generality as a para- a portrait midway between a detail sufficient
digm case exhibiting some of the importantto represent individual specificity and a per-
characteristics of such a theory. fection that could belong to no individual.
Lear in all his particular qualities profound-
I. ly expresses dotage and overweening pride.
Michelangelo's David, perfect in line and
The interplay between what is specific form, is also complete in sufficient detail to
and what is general is an enduring relation be a living youth. Such a view of coordina-
in works of art, and has especial importancetion or balance is a weak interplay theory,
for what may be called "abstract" represen- since it emphasizes the joint relevance of
tational art. "Abstract" here refers to a work the general and singular features, but not
representing generally as compared with their interaction.
specific representations-the way in which aTwo different relations may be noted:
work may represent mankind rather than genus-species and species-individual. It is
a particular person whose portrait is before
important to distinguish them theoretically,
us, or truth and divinity rather than a par-
though in critical analysis they tend to
ticular scientist or saint. merge. To the extent that we emphasize the
It is remarkable how specific features of
uniqueness and singularity of a work, we
a work become very general in their artis- treat it as individual. Yet the most uniquely
tic function. The more perfectly a portraitrendered crucifixion is still a crucifixion, a
represents a unique individual, the more kind of crucifixion, as well as a painting of
profoundly do we sense an insight into the a certain style, period, and tradition. Indi-

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 430 ROSS

viduality within a work is thus in tension specificity in works of art, manifested and
with the kinds of art and experiences to expressed through the relevance of type-
which the work is relevant. The individual- token relations.
species relation is then transformed into an In Peirce's original distinction, words
interplay between the specific elements wereof the obvious paradigm. The word is
a work and general features of human ex- the type; the inscription is the token.8 What
perience: for example, the remarkable pa- is essential here is the close relationship
thos and sincerity in a portrayal of the hu-between types and their token instances. To-
manity of Christ is viewed in relation to kens are "only" tokens-of-a-type. Types are
God's role in saving man from sin. created and destroyed by what is done with
Here we may note the remarkable speci-their tokens. What the interplay theory en-
ficity of music: musical works seldom lend tails is that in works of art, we find types
themselves to natural relations with extra- and tokens inseparably together, in inter-
musical features of experience.6 Neverthe- play. Both the tokens and their individual
types are relevant: this is essential to the
less, every musical work bears relations with
other works involving common forms, styles, concept of an artistic medium. A perform-
and periods. Minor arts of decoration and ance of Beethoven's Fifth Symphony is a
design, though they may not echo great token of Beethoven's Fifth, which exists only
themes of human experience, contain styl- in virtue of some of its tokens.9 This inti-
ized motifs and general forms. The individu- mate relation is an expression of the mean-
ality and singularity of a work is always in ingfulness of intentionality belonging to
interaction with something larger than it- works of art as well as symbols and signs. As
self. What is specific within a work-the I will show, what Kant called the "purpos-
unique kind of work it is, its unique features iveness" and "exemplariness" of works of
-resides within a general context of kinds art may be understood in terms of type-
and features found elsewhere in the world token relations.10 Whatever is exemplary in
and experience. Regularities of perception a work of art is simultaneously type and
and conception, archetypes and enduring token, in interplay.
forms, can be germane to works of art only The type-token relation is fundamental
where they manifest the interplay of rele- wherever there are symbols with recurring
vant components. If music is a symbol of instances: many symbol-tokens of the same
the forms of feeling, as Langer claims,7 Bee-type. Works of art or their components are
thoven's op. 130 symbolizes a general form often regarded as symbols and, where they
in its own unique way. perform a significatory function similar to
that of words and phrases, are to be regarded
II. as tokens of a common type. Here we em-
phasize the commonality and recognizability
I have noted how specific elements within of a given symbol: the cross symbolizes the
a work of art, even the work itself, may echo agony of God come to save man from sin.
very general significations and meanings. A Every cross is a token of a common type:
portrait of an individual may speak to our symbol of the crucifixion. Even depiction
sense of all men. A particular trial for a par- and representation convert an individual
ticular murder may suggest implications for into a type wherever recurrence is empha-
all deaths and justice throughout human sized. For example, a map represents the
experience. And a particular work of art topography of a region. Many maps of the
may have implications for all works in that same region engender the type map of that
medium and even for art in general. In all region. Analogously, many portraits of Sasha
these cases, what is specific is included with- engender the type portrait of Sasha of which
in a more general category, but may be very each painting is a token.
different in form and character-the way a Not all artistic symbols are regarded as
mistrial speaks to the general nature of jus- common throughout different works. If we
tice and mercy. I will now consider a far emphasize the singularity of individual
more intimate interplay of generality and works, we may emphasize the uniqueness of

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The Work of Art and Its General Relations 431

their symbols. Thus, in Susanne Langer's with a singular token. It may, as type, have
theory of virtual space, a painting may be other tokens; and in treating any aspect of
a unique symbol of space, having no other a work as paradigmatic, we make it a token-
token instances.11 Yet as a symbol, it must of-a-type. For only the type can be recur-
be a token. An individual presentational rently instantiated. It follows, here, that any
symbol of virtual space is a token of the aspect of a work that is regarded as para-
type "symbol of virtual space." Without digmatic is a type with a unique token; and,
such an understanding, symbolization in art moreover, every artistically relevant feature
would be unintelligible. The type is the sym- of a work is therefore type and token at
bol expressed through its tokens, the tokensonce.
the singular and unique artistic elements. Whatever in a work of art is considered
The generality of the symbol is expressed valuable establishes a model to be followed:
through its type; the singularity of a symboltherefore, it is at once unique and univer-
is expressed through its tokens. The two sal, token and type, seen together in inter-
together, in interplay, are the relevant ar- play. Moreover, every component of a work
tistic value. Analogously, archetypic analysesof art is a token of many different types-
which view works as recurrent manifesta- at least, a component of many tokens of
tions of a general pattern convert the unique
many different types. An apple in a Cezanne
elements of the work into tokens of thestill-life
type is simultaneously a Cezanne-apple,
"manifestations of the archetype." Without
an instance of Cezanne's use of color, an
the work, there would be no such manifes- example of his compositional and spatial
tation. And although there may be only one concerns, and an instance of his solution to
such token, there could always be more of the problem of three-dimensional represen-
that type. tation on a two-dimensional plane. Meyer
The type-token contrast in art follows di- Schapiro recently argued that apples in Ce-
rectly from the interplay of generality and zanne are a substitute for women: therefore,
specificity, from the tension between the sin-tokens of femininity.13 In every case, the
gularity of a work and its general relations. apple is a different token of a different type,
A work that exhibits to us the divine bears all of which are important components of
general significance in its own terms. The C4zanne's work and style.
divine becomes its divine; its cross; its I do not believe that every element of a
Christ; its sense of order. Divinity, the hu- work of art is artistically relevant. I believe
manity of Christ, are universals. When por- that even the most consummate and singular
trayed or symbolized in an individual work masterpieces might be modified in some
which gives them a unique stamp, a unique ways without changing their identities and
type is engendered with a unique token- values. We know of works whose colors dim,
Griinewald's Crucifixion, for example, his whose varnish cracks, which are cut down.14
conception of Christ's humanity. The artis- Only what is taken as embodying the essen-
tic significance of the crucifixion makes tial values of a work or style is paradigmatic,
Christ type and token at once in the work, type and token at once. But for those who
in intense interplay. accept the total relevance of every compo-
There is a reason why this is so, and it nent of a work as the artist fashioned it, the
is expressed by Kant in his second condition conclusion is that every such component is
of genius.12 Genius is not rule-governed, but both individual and type; for it establishes
it is exemplary. A great work of art is para- standards for other artists to take as para-
digmatic, a model for others to follow. Now digmatic, and it is token of a great-virtually
this is true not only in the whole, but for inexhaustible-number of types at once, in
any significant and valuable part of a work, interrelation.
any feature of the artist's unique style. And Thus, a lamb in a medieval painting is
it is not to be interpreted as imitation. What individual but also a symbol of all lambs
is involved is an understanding that what and of the lamb of God as well. David is
is singular and unique in a work of genius at once this beautiful youth, any beautiful
is not individual alone, but is a unique type youth, an individual portrait of a mythical

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 432 ROSS

hero, a representation of a historical formances and person,

of the individual work "be-
a universal image of admirable long"defiance,
in some way to and
a given performance
so forth. Christ on the cross is both a token as a norm against which an individual ren-
of a religious symbol, an instance of a divinedition is evaluated.
occurrence in an individual devotion, and Dance, theater, and music require per-
a celebration of the coming of God to save formance, and we may regard composed
man from sin. works in these arts as types of which per-
No significant feature of a work of art formances are tokens. In painting, sculpture,
can be merely individual without echoes of and architecture, however, there are only
the types of which it is token. This is why singular works, and we may believe that
art is so often called "symbolic," and is the
there are no relevant types.16 There is no
basis of all mimetic theories. It is also the
performer or reproducer in these arts whose
reason why platonistic theories of artinterpretations
per- provide the variety inherent
sist: the form emerges from the particular in the type-token relations of the performing
through the type of which it is a token. arts. Nevertheless, the interplay is of impor-
Conversely, generality is attainable in art tance with regard to a painting viewed as
only by the presentation of an individualan instance of the artist's corpus of work,
object which is token of a general type. the school to which he belongs, or of the
Individuality in works of art is maintained art of his century. The movement from the
by the uniqueness of individual tokens; gen- individual to the general here is more akin
erality is attained through the types serving to a movement from token to type than
as instances of more general universals. from specificity to generality. For example,
An important example of the type-token Renoir's hundreds of silvery-pink bathing
relation is found in performances of dance, nudes may be viewed as variations on a com-
theater, and music relative to the composed mon type with all their token instances.
or written work.15 Here the relation is dis- There could be no Renoir-bathing-scene
tinct from the interplay between generality without individual paintings; each painting
and specificity, since a musical composition is a token of the type. This is true even
is not general relative to an individual per- where we emphasize the uniqueness of each
formance. A composition is not to be defined painting. The painting is a unique, idio-
as the class of all performances, since many syncratic token of a common type, in an
performances will never even be thought of, important style. The interplay between type
much less specified, and many remarkable and token is relevant whenever we employ
performances seemed impossible before. The the concept of style.
composed string quartet, however, is the
type of which the individual performance III.
is a token. The common character from
which every individual performance is I have discussed two fundamental and re-
drawn-as utterances of a word may all differ lated ways in which works of art are to be
although the word is common to them all- understood in their general relations as well
is the composition and the type. as their individuality and uniqueness. I have
The type-token relation is fundamental suggested that only an interplay theory in
in performing arts in the sense that the work which generality and specificity, commonal-
as a type resides in every performance in- ity and uniqueness, are seen as complemen-
sofar as the latter is its performance. The tary dimensions can do justice to the values
performance may look to standard interpre- involved. I have argued in addition that this
tations and to the composer's intentions. interplay has the consequences of engender-
Nevertheless, the performance must illumi- ing a very broad range of type-token rela-
nate the work, while the composition may tions throughout works of art. To conclude
be violated even in a thrilling performance. my discussion, I will briefly examine a few
The interplay is related to the tradition of other manifestations of the general relations
the work insofar as the history of all per- of works of art in interplay with their sin-

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The Work of Art and Its General Relations 433

gularity and specificity-in particular, withprized simultaneously for its uniqueness and
respect to artistic traditions, genres, and for its contribution to its genre, while the
styles. two are virtually inseparable. Again, it is
It is possible that traditions, genres, and the interplay of the unique work with its
styles of art are not particularly relevant to more general relations that is the relevant
artistic values, and are but analytical cate- value.
gories for understanding art conceptually The concept of style is perhaps the most
and theoretically. Theories which empha- difficult of all concepts at the heart of artis-
size the immediacy of artistic values and the tic value. I believe this is due to the remark-
singularity of works of art must diminish able property of style to absorb all the dif-
the importance of the general relations of ferent qualities of art within it, so that
such works. The interplay theory I have whatever may in the end be held important
been defending maintains not only that the about a work is a feature of its style. If so,
general relations of works of art are relevant then no simpler analysis of style will be
to them in virtue of the interplay of their available than that provided by a complete
uniqueness with their breadth of implica- theory of art. Yet it is sufficient for my pur-
tions, but even more strongly, that the sin- poses here to note how important the con-
gularity of works of art requires generality cept of style is to our understanding and
for fulfillment. To be merely singular, how- appreciation of art. In addition,
ever supremely and perfectly, however in-
A style is both more and less than the individ-
ventively and expressively, is of no artistic
ual works of that style; more, because no one
value except as a component of an interplay work exhausts it, and less, because it is manifest
involving what is of general importance only in individual works. When we recognize a
within human experience. This is why su- style we recognize it in works which strike us
preme works of singular character lead us as variations of something which we know only
in its modifications."'
to the most general features of experience
and the world. It is why significant features The passage expresses my general thesis di-
of works of art are always located in a type- rectly: that style expresses an interplay in
token relationship. In order for a singular a work between what is general within it,
achievement in a work to be paradigmatic, common to different works and artists, and
it must be an exemplification of something what is singular and unique. The unique
reproducible. Yet it is not merely an in- style of an artist or work is always generaliz-
stance of a property or quality: it is a full able, though it may have no other instances.
embodiment of that property. Both its to- It is then a type of which the work is the
ken- and its type-properties are relevant, inunique token. The double nature of the
their complex interrelations. concept of style embodies both a range of
It follows from my general argument that
general relations-schools, genres, traditions,
traditions, genres, and styles are not simply the artist's corpus of work-and the individ-
analytical categories of minimal relevance ual and singular work as a unique expres-
to artistic values, but central and fundamen- sion of that style. Style refers simultaneously
tal features of works of art. We frequently
to what is singular, in all its idiosyncrasy,
prize a work for its revelation of the tradi-
and to what is common and repeatable.
tion to which it belongs, for its initiation,
fulfillment, exemplification, or transforma- IV.
tion of its tradition. Here art history is not
simply a discipline for studying art, but one If my position is correct, that artistic val-
manifestation of artistic values-though not ues reside in the interplay of contrasting
the only one. The location of works in features, several common views of art are
genres and styles has precisely the same char- called into question. Obvious examples are
acter. The importance of a work to its genre theories which overemphasize the unique-
-sonata, symphony, quartet-is one of the ness of works of art. Equally obvious are
values it possesses. A Beethoven quartet istheories which treat individual works as

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 434 ROSS

mere surrogates for great ideas. There

Hartshorne and P.is also
Weiss eds. (Cambridge Univer-
sity Press, 1939), II, pp. 227-29.
the view-barely plausible in painting and
4 Jacques Derrida, Of Grammatology, I (Johns
music, quite absurd in literature-that the Hopkins University, 1974).
aesthetic values of a work reside on its sur Hans-Georg Gadamer, Philosophical Herme-
face, while the qualities elicited through neutics (University of California, 1976), p. 81.
painstaking analysis and historical reflection 8While I take this to be an unmistakable char-
acteristic of music, the issue is not without con-
are not aesthetic but factual. We must con-
troversy. Leonard Meyer takes the position I am
clude instead that artistic values are not
emphasizing; Zuckerkandl claims the most profound
surface or perceptual qualities alone,and
but a significance for music with respect to
general
remarkable interplay between surface timequali-
and space. In a sense, both are right, since it
is not what music expresses about time and space
ties and those below the surface, awaiting
that matters, but the interplay of what is unique
disclosure. A related view is that all art must
to music and individual works and the extensive-
have a sensuous character-perhaps only a ness of time and space. Cf. Leonard Meyer, Emotion
sensuous character-and that literature is and Meaning in Music (Chicago, 1956); Victor Zuc-
therefore problematical. Now if the kerkandl,
position The Sense of Music (Princeton, 1959).
7 Susanne Langer, Feeling and Form (New York,
is that only sensuous qualities are of aes- 1953), Chs. 7-9.
thetic value, it reduces to the view that 8 Charles Sanders Peirce, op. cit., IV, p. 637.
values lie entirely on the surface. And if 'Cf. Joseph Margolis: "The Ontological Pecu-
aesthetic values are simply understood to liarity of Works of Art," Journal of Aesthetics and
Art Criticism, XXXVI (1977), 45-49.
possess some sensuous relations, language
'? Immanuel Kant, Critique of Judgment, I.
has a sensuous character also. The funda-
'1 Susanne Langer, op. cit., Chapters 4-6.
mental question concerns the relevance of 12 Critique of Judgment, I, par. 46.
what we may know and discover about the 13 Meyer Schapiro: Modern Art-l9th and 20th
world to aesthetic response. If my analysis Century (New York, 1978).
14 Rembrandt's Nightwatch has been cut down
is correct, what we know about art and the
on all four sides and for years was venerated for
world is profoundly relevant to an appre- its darkened varnish.
ciation of the interplay within a work of "Joseph Margolis: loc. cit.
its singular features with its general rela- "6I tend to agree with Margolis ("The Identity
tions. Indeed, this interplay is essentially of a Work of Art," Languages of Art and Art Criti-
cism [Detroit, 1965], pp. 49-63) that the singularity
inexhaustible, manifesting the inexhausti-
of works of the plastic arts is partly a function of
bility of experience and our knowledge of reproductive technology and interpretive facility. If
the world. we could reproduce works of sculpture perfectly-
and we have done so for some minor works, a bit
like etchings-the original might become a pattern
1 Samuel Taylor Coleridge, Biographia Litteraria, for the generation of many tokens-of-its-type. Nev-
II, 323; I. A. Richards: Coleridge on Imagination ertheless, I will not enter this controversy here,
(Indiana University Press, 1960); William Empson: since there are more important ways in which types
Seven Types of Ambiguity (London, 1930). and tokens are relevant to the plastic arts.
2 Alfred North Whitehead, Process and Reality " Eva Schaper, "The Concept of Style: The Soci-
(New York, 1969), p. 266. ologist's Key to Art," British Journal of Aesthetics
'Charles Sanders Peirce, Collected Papers, C. (July 1969), 246.

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