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Illuminating History by Lily Díaz, 25.IX.2000

"best example."4 2

In the same manner, the understanding of art is also a cognitive

response involving a complexity wholly different from basic categorisation schemas.4 3

Art objects express, according to Danto, because one of the main goals of art, "may be precisely not to represent the world, but to represent it in a particular way, or to cause it to be viewed with a certain attitude and with a special vision."4 4Though it can be shared by other members of her community,this vision is the way that the artist sees the world. For this purpose, art objects make use of communication devices, such as rhetorics, to "cause the audience of a discourse to take a certain attitude toward the subject of that discourse: to be caused to see that subject in a certain light."

Danto suggests that the structure of art works is, or is very close to, the structure of metaphors. The potential for expression of metaphors is tied to the fact they are not mere representations. Their structure is related to features, rather than to the content of representation. For example, metaphors might make use of intensional contexts in which, according to Danto, descriptive terms refer "to the form in which the things ordinarily referred to by those words are represented."4 5The power of expression of metaphors is also tied to the form of presentation, which is in turn tied to meanings

and associations in the social and historic conditions of the times.4 6

Therefore, the

mode of presentation presupposes the accessibility to concepts out of which the metaphors themselves are created.4 7

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The concept of expressive artefact has been used in archaeology to refer to "artefacts that in many cases were intended to communicate, to generate a response in the

viewer."4 8

The substitution of the term artefact with that one of device is meant to

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