|Forgery: producing an object with properties that are more or less similar to an otherwise existing object, or a presumed object from a series of objects.The Purpose of the forgery is > deception. The deception is based on a false story on the subject. A material object as such cannot be faked. See also identity, similarity, properties._____________Annotation: The above characterizations of concepts are neither definitions nor exhausting presentations of problems related to them. Instead, they are intended to give a short introduction to the contributions below. – Lexicon of Arguments. |
Even with trompe l'oeuil the probability rarely rises above zero, because to see a picture as a picture, excludes, to mistake it for something else.
No one can determine by mere looking at the pictures that no one has ever been able or will be able to tell them apart by mere looking at them.
If you set the difference beyond the what is perceptible by mere looking at them, one admits that anything beyond this range constitutes a difference.
And the fact, that I might be able in the future to perceive a difference which I do not perceive now, constitutes now for me a significant aesthetic difference between the two! This may contribute to the development of my ability.
When in fact, no difference can be perceived, then the existence of a difference is based alone on something that can be proved (or not) by other means than looking at it.
Definition forgery: Goodman: The forgery of a work of art is an object that wrongly pretends to have a history, which is essential for the original._____________Explanation of symbols: Roman numerals indicate the source, arabic numerals indicate the page number. The corresponding books are indicated on the right hand side. ((s)…): Comment by the sender of the contribution. The note [Author1]Vs[Author2] or [Author]Vs[term] is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition.
Catherine Z. Elgin
Reconceptions in Philosophy and Other Arts and Sciences, Indianapolis 1988
Revisionen Frankfurt 1989
Ways of Worldmaking, Indianapolis/Cambridge 1978
Weisen der Welterzeugung Frankfurt 1984
Fact, Fiction and Forecast, New York 1982
Tatsache Fiktion Voraussage Frankfurt 1988
Languages of Art. An Approach to a Theory of Symbols, Indianapolis 1976
Sprachen der Kunst Frankfurt 1997