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The Logic of Art Works and Truth Tables

Howard S. Becker’s Tricks of the Trade: How to Think About Your Research While You’re Doing It contains many tricks or ways of thinking. It seems pertinent to discuss one of the more confusing tricks, which will be referred to as L-3 (Art Works and Truth Tables or The third trick in the Logic chapter pgs. 166-172). In an attempt to keep it simple, I will relay what I gleaned from the description of this trick.

The entire trick is based on the work of an art critic and philosopher named Arthur Danto. The way he viewed works of art can be applied to how we visualize objects or information in our research. In reviewing the section, it became apparent that using what I refer to as the maze method, or working from the end to the beginning, makes it a bit easier to understand. So, at the end of the section Becker says:

“We identify an object as having some kind of characteristic, like height or weight (or being representational or expressive). This leads us to see that all objects (of the relevant kind) have some value of that characteristic, even if it is zero. We never know all the characteristics a thing could have, but only become aware of them when we find an object that has the particular characteristic in some way that differs enough from the way others have it to get our attention. Once we know the characteristic exists, we can see, from then on, that other objects exhibit this trait, although in a different version or degree (at the extreme, in its absence).” (p.171)

Danto makes a big deal about the notion that the absence of a property is something, which makes the absence of the property itself a characteristic of the object that lacks it. (p.170) He uses the example of Marcel Duchamp, an artist whose works, at the time, had none of the characteristics of what was then considered a work of art. In following with his theory, the absence of these characteristics or predicates then becomes a descriptor, which defines this unique art form, and in doing so, also, redefines the current art work and the characteristics that define it. The characteristics of Duchamp’s art works, resulted in a new way of characterizing art, in which even the absence of the trait is a predicate of the work.

The truth table is: “a device that displays the logically possible combinations of two characteristics.” (p.168) Danto puts his idea of two opposite predicates, such as expressionist and representational, into a table. All the works he reviews either fall under one of these characteristics or the predicate of the absence of either. In determining where an object falls in the truth table, new characteristics become apparent when the object displays neither of the two opposite predicates. As new characteristics are defined, more possible combinations of characteristics appear. With each new characteristic that is added to the truth table, the number of possible combinations of traits increases.

If at least one of a relevant pair of opposites, predicates, is true about an object then it may be that object. However, if neither is true, then it cannot be that object. The egg example given in the book helps to make sense of this concept:

“If the object is an egg it is either, we can say, raw or cooked, and it can’t be both; if it is neither (as a frying pan, for example, would be neither), then whatever else it might be, it can’t be an egg, because all eggs are one or the other.” (p.167) Another example might be: a graduate student is either male or female; if it is neither (as a chair would be neither), then it can’t be a grad student, because all grad students are one or the other.

If you are still confused, then read L-3 (not to be confused with Tom Peter’s Manage by Example) again, and create your own truth table.