Arthur C. Danto: So did I, thanks a lot.
丹图：彼此彼此，非常感谢。
Alan Saunders: Arthur Danto, I've enjoyed our conversation.
桑德斯：亚瑟·丹图，我们的交谈，使我觉得愉快。
This big change of reality made Danto rethought of Hegel's "end of art theory".
这种现实情况的巨变，让丹托重新思考了源自黑格尔的“艺术终结论”。
Why does Danto believe that "the distinction between art and philosophy" is "problematic"?
为什么丹托相信“艺术和哲学之间的区分”是“成问题的”？
Danto gives several examples in which an ordinary object might be perceptually indistinguishable from a work of art.
丹托举了几个例子，表明一个寻常之物在感知上或许与艺术品不可能分辨开。
Arthur C. Danto: What he actually did, nobody can quite figure out, but he produced a piece of prose that corresponded word for word to the prose that Cervantes wrote in the 16th century.
丹图：他实际上做了什么，没有人琢磨得出来，但是他搞出了一部散体文，与塞万提斯在十六世纪写的那部散体文字字对应。
Facing the practice of contemporary art, Danto points out the limitation of defining the new art with traditional imitation theory and provides a new framework of definition centering on"artworld".
丹托面向当代艺术实践，指出传统模仿论在规定这种新兴艺术方面的乏力，给出了以“艺术界”为核心的新的定义框架。
Facing the practice of contemporary art, Danto points out the limitation of defining the new art with traditional imitation theory and provides a new framework of definition centering on"artworld".
丹托面向当代艺术实践，指出传统模仿论在规定这种新兴艺术方面的乏力，给出了以“艺术界”为核心的新的定义框架。
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