另一个反例可能是艺术和语言的进化本质。我们的词典每年都会增加几十个新词，以弥补现代生活所倡导的缺乏丰富多彩。艺术本身也总是在变化。每一个时代都给文化带来了新的艺术家的涌入，这是一种新的、独特的感知艺术的方式。其中一些概念不能从过去的文化经验中理解，也没有相关的术语可以从中构建。正如Danto所指出的，艺术家们接触主题之前从未遇到过，这就产生了对新术语的需求。例如，安迪·沃霍尔(Andy Warhol)的艺术在上个世纪就无法被有效地讨论，因为它还没有被创造出来。文艺复兴时期的艺术家不会描绘奴隶制运动，因为它还没有发生。因此，任何时候使用的美学语言都反映了当前的艺术和它之前的一切。它是知识的积累，这在美学术语的磨砺中得到了证明。就像从后代人的头脑中产生的艺术将完全是外来的一样，在那时用来描述它的语言也将是完全陌生的。然而，千变万化并不意味着美学语言所创造的现实也不能适应和发展。语言被证明是动态的和永恒的。新艺术仅仅意味着新的语言和新的文化——以及新的现实。
澳洲悉尼论文代写:艺术和语言的进化本质
Another counter might be the evolving nature of both art and language. Each year dozens of new words are added to our dictionaries, compensating for a lack of richness that modern life is promoting. Art itself is always changing as well. Each era brings a fresh influx of artists to the culture and as a result, a new and unique way to perceive art. Some of these concepts can’t be understood from past cultural experience and have no terms associated with them from which to build from. As Danto indicates, artists that approach subject matter never before encountered create the need for new terminology. The art of Andy Warhol, for example, couldn’t have been effectively discussed in a previous century, because it hadn’t been created yet. Renaissance artists wouldn’t have depicted the slavery movement because it hadn’t happened yet. As a result the aesthetic language in use at any given time is reflective of current art plus all that which came before it. It’s an accumulation of knowledge and this is evidenced in the honing of aesthetic terminology.Just as art that springs from the minds of future generations will be totally foreign, so will the language used to describe it at that time. However, ever-changing doesn’t mean that the reality created by the language of aesthetics can’t adapt and evolve as well. Language has proven to be both dynamic and everlasting. New art will simply mean new language and new culture – as well as new reality.