art worlds
TRANSCRIPT
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Hans van Maanen
HOW TO STUDY
ART WORLDSOn the Societal Functioning
of Aesthetic Values
A M S T E R D A M U N I V E R S I T Y P R E S S
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how to study art worlds
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H SA W
O S F A V
H M
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C: S J B, A, ND: V3-S, B, N
isbn 978 90 8964 152 6e-isbn 978 90 4851 090 0nur 640 / 756
H M / A U P, 2009
A . W , , , -, (, , , ) .
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C
I 7
part one he Art World as a System
1 I G D 17
2 I P H S. B P DM 31
3 P B G A F 53
4 F M S:B L N H 83
5 N L S A C 105
6 H A W H A F 125
part two On Values and Functions of the Arts
7 W P S A D 149
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able of Conte nts
part three How to Study Art Worlds
I 205
8 F F A S 207
9 H D C F A 241
10 H A V B C 275
E: F S L A E 291
R
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I
F 1960 , . - q . W -
, -; .
O , , , , ; : how the organization of theart worlds serves the functioning of arts in society.
I - . O , - ; , .A q, , . H, : , -
, , q .
I 1964, A D A 1950 1960. H -
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Introduction
, ,
, , . H Journal of Philosophy q , : (D 1964: 577). , , ; .
S 1964 , - ,
G D H S. B E-- , E , P B. B, , B -, .1 : G D, H S. B,P D, P B, N L, B L N
H. A - : D D , B - ( ) -- F B.L, , - , , , ;
, . I q, , .
A , - , . B ; , , -
. S ; , I ( ) .
N, D -
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Introduction
q
A-S - . W 1970 1980, M C. B A A, E - . I Definitions of Art (1991), S D A-S ,
,
S .T A , , q - A . (D1991: 218)
I , D D , , q , .
M D ; - . I , ; -
, .
A , - , . B, pur sang, :A ... -
(1958, 572) . q - . I , , values functions .
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Introduction
. - q q - , . - ; , I . I q , ,
, .2
A , . , , , - , . A, q ,
. W , ( , ) - , .
Te functioning of art worlds
I , (.. K 2002 D 1991). I , valueof art - . , , possible ; ,
, , - , q, - . W , an . A ,
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Introduction
, , ,
A :
T ff fi , ff , : , , ...(A 1966)
I , A :
... . A , , in order to , - .
O , , functions
. I , .
functioning . , . . I , - ( ) functioning ,
. C , , ( , , ) (, ), q 87 . F 0.1 , : , .
O , -
.3
I , , .4 I , , , , - , , . ,
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Introduction
. O , -
(, , ) ; , . . I : ; ;
; , , , , , , , .
Figure 0.1 Fields and relationships to be studied concerning the unctioning o an art
world on the societal level
DOMAINS o
OPERATION
Production Distribution Reception Context
Organizat.
structures
Types and
numbers o
producing
institutions
and their
mutual
relationships
Types and
numbers
o venues
and their
relationships
Structure
and needs o
potential user
populations
Position o the
arts amongst
others systems
Processes Ways o
conceiving
and making
aesthetic
works
Ways o
programming,
ofering and
marketing
aesthetic
works
Types o
participation
and reception
aesthetic
Functioning o
art experiences
in other social
systems
Outcomes Types and
numbers o
aesthetic
works
Types and
numbers o
aesthetic
experience
situations
(art events)
Types and
numbers o
aesthetic
experiences o
social groups
(New) collective
perceptions o
the world
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Introduction
T fi -
, , ( ) ( ), . I , , fi .5 I
.B q, , 0.2 .
T fi , , for , as , .W fi fi .6
Figure 0.2 Two axes which strongly condition the unctioning o an art world, in this case
on the individual level
DOMAINS o
OPERATION
Production Distribution Reception Context
Organizat.Structures
Personneland mutual
relations.
Working
conditions
Personneland mutual
relations.
Working
conditions.
Space
Perception andcommunication
schemata o
user(s)
Total mindsetuser(s)
Processes Conceiving
Elaborating
Rehearsing,
etc.
Programming
Displaying
Ofering
Marketing
Perceiving
Imagining
Experiencing
Communicating
Use o aesthetic
experience in
other mental
domains
Outcomes An aesthetic
product
Event as an
aesthetic service
Aesthetic
experience
(New) mental
schemes to
perceive the world
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Introduction
. I
, . B , , , . S, , , , -
.I , , , , - , ; , .
Notes
B : P,
. I , .
I : V M .
I , V M ,
-. I , , , , . .
() , , , , .
S .. V M & W .
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PAR ONE
he Art World as a System
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1 T I T G D
1.1 Introduction
G D ( 1926) 25 , 1964 1989, . I , , ;
, , S D (D- 1991). D 1964 -1980 A-S N A- ; G D M C. B.
B - 1958,
. R D B, .A , D B . I 1964, M A A- ( he American Philosophical Quarterly) B- P A E ( he Journal of Philosophy). A ,
. I 1971, D B, A A A.O A S I V, E A, B . S- , Evaluating Art , B , S, G H.
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he Art World as a System
E D , ,
M B ; D Art and the Aesthetic. An Institutional Analysis (1974), :
I I M B. I , . (D 1974: 147)
A , D , he Art Circle. A heory of Art (1984); ...M B. S , D B: B , (1984: 85).A B : -
. 1
B. H . F D .2 H, , D - ,A D, .
1.2 Dickie and Danto
A D 1964 A - q A he Journal of Philosophy (. 61: 571-584). H , . I , D .
. S . H, A W Brillo Boxes :
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he Institutional heory of George Dickie
W ff B
B . I , . (2003 [1964]: 41)
W S, D : B : , (2003[1964]: 44). A
q D , B - , B . B B , .
T ffi D . H fi N. 7. H -
, , ? T , D,
. (...) q . (2003[1964]: 40)
A D : -
q , : (.).
1950 1960 A D , D D . A , D q D D, , D , -
D (D 1986). I ,D , , () , .
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he Art World as a System
I he Art Circle, D D
(1984: 17-27). I , D q , I , D D (1984: 19). H D D, L, D . D :
I D L - . (1984: 20)
B L , D D , D understood
( ) .I , D ,
. H - . O , , , , , , D D B .
Brillo Boxes W, J C4333( - D- ) , .
D , - D q - .
A D D
- . D D :
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he Institutional heory of George Dickie
T -
; , D . (1984:20)
W D D (D 1973 1974) q -. H A R 1964
. , D, - ( ) , . A , , , D, D - (D1984: 22). D , -, , D ,
.F, D
D . I D ( - ), ffi (1984:25), fi . I , - D -
; D fi (1984: 26).
I D . F D ; -. D D .
O , D D
, (1984:17). (1984:27). D, , D -, B D, - D - (1991:80). A
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he Art World as a System
I D D
, , - . D D .D, , , B. H A D A
.
1.3 Dickies theory
1.3.1 Artifactuality
I 1956 M W q , , (1956: 27-
35). O , , D D , , , ; , , , . F W D - . B (1971, Aesthetics:an Introduction), W
thus , , .D .
W , D , : , q ; , W - . D - classificatory evaluative
. I , (1971: 99), . I , (1974: 43).
- . A D ,
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he Institutional heory of George Dickie
W ,
, q - . A - , . I (.. 1974: 25-27), D - , derivative , : . : ,
, . I , . D - .
I , D conditio sine qua non. F, . F
: . A - ( , D ); , , (1984: 36). A , ,
, , D, (1984: 35).
A, q, D - 1971 . H D - : P D (1971: 101):
A fi 1) 2)
( ) . (.)
D Arts and the Aesthetics, anInstitutional Analysis (1974), .B 1984, , -
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he Art World as a System
,
, .O
.D - . I 1974 D -, , . B 1984 : O
(1984: 44). S : - , , , -----, (1984: 46-47). , D Fountain -. W , D D - , q... .
1.3.2 Te essential framework
A A D D he Art Cir-cle I N A ( IV) A (- V). A B: I B , (1984: 51).
B - -(1976), fi , ,
, , fi R C C. B D -, , fi -, , ( -); B , I , , D , T I (1984: 51-52). ID , ,
:
W I , B -. (1984: 52)
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he Institutional heory of George Dickie
B , D
. , - , - , . B- q - , , , : ( D ). D ,
, , , , he ArtCircle.
D q - . (1984: 55). H D, : ... [ , HM]
(.).A , D L D, - (1984:63). M, (1984: 64), ,
.F, , D
, , :
T fi . (1984: 66).
A D () q . H :
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he Art World as a System
(1984: 72).I
, , , , . D , , , : (...) (1984: 74-75). I ,
, D , , , , q . D , - , , - (1984: 74). W D H S. B ; B ,
.I V he Art Circle, D
. F Art and the Aesthetic, I (1984:79). N , , 1984 . H , a person who participateswith understanding in the making of a work of art (1984: 80),
. A D , : A work of art is an artifact of a kind created to be presented to anart world public (.). : ,, , D , .
: A public is a set of persons the members of which are preparedin some degree to understand an object which is presented to them , he art worldis the totality of all art world systems (1984: 81). B , D , , , (1984: 82).4 I , , D : An art world system is a frame-
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he Institutional heory of George Dickie
work for the presentation of a work of art by an artist to an art world public (.).
: - , .
B , , - - , . D - . H q
[, HM] (1984: 78). H :
fi fi (...) . (1984: 79)
C D
- (.). , D , , , (.).
, D - :
... fi fl
. T fi ffi . W fi - . (1984:82)
1.4 Te benefits of Dickies institutional theory
O - ,D . I , - . I he Art Circle, , B
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he Art World as a System
(...)
, (B 1976: 209). D B - , , q : B , (1984: 85). I D , , B ... ...
. H
T ,, , , , . S ...(1984: 86)
O , : - , , (.). Cq . W
- .
W D he Art Circle - : ; . A , , , - ;
, . N, D , B, . F - , - . I , D
. F, , -; , , . B H S. B, .
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he Institutional heory of George Dickie
Notes
I I value function .
D - () , . H S. B .
- (.)
H D , - , ; ., . q- .
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2 T I P H S.B P D
2.1 Introduction
Art Worlds, H S. B 1982, --. I fi , 1960 1970, , B fi
, 1992 Les rgles de lart(Te Rules of Art, 1996).1 S, B , , ff , , . T-, B ,
.2Art Worlds , 1974 1980.
B , D, Art and the Aesthetic. An Institutional Analysis(1974); D 1984, B . I A, A C, B -- :
P , D D , . (...) N - , - . (B, 1982: 149-150)
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he Art World as a System
A ,
, , , C- S S I, , B (.).F , : W? W? HM? H M?
q, D , W -
, ?(.) A , ,
. (151)
W B D
, : - . , , , .
q [] (153). E -
, B , - (155).
q B , . F q . H , , q , -
, , - (157). I B ( ) (156), q . D
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Institutionalist Pragmatism of Becker and Dimaggio
(158). B, , ,
. B , , (158). B , B , , .3 ,
. A , , (161). , , , , (161). N , B .
U C,
C.H. C (1854-1929), G.H. M (1863-1931) H. B (1900-1987), C S .W M -, , B -.4 I B
( ) . D B - ,
: -. I - - , , fi :
. (B 1993: 12)
B B and B, q : . F -
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he Art World as a System
, ,
q K M 1856, heEighteenth Bru-maire of Louis Bonaparte: P , - .S - - , . B B, ,
. M , , , - . WB, , , E , , .
2.2 Beckers concepts
I Art Worlds, B R, A S, A C, E R-. B , .
B - ( ) .
I [ ] (...) , , . (B 1982: X)
F B D, - (.).
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Institutionalist Pragmatism of Becker and Dimaggio
2.2.1 Collective activityO B , , , :
G C (...) M-N I D M B
. (IX)
A () ,B . F, develop an idea (1) . the idea, , , has to be executed (2). F materials and equipment, , thathave to be manufactured (3).
, , , q , (?) , , , (...) distributing(4) (. 3, HM). , q supporting activities (5), , , . , (. 4). , ,
, . B - , B, . activity of response and appreciation (6) . I D , , , B : . , , M , , ,
: -, , . B , (M 1974 [1859]: 492). B creating and maintaining the rationale (7) - (. 4., -
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he Art World as a System
HM). D ,
D , . B seems , , for any work of art to appear as it finally does (. 5), B , , , , . I . B (.). A (E
D). I q, , , , B , (...) E - E D - A (14).
I ( ), :
(9). A, : , .
B q () , B . H
(24-25).W ; B - q , .5 B q ,
. q, ? - J C K S D
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Institutionalist Pragmatism of Becker and Dimaggio
M L . S -
: . q ,
, , - . , , , -. A B , q
; , , -, .
B - . B, , . P , B, (21).H
, . B , q .
I B , . T : W [ , HM] -
, (25). T , , , . T , fl ; fi ffi , , .
B :
q - . P . N fi q q q . (27)
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he Art World as a System
, B,
. I , , , - , .S (28). F --E , - , , - U S E 1980 .
2.2.2 Conventions
C . , (29) (.). C , (.).
B - , , -, . H , :
F (...) , -
. (93)
W , , - .6 E , , B 7 M
W - ( ) - ( ), . M - . B :
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Institutionalist Pragmatism of Becker and Dimaggio
(1) [E]ff
. (2) W , . (3) P q. (4) T ff . (5) E ff . (6) A fi ; , . (107)
. F - , (93-94).8A , , B , , , A - (94).
B
. Y (33). O : , q .I - , .9
B , : - - , , . F, , - , B, . S - ---- - . I ,
, - , - - , .
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he Art World as a System
B
q , -. I .10 J --, , , , , .
, , , . B, - , . S-- , , , , .
,
, , B - , . S , B , - (64). A: E , (...) , : , ,
(66). , B , . , B , :
(...) ,
. I , - . (34)
I , , , ,
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Institutionalist Pragmatism of Becker and Dimaggio
,
. A B , . T fi, , , , , , .
-
. B : 1) - , -q (46); 2) , - (...), (48); 3) () , (...)
(54). (46). , (48) . B , - , (.). A
, , , (54). A q , B , , .B .
2.3 Problems and benefits of Howard S. Beckers approach
A , B D D, -
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he Art World as a System
.
, B, . O , , . A , , (36). I , B (.).
, q. B , describe . I , , , , .
, , , . - . B ( )
, . , , .
B , . A , B -
, - , . A, , .
q B - - . I , B
. I , . I , B - , q
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Institutionalist Pragmatism of Becker and Dimaggio
. I , B
. -
, , B . A , , . .
2.4 Art sociology and the New Institutionalists
I E D , - , M W, , - 11. I , - ,
: , . B, , , . P DM WP , , , , , (DM P 1991: 24). I, ,
[] , V N (1998: 80). H -, , .
W N I, , , , DM, . B ,
, - , N I H B. I , , B , .
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he Art World as a System
2.4.1 Main themes in new institutionalismN .DM P Te New Institutionalism in Organizational Analysis (1991), P S (1949, 1957) P (1951). B
- , - (...). B -
(...).E .(1991: 12)
B , - DM P, - ; - , , ;
: , - , (-) , (...) -, (1991: 13).
DM P - , q , ,
(DM P 1991: 2).A, N [] - (1998: 10), - , - (.).
N B I he New Institutionalism in Sociology (1998: XVI).
- , q . U - , .N I - ( )
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Institutionalist Pragmatism of Becker and Dimaggio
; ,
(1998: 32). DM P N I, , - , (.).
F, . N I -
, (1998: 19).12
AN - (1998: 8-9). S , , , , . DM P B ,
.
2.4.2 DiMaggios research into organizational fields (in the art world)
I 1985, DM S US ( Poetics14). .
- . - , -
(1985: 121).S fi - . DM S , , [] ,
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he Art World as a System
fl
(1985: 108). F - , B (1982) B, .
A . . E - ,
(1985: 112). I q- US 1980 , , - - - .
A - DM P 1983, I C R:I I C R O F
(American Sociological Review 48: 147-160).13 - , DM S , .S DM C O- F P P: U.S. A M, 1920-1940 (P DM (.) 1991: 267-292), .
D M W I C , DM P - (...) (1991: 63), - . B
, , - : , ,
, -. (64-65)
W - , (65). -
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Institutionalist Pragmatism of Becker and Dimaggio
. B DM (1983),
, B - :
1. A 2. T
3. A fi
4. T (65)
( ) , - , (65).
DM P - . , (66). , (66). I : , . -
. S , , (67). M () . U , - DM P. N , , , (...)
(70).DM P : ( ). , - , , :
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he Art World as a System
, - , -fi - , , , , . (72)
DM P - ,
. , - q (76-77):
T fi ( ) () , .
T fi -
, fi .
A , DM P I C R... DM - US 1920 1940.I .
B 1920, US
. C, () -. C . B , , , , q (DM 1991:270).
DM
. B 1920 1940, 60 400. I , , , . S . I 1916 , 1930 . , ,
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Institutionalist Pragmatism of Becker and Dimaggio
. I -
, , , , , A A M (AAM), . B 1923 1932 - 81 208 365 909 (274). A, , AAM , , - (.).
, DM C . : - ; ; ; ; (275-276). , C C , : - ; ; - ; -
(277).DM
, , 1930.
O , , (283). DM-
q -, (286). I - (.). Inter , , q (.).
I , DM , -
[] by mobilizingto construct an environment they could control at the level of the organizational field (287-288).
F 2.1 DM P , . US 1920
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he Art World as a System
1940
DM P I C R...: -.
Figure 2.1 Structuration o organizational elds according to DiMaggio and Powell
- ; DM
B . I , DM , B .
STRUCTURATION:
PHASES: RESULT:
1. Increase in the extent o interaction
2. Emergence o interorganisational structures ISOMORPHISM
3. Increase o inormation load * competitive
4. Development o mutual awareness * institutional
coercive
DIMENSIONS: mimetic
1. Increasing density o interorganisational contact normative
2. Increasing fow o inormation
3. Emergence o center-periphery structure
4. Collective denition o the eld
PROFESSIONALIZATION
DIMENSIONS:
1. Production o university-trained experts
2. Creation o a body o knowledge
3. Organisation o proessional associations
4. Consolidation o a proessional elite
5. Increasing the organisational salience o proessional expertise
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Institutionalist Pragmatism of Becker and Dimaggio
Notes
A F E . E.. () Outsiders: Studies in the Sociology of Deviance. N Y: F P.
-, , , .
S, , G.H. M () Mind, Self and Society. From the Standpoint of aSocial-Behaviorist. C: U C P, H. B () SymbolicInteraction, Perspective and Method. E-C, N.J.: P H.
B
. H . H , -, , - .
F . S D
H A, Why Are Artists Poor? (). C. B
.
B B - : () () .
B , ; . F , A.
S M. W ( []), Te Rules of Sociological Method. . N Y: F P. A N (AN) -
. P
DM (.) .
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3 P B G T A F
3.1 Introduction
U P B (1930-2002) - . L , -, F -M- 1960 (A,1H, M) -
, . I 1970 , J-C P, Rproduction:lements pour unethorie du systme denseignement, E 1977 (Re-production in Education, Society and Culture) 1990. B .H , 1979, La distinction: Critique sociale du juge-ment (E 1984: Distinction: a Social Critique of the Judgement
of aste), ( ) , , . , W q , . I , ( ) .
, . B -
. I 1976 Ecole Normale Suprieure, Quelques proprits des champs (S P F), -
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he Art World as a System
1980 Questions de sociologie. I ,
B .A (La production de la croyance/P B , 1977; F C P, : E- W R, 1983; O K, K, K, 1983/ F C, 1986; F P, LF H, 1986), he Field of CulturalProduction (1993). B B Les Rglesde lart. Gense et structure du champs litraire (1992; he Rules of Art. Genesis
and Structure of the Literary Field , 1996). I ( ) , , F. B he Rules of Art.
. F, B - -
: , . I - , - , , .
B . L H-, , . B
.
3.2 Field theory
B B 2:
E , art world, US fi, - R L B , fi I . S
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Bourdieus Grand heory of the artistic Field
, H S. B q , (...); (...); q (...) (...).. W - fi, I
population, , interactions , , cooperation: , , - objective relations fi .(1996: 204-205)
W B , B, ( , , -
, D P ) .3 I B , B , .
3.2.1 Basic concepts
I B, P ,
B , B (...): , (P 1992: 12).
B . F 3.1 .
, :
A , , , illusio doxa, , (). , .
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Figure 3.1 The structure o key terms in Bourdieus eld theory
M
, , B , ( ) ( ).
position
S , , , - , , -
. A B , : F ( ) , , , , (1992 [1980]:
ARTISTIC FIELD:
A structure oobjective relations betweenpositions in which
a struggle or SPECIFIC SYMBOLIC CAPITAL occurs)
between restrictedand
large-scale production
(on the basis o or being transormed into)economic capital
social capital
illusion cultural capital
in embodied state
in the state o objects
in institutionalized state
doxa
occupied by agents
on the basis o their
HABITUS (system
o dispositions)
taking position
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Bourdieus Grand heory of the artistic Field
171). , F C P,
, - , (...) , . (1993: 29)
S, , , -
, . B , , - '(1993: 30). P , , - , , - D - 1990 - A 1980. - B - F, - ,
, , , -.
, . I B , , - . . S - (.). B
, - , () , , . , .. (.). S , ( ), .
A , (, , ) , , q, - . (.. , , ), , , B - -- ,
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. , B
, -- , , , : , , , , pote maudit, . I , : , B , , , - , .
A , ( -) -. M :
ffpositions ( ... - ) position-takings, - , , -, . (1996: 231)
cultural capitalH , . B ; ; . , - .
B , q - , (1992[1983]: 120). H ( ) . I B M ,
C ( )
q (...), fi . (I.)
I M : q, , (
-
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Bourdieus Grand heory of the artistic Field
) (: 139).
, B , . (: 122) .4 , , , , . C , - , (: 310). I , ,
. S, , , - ( q) , , -, , .5 , q () - (: 134).
S , B q . C - . embodied, in-corporated state, . q . . W
( ) q . - -, .6 , , , -, q,
objectified state.C , , -, , , . A , , . A- .
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. institutionalized state,
, . - q, (: 130). . F q . F,
- ; , : , , .
- , . S , . A , ,
, . . I, , - , . A, , ,
, - .
F , , , , () . S .
3.2.2 General field lawsI he Rules of Art, B , . H :
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Bourdieus Grand heory of the artistic Field
T -
, fi, , . (1996: 181-182)
H structure of objective relationships, - , -, (: 181). I
B - , q, , . , B, , , , , , . A, , . , .
I Quelques proprits des champs B ( ) ( F C P, P B , he Rules of Art). I , , (1992 [1980]: 172-175).
1
, , .
2 A - , , , , .
3 E , .
4 B , : N
- .
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O ,
.5 O
, , , , , - .
6 A .
7 F, fi ff -
fi .7
- . P 3 4 . habitus, illusio, doxa nomos . DM- (1983) - ( 2).
W DM - B .E DM , - , B, . G , B , -, DM
q - . - , , () (1992 [1980]: 174), .
I B , . I , D . F 3.1 ,
. il-lusio , , (1996: 228). A , illusio collusio, . W illusio , doxa
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, ,
, D S (S 1997: 125).8 -, , q , , , , , q , . - - . I B - - . O
, . nomos, , , doxa il-lusio. , , , illusio doxa, , , , . B - ..., (rger) (1996:
179). , q (1992 [1980]: 177), ( ) , , .9
A ( q) () , ,
... , . (1993: 64)
- , - (.).
3.2.3 Dynamics in the cultural fieldI B , : , , , ( ) ( ) , .
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N ,
.
autonomy and heteronomy
I q , B , , , (1993[1983]: 38) () (1996: 124). I ( 3.2).
Figure 3.2 Relations o dominance between elds
(Source: Bourdieu 1993: 38).
-, . I he Rules ofArt, B
- - ff fi ( ). I ff ( ).(1996: 261)
+
THE FIELD OF POWER
+
FIELD OF CLASS RELATIONS
+
cultural
+ eld -
-
+ = dominant
= dominated
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, , . B , , , , . B :
T heteronomous , -
, , fi - ( fi , fi), success ... T autonomous , fi , [] specificconsecration. (1993: 38).
I , , - -
: . - , , . . O , within , ( ) - . B :
, within ; , , , - within .
B he Rules of Art ( 3.3). , - -
, , - ; , , - , - , H .
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Figure 3.3 The eld o cultural production in the eld o power and in the social space
(1996: 124)10
Field o cultural production CE+ CC+
+
FIELD OF
POWER
non-proessional
cultural producers
SOCIAL SPACE (NATIONAL)
EC CC
CSs +
consecrated
avant-garde
small-scale large-scale
production production
art or arts sake vaudeville
avant-garde serial
bohemia journalism
CSs-
Key
Social Space CE capital economic
Field o Power CC capital cultural
Field o Cultural Production CSs captial symbolic, specic
Sub-eld o small-scaleProduction AUT + high degree o autonomy
AUT low degree o autonomy
CE- CE+
CC+ CC-
Aut +
CE
CSs+
Aut +
CE +
CSs
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Bourdieus Grand heory of the artistic Field
S q . I ,
B F , - .
, , , afortiori S W W, - , .11
I ,
( ) , , - . N P- - , , , - - .
I P B B , ,
( ), .
S , , , , , , - fi. (1993: 75)
J
par excellence , fi , . (I: 102)
M , , , .F , :
Sfi fl ,
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fl (
) fi , . (I.)
, P B , - . B , , . H,
- . , , , , , , (1996: 220-221).
S, - , () . S,
, - , (1993: 39).
field fights12
B F C P E- W R. V , ,
. B
- [...] - ( ) fi ( ). (1996: 142)
A q (1996: 217). B q , , , , , q
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Bourdieus Grand heory of the artistic Field
. P ;
. P, , , , , , . (-) , . B F , F C ( 3.4), - he Rules of Art, q ,
.13
, , . I he Field of Cultural Production, B :
T -, , .. -ffi
, . S, - ...F, , .. - , .(1993: 51)
P , , ,
( ,14 ), - , . H -. I , - , , . N, ,
. I 3.4, (, ) , . IB :
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he Art World as a System
Parnassians
Academy
RIGHT
psychologica
lnovel
BOURGEOISART
Symbolists
(Mallarm
)
societynove
l
Autonomy
(noaudience,
heteronomy
noeconomic
(market)
proft)
naturalistnovel(Zola)
b
oulevardtheater
novelom
anners
poor
Decadents
rich
(Verlaine)
ThatreLibre
popularnovel(serial)
INDUSTRIALART
(Antoine)
ruralnovel
little
v
audeville
review
journalism
cabaret(chansonniers)
Bohemia
L
EFT
(poor;young)
highdegreeocons
ecration:
charismaticconsecration
old
institutionalizedconsecration
INTELLECTUALAUDIENCE
BOURGE
OISAUDIENCE
unknown
NOAUDIENCE
lowdegreeoconsecration
MASS
AUDIENCE
young
POETRY
NOVE
L
DRAMA
Figure
3.4
Frenc
h
literary
feldi
nt
he
secondh
alothe
nineteenthc
entury(basedo
nB
ourdieu1
993:49)
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Bourdieus Grand heory of the artistic Field
T fi -
q ff : fi, -fi -fi - -, .. ... ; , -fi , - -, fi ...(1993: 53)15
I , , , power of
consecration (1996: 224). S , , , , - , (nomos) (.) as such (1996: 223).
, B, . H .
, - .16 , (1996: 225-226).
the space of possibles
B ,
. , : - . B , , (1996: 235). F , (1993: 64-65). S, , , , , , , , . H B
(1996: 235). A , , ,
( , ), q . (1993: 65)
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,
, - - -, . B q . I q, - - (1996: 231). , , . M . F,
, , (1996: 236). I , - , . S, - - ... - (1993: 57). M :
fi, fi ( ). (1996: 234)
I ( -) , -
, B . H , - . () - , B (R 217-218),
-
(...) ; , fi , , fi , . (1993:45)
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Bourdieus Grand heory of the artistic Field
A :
T , - fi , - fi (1993:44).
A F 1960 1970,
, , , , , - . B - (1993: 44); , ( )
. I - B , :
J , , , , fi - fi
, fi fi . S, , - . (1993: 44)
W , B .
3.3 Some comments on Bourdieus theory of the cultural field
A B -, -1990, (.. L 1994 1997; H 1998 , 2003; G
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2003; , S 1999). M
B . I D, N H B -M- (H 2003: 12).17
A, B Art Worlds 2000, B B :
[B, HM] - B . (H 2000: 201)
A G, B : F . A (G2003: 11).18 B -
, , , . G- - (2003:112). B , ,
B (G2003: 101). G :
H . W fi ...? I - . T fl, -
. I , , - fi. (I.)
G , B , , B q
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. B G -
:
T , fi, () , - , , . (B 1996: 239)
G B , A, , , G B ( ) .19 , , B - .
A B , L, , Lesrgles de lart . H B -, .
H B F : S D, (1994: 6). H , - , (: 7-8). L B .S -
- (: 10). O L q B - . L B . I L B - . C , L q,
, , -. H , , B , , . H q:
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H (...) fi ,
, () ?(I: 16)
I , B , , q , - . O ,
, , , . W , , , q, .H, L ( H, ), q- B . I , . B , , , , , ,
. D , B , Gods eye view (: 16).
D L- B. I , , N L , , , -
.F, V R D (2006) -
q B . B - . B, B ( .. 3.3 3.4) , V R D
. -, (, ); (, ) (, -). , B ,
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B . O
. - , B ( ) ( ). O, V R D .
3.4 Bourdieus field theory and the functioning of art in society
A B - B , , . O , , , ;
q . , D ,
. B q ; , -, . H, , -
.
B . B . C : ; , ,
. B , . S .
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N, q -
. F , - , . - within , , q, .
H, B . I , , - . I q , , , - , . A G S , :
(2003: 442). H - , , , . : , , , .20
S, B , q , , q , q .
I - , . I
- . B B - W B - ,
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Bourdieus Grand heory of the artistic Field
; B 1930 : F,
(...) , , q (...) (B 1966[1934]: 104-105). I , .
A , B, , ,
, , , - . B , , , () , q, .
Notes
I Le mort saisit le vif. Les relations entre lhistoire rifie et lhistoire incorpore (),B A , - . I q- A - (). H, B .
I he Rules of Art Bq B F C P (/),
. I , B B , , B , , (: -).
P . B , B , (champs), , , - .
B q ,
( []: ).
B R C ( []: ). H A Why Are ArtistsPoor? ()
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, ,
. H B q - ( []:). A , , q.
A, D .
S B - ,
. B B , (S : ). I , doxa , , , .
E , , ,B (: -).
A ., - .
S B ,
. H qB Wq () -, (S : ). I q,, . O , ( ) -. B
(R, ). M , . I - , -, , , , .
M B . H , M , , , , , .
I B he Rules of Art (. ). I B, -
. I , B ( )
- , , , .
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Bourdieus Grand heory of the artistic Field
S, B
, -, - , (: ). A - . O , , , .
H N H B , .
G B AN F - F .
G B - E . H - . H - . A
, . I , B ( ).
I - , - , : , .
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4 F T M S:B L N H
4.1 Introduction
G , B - . G , ,
, () . I F , BL G E N H(G 2003: 115). B , A N , ( ) , L (
).I Reassembling the Social (2005), L -
, - , . O , , a type of con-nection (2005: 5). I L , . I
L, H G () .
W , [ , HM] : , , , ,
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, fi. (...) T
. (I: 249)
L , , A N (AN), : ; ; -
(: 7), , - , . B AN - , - - , .
B N H , A N , .
4.2 Te Actor(-)Network Teory
Actor Network heory and After(1999, 2004) AN, B L J L, .
L AN, : ; ; .1 I AN , , M C :
W . I AN (de trop).I . W -
. (C 2004:194)
I - , L, .2 A - , -
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, M W G D
. L , - . AN , L AN , , (L 2005: 11).
L - AN , ,
, (L 2004: 19). H AN a priori - (: 20) - . F , - , , H, AN. ,
. AN , L , summingup , , -, , , (: 17). I , , H B , B L, -, (L 2005: 243).
AN , , . B L L . L , AN ,
, - . B , , - (:15). L . W D G - , , without (...) - (.). L
(.). N ,, , L AN to be described, describe (L 2005: 131-132). I , - (: 128).
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J L AN F -
. H semiotics (L 2004: 3). F D, q, q , .
I , AN -
, P G (2003:130). A , , , , , . , -. Cq, , , (...) - (.). , , , : A (:
5), , C, L R , (1986: ).
I A- N : , , , AN.
P : ( ) ,
. W I , G : W AN (2003: 131). B M L A - (2004: 200-201). S , , , q, - , . P-
q , .B , , , . I , . F,
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From heory to the Methodology of Singularity
,
, - , . S, , , , , . , . Cq, G - ( , ) -
(G 2003: 194) L AN . , . F , - AN . AN ; ; . , L
. F, , , , , , , , , . L AN (L 2004: 17), , . M, , , circulating (.). I AN B A
, , , summing up , , , , , (.), , , , .
F, , : I actor-, (L 2005: 46); : made
to (.). O , , , . A : , , , associated make others do things (: 107). O , L ;
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, -
, AN . I : , (: 217). H, :-.
4.3 Nathalie Heinichs singular approach of art worlds
H F PD
B , , . I D H , B F, , - F (B 2003: 15).
I H , , - , H q
.3 A L A. A CS P V C (2003),4 :
T fi q-. A
...B ffi . (H2003: 55)
H ,
M .A
H A S A A. M(2003)5:
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From heory to the Methodology of Singularity
T [ ,
, HM] , , ! S , . (H 2003: 41)
4.3.1 Sociological attitudes
A q -
, H : .I A S A,
. , ( ), . M - .
S ,
, - ( ) ( ). H -, , :
F .T fi ,
q , fi . (H 2003: 42)
S , , , N H, .E G ,
(2003: 230).H ,
(2003: 43). H q ,
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. I
, (.). . - , , (...) (2003: 44). A H q . I ,
, . - (2003: 45).
I , H : , - . H , , B , L
.I H 1998 , Ce que lart fait la sociologie Le triple jeu de lart
contemporain, . I - , , , q .6 S -, -, , - .
O anti-reductionism
H , , - q , ,
(...): , fi, - ( P B ), ( HB). (H 1998: 15)
- H , H , .B -, ;
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From heory to the Methodology of Singularity
, ,
.M H , , a-critical attitude. S
, - . I , , , , - . , (H 1998: 24).
, ( ) (...), , (: 25). A, , B , H- , , , , . - ; B
.H - . S -
, , - q - Ce que lart fait la sociologie.
H , a-critical attitude; .
descriptive attitude. (de expliquer expliciter), , H-, (: 33). . O pragmatique - , , H Le triple jeu de lart contemporain (1998: 72).
A , , -
; pluralist attitude , - (: 44). q -.7 I Le triple jeu de lart contemporain
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. I -
,
, , , , , - . (H 1998: 254)
I -
, q -. H q , , choice - , .
M H relativist attitude,
- q (H 1998: 56-59). S , , . H . I / . I /
, (: 59). q , q ( ), , , (: 60).
A - , H I N (Neutralit en-gage). R M W , - , ,
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try . I
, -, ( ), , ( ). q, , q , , (: 78). H H -
: , ; , ; , . -, , H,
- - , . (I: 80)
H 1990:
, -, .(I: 80)8
I , - , , .
I , , H
fi . (I: 81)
L, , 2005 , q - -
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AN . H , ,
I , then no politics is possible (2005: 250), , , .L - , . L -, . M , ,
( ), , . L , (: 256);, , . B - (: 260), q (...) (: 256-257). A ,
.W
, H - - .
q H B - . I q -
H , q, B . R, ( Distinction) , .M - , , , , , .
H , . W H - ( ),I
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,
q. S , , q - . U, I I NH. A , - - . I - q q
. q , , , , . I , - , q q , .
4.3.2 Methodological proposals
B ,
H : , .
singularity
S , , H . I Ce quelart fait la sociologie - , , , , , -
, , , (H 1998: 11). S (H 2000: 161) B B , : (H 2000: 201). I 2000, B Art Worlds , , H, ,
. , H, , , (.).
A q, H (H 2000: 159). 9 A
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, , .
-, , , (H 2000: 161). H - , , .10 F - , makes (: 164).
H -, . O , , , H , , q - (H 1998: 68). Q , ( ),
- (: 69).
N , H, . H .
O - ,
, , , fi. (H 1998: 57)
, q, - . O D 1973, H , , , ,
(: 61). S - . W J-M S, - (: 62), D 1984 -
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, he Art Circle, , ,
ff - . H :
T - , ,
. T : , -, , ffi . (I: 53)
W D - . I D B fi - fi .
I H - .
explicitism and pragmatism
A Ce que lart fait la sociologie L , H . I - .
,H , , , , q (H 1998: 34). ,
lartiste maudit , , - ,
. (I: 35)
H AN , - .N L H . A () -
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. I ,L AN - . A perform (...) assembled collected (L 2005: 138). N , L .
. I H , , do: , , , (1998: 37). H , , - (: 38). O , , , . O
: ( ) - do (, .. S 2000; K 2002; E 2003).A -q q H :
T , , , (...) -: , -
, , , - , . (I: 38-39)
H - , , . A H
. A , is, - makes . (H 2000: 164)
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I q
1997 ( D 2003): , , (2003: 52). M H , . F - , H , ,
.H . I S C A, Q M (1998) ( : HM):
F , [1+], [ ] fi [ ]. T : , , , , [2-]. A ;
[3] ... B - , , [4 -]. (H 1998: 70-71)
I H 1998, - . , , , , , ,
[ , , HM] (1998: 38).
A H , ( ), (1998:72). I , , - ( , ):
T , - ff (1) ... ff - (2); ff , , - , (3). (I.)
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R, H -
. A , , - , (2003: 46).
objectivity
F, , H . I he Sociology of Contemporary Art; Ques-
tions of Methods (1998), ( Le triple jeu de lart contemporain). : , , . I , , , , . C - (H2000: 166).
, . H , :
M , , , , - . A . (I.)
, H /;/; /; / - ( ) . A , , , H, (). 11
W H .
, (1998: 72). , , , , (: 73). M, . I , ,
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From heory to the Methodology of Singularity
, -
.H
, q :
W -, , ; , -
, , . I , , , - ff: - . (I: 74)
4.4 AN and the functioning of art
A , AN , .S , , . , AN -
, , , . A , AN , (). A , .
C ,
AN . , , ,
. F, H , , .
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N ,
, -. N, P B , N H. I D . R , , .
H . S , q - .
C , H , L, ; 2005, q, . O L, L S E, . A
, , types , types - . A, . B , . H 1998 q , - analyze ,
. L AN , , (L 2005: 11).
A N , , , - . AN (, ,, ) , , ,
. W .H , , , ; . A : , , , ,
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From heory to the Methodology of Singularity
, , -
.T , .
A, , fi : , , , , , q, , , , , , ffi , , , q (,
). I ff ff , q . C, ff.
Notes
I Reassembling the Social () L AN, . N , .
A, PD : I -, I , how , not (L : ). S, qH S A W?
F -, H P A S A B. I , , C,L, M S, q : L .
O: L : q q (); D : G . E . E , HM.
O: Pq , (); D : E -. A . E , HM.
Pq , - .
I B , H . I B , I - .
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-
- . H , - , . A, H, A M, D F, P S, .
A B A, H - , , , I (...) I (...) A - I , I
(H : ). A , , . ( S C . ) .
H B .
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5 N L S AC
5.1 Introduction
L H S. B, N L , , , fi - . E- , 1960, fi . A
- : Funktionen undFolgen formaler Organization (1964), Grundrechte als Institution (1965) Zweck-begriff und Systemrationalitt (1968). T Das Recht der Gesellschaft (1993). B 1970 1980, , , Soziale Systeme. Grundriss eineralgemeinen Teorie (1984), (1977), (1979), (1988) , fi, , Die Kunst der Gesellschaft (1995) ( E
Art as a Social System, 2000). I L , - , 1984.
J , L - , . E
Art as a Social System q- , , q B L. . F
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L
, .
5.2 Luhmanns idea of social systems
W , , L
. B, , people , B by agents. E A N , actors , .S, , -, , . L , -. F, , L .
L : , , . I , , .M L - ; , . H L 1999 L Communicatie zonder mensen (Communication without
people). ; - , , , - (), ( ) ( ).B , . A , , , . F, L , - : q
(1999: 62).1
I, L ; - . H AN , L - , .
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,
, , ; , . I - . I Die Gesellschaft derGesellschaft (1997) L : P , - (105). B, ,
(2000: 43). A , , , [] , ( 166). M L : P - (1999: 92). - , , , - , . S,
... (.), q . L . F - L .
I 1984 (. 16) :
Figure 5.1 Categories o systems (Luhmann 1984: 16)
Systems
Machines Organisms Social systems Psychic systems
Interaction systems Organizations Societies
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T . L , L
: , , , - . A , L- fi . I - . I, . B , ,
L- ff.2 S ff , q . T , - , , , . B ff , (, ) fi .
M , ,
, ; , , . L 1984.
Figure 5.2 Detailed categorization o systems (based on Luhmann 1984, 1995 and 1997)
Systems
Machines Organisms Social systems Psychic systems
Societies
Subsystems (such as economics, religion, education and science, media, art)
Organizations Interaction systems Protest movements
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F, .
. W , . -, , .L ( ) (1984: 574). , , , , , ,
, - . I L :
S ... , . I . ... S , , ; , , ff,
. (1984: 566)
5.3 Social systems and psychic systems
H ; , L , , (1999: 93).
H , , . .
A , . P , , , , - , . I , ,
, , , .L ; autonomous, - (autopoiesis), ; structural ; temporary, .
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L
. P - , . I : ( ) , .
L . F, . . B, , - : ...
- (...) , ---- (2000: 59). F
, , , (...). I , - (...). O
. (I.)
A , L - ( ), , , , (2000: 60). . P , -
, . S , , . C indicate -, (2000: 10).
U , , - , - , - . W -
what , - - ( ) how - . I - , - . I , - ( in einer wahr-scheinlichen Welt) - (Unwahr-
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scheinlichkeit) - (2000: 62; 1995: 103). N
- , , , - . - fi- - , , 5.4.
A , : A (2000: 48). H
? B (...) (.). ( ) , forms for the purpose . I : A - (, , ).
L . 5.4 5.5
.
5.4 Key concepts in Luhmanns theory of the working of a system
M L , , ( ) , -
, , -- -, .
5.4.1 Autopoiesis
, autopoiesis, :
. W , , (.. - ) ( , ; ).N within
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. S, autopoiesis -
(Operative Geschlossenheit) . S . L S B - : . O , L (strukturelle Kopplung) , . S operatively -
: , . H, , , , B-, , , - .3 I , , .
5.4.2 Observation
L (Beobachtung) (2000: 37). O , -, -- . F - , , . S , , ; ,
, , . S , , . H L (1999: 77-78). , ( , , ).
- - -
. I , L , -. A - , (2000: 244). - , L,
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F ,
(.). , .
I , - ; L - - within MA. q what , , q q how - . - q -
, R . -. ( , ). - , , - . C-, , , (2000: 131).
F, - . L , , --
- (174). A -. I q , - (.). I , - , , q, q . A D , B q
, - .
5.4.3 Self- and hetero-reference
- : - , -
-.I , : (Mitteilung), (Information) (Verstehen). U , , q . A -
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, , ,
.4 O, , - - , .5 L , q :
A ff -
form of the utterance (Mitteilung) kind of information . I - -. T , . (...) H- . (2000: 288)6
A , :
A - (...) , , - . (I: 298)
H A D , L : , ,
(2000; 168); , - - , ; , , , - - formal combi-nations (.). I , L, - -
: . A , - - ; q q , , (...) .
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H-
, - -, - - , -. B ; - (,, , ) , - :
... , - q . (2000:155)
W q . B q .
5.4.4 Reduction of complexity by social structures
O L , . (
), q .7
I , -, AN, .
N, , , . I ,
. : (Sinn). M - . M -
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(L 2000: 107).
C - ( ) . I , .
P - - (L 1999:83), - meaningful
.F - ( - ). A L , , q q (L 1999: 101).
M, - -
. F , - - , , , [Sinnform], (L 1984:399). L , (2000: 107). O , (Erwartungshorizont) J . S
. I - , , , . , , , , .
I - , , L-
, :
... , struc-tures of expectations , .T : , ;
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, -
. (1984: 399)
A () L -. A , , , . .
5.5 What Luhmann sees as the distinctive features of art
A , L , , , . B , , .
q, , , q .A , , -, , , L . , ,
, form ( ) . C about , . W ,
[] ... ,
, , , , -, , . (L 2000: 53)
A , . M , L -
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, ,
(.). O , ; , (.)
- , - . I , , q
something else (L 2000: 142).A, , , .
( -, , ), L , , , . - ,
, -. F /; / ; /. B L . H /- /, , () . I L L, / ,
. I, L , , . , , L forms:
F , . I -, . E
q, . T ... , fi fi of forms.(2000: 118; HM)
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I q , /
, / . A L - . A , (2000: 142). L- , q ;
O ff fi,
fi , ff ( , I, ), ( , , ), ffi -, , . T /q/ffi . A ( )
. (2000:143)
I, - , , , , . F q : ?
, , . F , L , fitting/notfitting of imaginative forms.
5.6 How the art system generates the societal functioning of art
L , H L, L - , . A - q , , : .
, ,, , , .
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, -
, L . A , B , , (, - , , .) (, , , .) . L () , (-) . I , B ( )
L . I , , , ( ), , . C , , () , , -. becomes possible (Sinn, , ), , , ,
- , .
W what do, - : , , , . , . I , , ,
B H : ( ) , . I , , . L , ,
. C - .
A , L , , . B , -
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, (what
) (how ). A , , , -, , , . A, , , ,
. q ( ) . , , , ; , L , - . A, q :
A ( ) . (2000: 143)
S q - , , -.8 L
, 1984 , Einfaches Sozialsystem ( ). , , , , , , , . . I ,
, . W social, , / , , . F -, ,
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.
. I , . B , , . C , , ( ),
. I - q ( , ) , , . A , L - .
Notes
H, , - .
L , . A segmental differentia-
tion, / ; , RE E M A, centre-periphery differentiation stratification differentiation . F, , functional differentiation - , , , .
B , , , ( ), ( ) .
P .
I , , , B .
L , .
,
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,
, , . L, , -
. H - , , , , , .
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6 H A W H A F
. A - , , q
, q . F , q , , . B , , .
6.1 What the authors agree about6.1.1 Tat works of art do something
O do.
B, , - D,
, , -. W D , q , , , , , . H B, - -
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,
. U, B do , , . S , , , . B , H
. B , , q: pragmatique , , . W H- AN , , , , ,
.I L ,
. U , , , L / - ( ). H, L -
, q , , .
, , B. I , () , . H :
F, (.) fi fi , . S, - (.) fi ... , ... A, fi, ... (1996: 214)
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N . A ,
. A,, B , -- . B , -q , . I ,B , .
, , B , , 3.4 F (. 63).
6.1.2 Tat production and reception are inextricably bound to each other
A, -. B -
. O , , q . ; , B ( ) L , . L - , - ,
, . A 0.2, , , - ( ). - , , ( ) ,, , - ( ),
, .N , - , , .
, ,
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,
.1 B - , . F , . A- - ( H , , B ),
. B , . H , - , ; ,
, , .2 A, , Le triple jeu de lart contem-
porain (.264-326). Y, , ; , .3
-
. B, , - . A ; , .4 B : - , q - ;
, ; () , . S , B , , , .
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