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Evalutive Descriptions of Art

Nataša Lah ; Faculty of Humanities, University of Rijeka

Puni tekst: engleski, pdf (2 MB) str. 253-264 preuzimanja: 154* citiraj
APA 6th Edition
Lah, N. (2016). Evalutive Descriptions of Art. Ars Adriatica, (6), 253-264. Preuzeto s https://hrcak.srce.hr/170932
MLA 8th Edition
Lah, Nataša. "Evalutive Descriptions of Art." Ars Adriatica, vol. , br. 6, 2016, str. 253-264. https://hrcak.srce.hr/170932. Citirano 28.02.2020.
Chicago 17th Edition
Lah, Nataša. "Evalutive Descriptions of Art." Ars Adriatica , br. 6 (2016): 253-264. https://hrcak.srce.hr/170932
Harvard
Lah, N. (2016). 'Evalutive Descriptions of Art', Ars Adriatica, (6), str. 253-264. Preuzeto s: https://hrcak.srce.hr/170932 (Datum pristupa: 28.02.2020.)
Vancouver
Lah N. Evalutive Descriptions of Art. Ars Adriatica [Internet]. 2016 [pristupljeno 28.02.2020.];(6):253-264. Dostupno na: https://hrcak.srce.hr/170932
IEEE
N. Lah, "Evalutive Descriptions of Art", Ars Adriatica, vol., br. 6, str. 253-264, 2016. [Online]. Dostupno na: https://hrcak.srce.hr/170932. [Citirano: 28.02.2020.]
Puni tekst: hrvatski, pdf (2 MB) str. 253-264 preuzimanja: 646* citiraj
APA 6th Edition
Lah, N. (2016). Vrijednosni opisi umjetnosti. Ars Adriatica, (6), 253-264. Preuzeto s https://hrcak.srce.hr/170932
MLA 8th Edition
Lah, Nataša. "Vrijednosni opisi umjetnosti." Ars Adriatica, vol. , br. 6, 2016, str. 253-264. https://hrcak.srce.hr/170932. Citirano 28.02.2020.
Chicago 17th Edition
Lah, Nataša. "Vrijednosni opisi umjetnosti." Ars Adriatica , br. 6 (2016): 253-264. https://hrcak.srce.hr/170932
Harvard
Lah, N. (2016). 'Vrijednosni opisi umjetnosti', Ars Adriatica, (6), str. 253-264. Preuzeto s: https://hrcak.srce.hr/170932 (Datum pristupa: 28.02.2020.)
Vancouver
Lah N. Vrijednosni opisi umjetnosti. Ars Adriatica [Internet]. 2016 [pristupljeno 28.02.2020.];(6):253-264. Dostupno na: https://hrcak.srce.hr/170932
IEEE
N. Lah, "Vrijednosni opisi umjetnosti", Ars Adriatica, vol., br. 6, str. 253-264, 2016. [Online]. Dostupno na: https://hrcak.srce.hr/170932. [Citirano: 28.02.2020.]

Sažetak
Taking into account the fact that, throughout history,
certain artworks have been considered as “worth of
watching” (according to the Greek etymon ἀξιοϑέατος
/ aksioteatos), preservation, or theorizing, while others
were not, one is led to investigate the various types of
evaluative descriptions. Those artworks that are more
valuable than others, or simply valuable in themselves
on the basis of rather specific features, have always represented
the paradigmatic model for the evaluator, thus
revealing the identitary nature of value as different from
one epoch to another. Our aim has been to discern, with
regard to this starting point, the way in which the process
of evaluating artworks fits the general matrix of the
universal theory of value, with its clearly distinguished
levels of evaluation, beginning with value descriptions,
continuing through the features of evaluation or abstract
qualities of values extracted from these descriptions, and
ending with value norms or systems of accepted generalizations
in evaluation. Value standpoints in such an
evaluation matrix represent dispositions or preferences
in procedures, which reflect the norms or signifying concepts
of the time. Corresponding procedures, or applications
of the hierarchicized signification of artworks, are
manifested in all known forms of artwork assessment:
attribution, institutionalization, and setting of priorities
in terms of exhibition, conservation, acquisition, restoration,
and so on. Research in the history of European
art-historical ideas has corroborated the hypothesis that,
prior to the late 18th century, clear normative patterns
were applied when it came to the evaluation of artworks.
However, with the emergence of early Romanticism, this
could no longer be done in the traditional way. Before
the period in question, visual art was created (regardless
of some stylistic discrepancies between individual authors)
and classified according to well-defined thematic
areas and functions. Such qualifications made it possible
to distinguish clearly between major stylistic periods,
creating the impression of development regardless
of the later evaluative classifications of individual cycles
in historical production thus understood. A comparison
between the axiological matrix and the features of individual
historical periods has revealed, on the one hand, a
stable relationship between the functionally nomological
features of artistic productions and the cultural instrumentalizations
of art, and on the other a stable relationship
between the overtly semantic conceptualizations in
the epoch of modernism and the ostensibly structural
mode of artistic expression. In the postmodern period,
all that was once understood as the stylistic language of
form, or the autonomy of the artefact, has been transformed
in the evasive media multiplication of the postindustrial
epoch into a whole series of reproductive
languages, replicas, transfers, copies, or simulacra, and
forced into a relationship of permanent detachment with
regard to the “original” (source). Thus, instead of an artwork
in context, the context itself is now presented as
an artwork, structured all over again according to some
of the possible principles in the theoretical choice of interpretation.
The impossibility of defining precisely the
boundaries of the medium, and its increasing dematerialization,
have made it more difficult to apply universal
evaluative criteria to a particular artwork, which has led
to a conflict between cultural evaluation and the subjection
of experience to the semantic functions of evaluations.
Nevertheless, recent research on perception in
the field of neuroscience has indicated that the sensory
perception of the external world and the assignation of
meaning to those perceptions indeed happen simultaneously,
and that these processes cannot take place separated
from one another. The conclusion shows that the
modern evaluation conflicts are largely a consequence of
an irreversible and entropic state of culture in the 21st
century. We should therefore aim at a revision, not so
much of the hitherto accepted and standardized values,
but rather of the present systems of evaluation and the
ensuing evaluative descriptions of art.

Ključne riječi
evaluation of art; value norms; conceptual attribution of meaning; instrumentalization of evaluation; evaluation conflicts; preferential descriptions

Hrčak ID: 170932

URI
https://hrcak.srce.hr/170932

[hrvatski]

Posjeta: 985 *