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METAESTETICKÉ RIEŠENIE SPORU KLASIFIKAČNÉHO A HODNOTIACEHO POJMU UMENIA U EDDYHO ZEMACHA

100%
Hrkút J.
Filozofia (Philosophy)
|
2018
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vol. 73
|
issue 5
378 – 388
EN
In analytic aesthetics the discussion on the classification and evaluation of the term "art" was and still is alive. The article briefly introduces this tradition (analytic aesthetic framework), which has its roots in the reception of Wittgenstein's Philosophical Investigations and includes authors such as Moris Weitz and Frank Sibley. The later reflection of the first themes and approaches, also called meta-aesthetics, is a parallel project to other disciplines of post-analytical philosophy, e.g. meta-ethics. Further, the study examines Joseph Kosuth´s conceptualism which serves as an example of the challenges faced by the philosophy of art in the 60s and 70s of the twentieth century. The particular aim of the study is a closer analysis of the dispute between classifying and evaluating of the term "art". Here the key part is played by the contribution of the Israeli philosopher Eddy Zemach. His approach is considered to be a functionalist solution to the problem of defining art. This solution implies the impossibility of neither temporal nor logical separation of classification and evaluation.
2

Mākslas jomas ekspertu un ikdienas mākslas pieredze un komunikācija

86%
Raita L.
Makslas Vesture un Teorija
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2015
|
vol. 18
103-112
EN
In the last few years researchers have focused on studying the differences in art cognition between art experts and non-experts. In particular, the impact of expertise on the cognitive processes has been explored. In the author's MA thesis 'The Role of Social Identity in Experts' and Non-Experts' Art Experience and Communication', experts' and non-experts' art cognition has been analyzed in relation to the aspects of the self and social identity of the individual. Additionally the role of sociocultural resources is analyzed. This paper is a glimpse into the core results of the MA thesis. In particular the theoretical framework, methodology, obtained results, discussion, conclusions, and further research directions are described. Art experience includes art evaluation. The present study focuses on three evaluative dimensions: bad-good, emotional significance and preference. Another core process of art cognition is communication; it is a part of art experience and is operationalized as verbalization within the framework of the present study. The theoretical framework of the current study is based on the theories of empirical aesthetics, social cognition, distributed cognition, extended mind, and categorization. By connecting these theoretical perspectives art cognition is considered as a socially distributed process which is processed in an extended cognitive system that, in its turn, is constituted by the individual or cognitive agent, social values, and sociocultural resources, i.e., other individuals, cultural artifacts (e.g., artworks), social institutions (i.e., institutions of art education, museums, galleries, exhibitions). At the macro level, the art cognition is studied by conducting representative online survey of the population of Latvia. At the micro level the differences of art experts and non-experts are explored in respect to art experience and communication. For this purpose several online experimental tasks were conducted. Data were analyzed in using quantitative content analysis and nonparametric statistical methods. Obtained results indicate that the recognition of an artwork (i.e., ability to recall or recognize an artwork from memory), is related to the following aspects of the individual: age, gender, place of residence, level of education, knowledge and experiential background.
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