scholarly journals TO THE QUESTION OF DEFINING THE CONCEPT OF FORGING ART WORKS

2020 ◽  
pp. 672-684
Author(s):  
I. Polishchuk ◽  
V. Koloniuk
Keyword(s):  
Material Object ◽  
Relevant Research ◽  
Work Of Art ◽  
Art And Technology ◽  
Derivative Work ◽  
Applied Art ◽  
Art Works ◽  
Tangible Object ◽  
Definition Of ◽  
Different Levels

The article consistently discusses basic terminology related to the forgery of works of art. In particular, the phenomenon of attribution is explored, which means the definition of authenticity, authenticity of a work of art, its author, place and time of creation. The concept of the original, which is generally referred to as the basis for reproduction, copying and reprocessing, is explored. Attention is drawn to the fact that in Ukrainian, law this term (original) is not defined, but it can be identified with the phrase “material object in which the work is embodied”. It is determined that the legislator uses the term work, axiomatically considers that the material object in which this work is first embodied, and is the original. It is stated that the legislator does not define the term work, but interprets such concepts as a work of architecture; a work of fine art; a work of applied art. In summary, it is important in this context to understand the distribution of copyright and ownership of the tangible object in which the work (original) is embodied. Issues of the category of “original” in engraving are covered. Different levels of copy concept (doublet, replica, repetition) are considered. It is established that the concept of art is the variant most similar to the derivative work in law, which is a creative alteration of another existing work without harming its protection. At the same time, the situation in which the variants of the work are performed by the author of the original, and when it comes to imitation, endorsement and shepherds, in which reference is made to already existing works of other persons, is delimited. It has been found out that in addition to intentional fraud, there are many noncriminal reasons why a work of art may not be attributed to its original author. On the basis of the conducted research, the author’s definition of fake work of art, which is a material object in which the work is embodied, the author (producer) and/or the time and place of creation (manufacture) of which is untrue, but was presented as such, and this is refuted by evidence that is beyond doubt – a complex art and technology – technological expertise, taking into account relevant research on provenance and ownership history.

Art, definition of

2018 ◽  
Author(s):  
Stephen Davies
Keyword(s):  
Institutional Theory ◽  
Aesthetic Experience ◽  
The Other ◽  
Art Making ◽  
Work Of Art ◽  
Informal Institution ◽  
Works Of Art ◽  
Art Works ◽  
The One ◽  
Definition Of

Many of the earliest definitions of art were probably intended to emphasize salient or important features for an audience already familiar with the concept, rather than to analyse the essence possessed by all art works and only by them. Indeed, it has been argued that art could not be defined any more rigorously, since no immutable essence is observable in its instances. But, on the one hand, this view faces difficulties in explaining the unity of the concept – similarities between them, for example, are insufficient to distinguish works of art from other things. And, on the other, it overlooks the attractive possibility that art is to be defined in terms of a relation between the activities of artists, the products that result and the audiences that receive them. Two types of definition have come to prominence since the 1970s: the functional and procedural. The former regards something as art only if it serves the function for which we have art, usually said to be that of providing aesthetic experience. The latter regards something as art only if it has been baptized as such through an agent’s application of the appropriate procedures. In the version where the agent takes their authority from their location within an informal institution, the ‘artworld’, proceduralism is known as the institutional theory. These definitional strategies are opposed in practice, if not in theory, because the relevant procedures are sometimes used apart from, or to oppose, the alleged function of art; obviously these theories disagree then about whether the outcome is art. To take account of art’s historically changing character a definition might take a recursive form, holding that something is art if it stands in an appropriate relation to previous art works: it is the location of an item within accepted art-making traditions that makes it a work of art. Theories developed in the 1980s have often taken this form. They variously see the crucial relation between the piece and the corpus of accepted works as, for example, a matter of the manner in which it is intended to be regarded, or of a shared style, or of its being forged by a particular kind of narrative.

Art, definition of

2018 ◽  
Author(s):  
Stephen Davies
Keyword(s):  
Institutional Theory ◽  
Aesthetic Experience ◽  
The Other ◽  
Art Making ◽  
Work Of Art ◽  
Informal Institution ◽  
Works Of Art ◽  
Art Works ◽  
The One ◽  
Definition Of

Many of the earliest definitions of art were probably intended to emphasize salient or important features for an audience already familiar with the concept, rather than to analyse the essence possessed by all art works and only by them. Indeed, it has been argued that art could not be defined any more rigorously, since no immutable essence is observable in its instances. But, on the one hand, this view faces difficulties in explaining the unity of the concept – similarities between them, for example, are insufficient to distinguish works of art from other things. And, on the other, it overlooks the attractive possibility that art is to be defined in terms of a relation between the activities of artists, the products that result and the audiences that receive them. Two types of definition have come to prominence since the 1970s: the functional and procedural. The former regards something as art only if it serves the function for which we have art, usually said to be that of providing aesthetic experience. The latter regards something as art only if it has been baptized as such through an agent’s application of the appropriate procedures. In the version where the agent takes their authority from their location within an informal institution, the ‘artworld’, proceduralism is known as the institutional theory. These definitional strategies are opposed in practice, if not in theory, because the relevant procedures are sometimes used apart from, or to oppose, the alleged function of art; obviously these theories disagree then about whether the outcome is art. To take account of art’s historically changing character a definition might take a recursive form, holding that something is art if it stands in an appropriate relation to previous art works: it is the location of an item within accepted art-making traditions that makes it a work of art. Theories developed in the 1980s have often taken this form. They variously see the crucial relation between the piece and the corpus of accepted works as, for example, a matter of the manner in which it is intended to be regarded, or of a shared style, or of its being forged by a particular kind of narrative.

scholarly journals Radiação Obscura: Fluxos energéticos sonificados no limiar da experiência sonora.

2021 ◽  
Author(s):  
Hugo Paquete ◽  
Adérito Fernandes-Marcos ◽  
Paulo Bernardino Bastos
Keyword(s):  
Electromagnetic Fields ◽  
Digital Art ◽  
Digital Culture ◽  
Artistic Practice ◽  
Work Of Art ◽  
Sound Event ◽  
Art Works ◽  
Data Flows ◽  
Definition Of ◽  
The Impact

This essay analyze the impact of the sonification processes in the sound arts. This is achieved exploring the definition of their production methodologies, philosophical implications and conceptual significance taking as examples my artistic experiments with sonification of light and electromagnetic fields explored in my projects that are presented in this analyses. The sonification as an artistic practice consist of generating art works based in the data-flows. Originated a sound event outside the physic of sound as non-vibration force. That is associated in my argument as data-event-sound connected with a new ontology outside the forces that animate the understanding of sound as vibration. Opening the understanding of the work of art as a system of interdependent relations in digital-art. Generating new ways of understanding sound as mutation in which digital, culture and spiritual establish interconnections between the computer as a digital domain in a landscape of code, promoting complex regimes of laminar-perception.

Development and Evaluation of Fuzzy Criteria for the Diagnosis of Rheumatoid Arthritis

1996 ◽  
Vol 35 (04/05) ◽  
pp. 334-342 ◽  
Author(s):  
K.-P. Adlassnig ◽  
G. Kolarz ◽  
H. Leitich
Keyword(s):  
Rheumatoid Arthritis ◽  
Reference Model ◽  
American Rheumatism Association ◽  
Uniform Definition ◽  
Sensitivity Rate ◽  
Fuzzy Techniques ◽  
Definition Of ◽  
Different Levels ◽  
Specificity Rate

Abstract:In 1987, the American Rheumatism Association issued a set of criteria for the classification of rheumatoid arthritis (RA) to provide a uniform definition of RA patients. Fuzzy set theory and fuzzy logic were used to transform this set of criteria into a diagnostic tool that offers diagnoses at different levels of confidence: a definite level, which was consistent with the original criteria definition, as well as several possible and superdefinite levels. Two fuzzy models and a reference model which provided results at a definite level only were applied to 292 clinical cases from a hospital for rheumatic diseases. At the definite level, all models yielded a sensitivity rate of 72.6% and a specificity rate of 87.0%. Sensitivity and specificity rates at the possible levels ranged from 73.3% to 85.6% and from 83.6% to 87.0%. At the superdefinite levels, sensitivity rates ranged from 39.0% to 63.7% and specificity rates from 90.4% to 95.2%. Fuzzy techniques were helpful to add flexibility to preexisting diagnostic criteria in order to obtain diagnoses at the desired level of confidence.

Ways and Voices in the Psychoanalysis of Links According to Enrique Pichon-Rivière

2016 ◽  
Vol 6 (2) ◽  
Author(s):  
Rosa Jaitin
Keyword(s):  
Couple Therapy ◽  
Clinical Observation ◽  
Clinical Work ◽  
The Core ◽  
The Social ◽  
The 1960S ◽  
Definition Of ◽  
Relationship Of ◽  
The Voice ◽  
Different Levels

This article covers several stages of the work of Pichon-Rivière. In the 1950s he introduced the hypothesis of "the link as a four way relationship" (of reciprocal love and hate) between the baby and the mother. Clinical work with psychosis and psychosomatic disorders prompted him to examine how mental illness arises; its areas of expression, the degree of symbolisation, and the different fields of clinical observation. From the 1960s onwards, his experience with groups and families led him to explore a second path leading to "the voices of the link"—the voice of the internal family sub-group, and the place of the social and cultural voice where the link develops. This brought him to the definition of the link as a "bi-corporal and tri-personal structure". The author brings together the different levels of the analysis of the link, using as a clinical example the process of a psychoanalytic couple therapy with second generation descendants of a genocide within the limits of the transferential and countertransferential field. Body language (the core of the transgenerational link) and the couple's absences and presence during sessions create a rhythm that gives rise to an illusion, ultimately transforming the intersubjective link between the partners in the couple and with the analyst.

Institutions, Models of Capitalism and Inequality in Income Distribution: An Empirical Investigation

2017 ◽  
Vol 17 (3) ◽  
pp. 651-685 ◽  
Author(s):  
Gilberto Antonelli ◽  
Pinuccia P Calia ◽  
Giovanni Guidetti
Keyword(s):  
Income Inequality ◽  
Income Distribution ◽  
Empirical Investigation ◽  
Econometric Evidence ◽  
Definition Of ◽  
The Empirical Analysis ◽  
Statistical Indicators ◽  
Different Levels

Abstract The article analyses the role of institutions in the determination of income inequality in a sample of OECD countries. Basing on the seminal approach by Amable, the article discusses the theoretical definition of model of capitalism. The basic idea is that each model of capitalism is defined by the cobweb of complementary relationships established among different institutions. Using a set of statistical indicators of the operation of institutions in two different years, 1995 and 2010, the empirical analysis points out five models of capitalism and exhibits how their composition has changed in this lapse of 15 years. In the following sections of the article, we investigate the role played by the model of capitalism in the determination of income distribution, measured through a standard Gini index. After controlling for a set of variables, the econometric evidence shows that different models of capitalism present significantly different levels of income inequality.

scholarly journals Kunst kui tundenakkus: Lev Tolstoi kunstidefinitsioon analüütilises perspektiivis / Art as emotional infectiousness: Lev Tolstoy’s definition of art in the analytical perspective

2017 ◽  
Vol 15 (19) ◽  
Author(s):  
Marek Volt
Keyword(s):  
Art Criticism ◽  
Necessary Conditions ◽  
Wide Spectrum ◽  
Religious Knowledge ◽  
Action Mechanisms ◽  
Art Works ◽  
Analytical Perspective ◽  
Anglo American ◽  
Definition Of ◽  
Insight Into

Artiklis käsitlen Lev Tolstoi kunstiteooria retseptsiooni anglo-ameerika esteetikas. Esiteks formuleerin Tolstoi kunstidefinitsiooni ja selle põhimõistete kanoonilise tõlgenduse. Seejärel analüüsin määratlust ekstensionaalse adekvaatsuse alusel, keskendudes nii tavapäraste kui võimalike uute etteheidete paikapidavuse uurimisele. Kolmandaks püstitan küsimuse, kas Tolstoi kunstidefinitsiooni kriitika ekstensionaalse adekvaatsuse alusel on üldse õigustatud. Väidan, et kuigi senistel Tolstoi meta-esteetilise rehabiliteerimise katsetel esineb puuduseid, paljastab Tolstoi kunstiteooria immanentne kriitika – teooria vaagimine eeldustelt, millelt see kritiseerib oponeerivaid teooriaid –, et ekstensionaalsest adekvaatsusest lähtuv kriitika on õigustatud. My article discusses Tolstoy’s theory of art in the context of Anglo-American aesthetics. Although Tolstoy’s What is Art touches upon a very wide spectrum of subjects (the place of art in the world, justification of sacrifices made for completing art works, criticism of previous theories of aesthetics, especially of the theory of beauty, defining of art as the expression of feelings, judging of art as such based on the religious knowledge of the era, action mechanisms of beauty/pleasure-centred art, consequences, conditions of the value of art, the relations between art and science, etc.), it has mainly been examined from the aspects of judging and defining of art.The article focuses on Tolstoy’s definition of art and consists of three notional parts. First, I present the canonical formulation of Tolstoy’s definition of art – something is a work of art if and only if the person, who lives through the feeling(s), causes by external signs that the recipients live through the same feelings. I also present the canonical interpretation of its main concepts – the conditions for creation, transmitting and reception.Second, I have an analytical insight into the criticism of the canonical treatment, displaying and commenting on, but also responding and complementing the presented arguments. The extensional adequacy-based analysis of Tolstoy’s definition of art shows that although it is possible to eliminate some of the typical criticisms, none of the three necessary conditions was necessary by itself, nor were all three of them sufficient when taken together.As Tolstoy’s definition of art has sometimes earned quite serious criticism, then, as my third point, I also examine some possibilities for rehabilitating Tolstoy’s theory of art: whether and in what sense can the extensional adequacy-based analysis of Tolstoy’s definition of art be justified at all? So far, the attempts of meta-aesthetic rehabilitation of Tolstoy (e.g., Mounce centrism) have not achieved the expected result. Furthermore, the immanent criticism of Tolstoy’s theory of art (criticism of the theory, based on the prerequisites it uses to criticize its opposing theories) reveals that the extensional adequacy-based criticism of Tolstoy’s definition of art is justified, but it is not necessarily the only yardstick for the theory.

scholarly journals Deskriptivni i normativni pojam odgoja

2018 ◽  
Vol 29 (6) ◽  
Author(s):  
Slavica Bašić
Keyword(s):  
Pedagogical Discourse ◽  
Definition Of ◽  
Different Levels

The analysis of pedagogical statements in which we include definitions of pcdaogical concepts brings us Io the conclusion I hat pedagogy uses the same categorical apparatus when it forms the theoretical thought about education and when it forms opinions about moral and practical questions of education, in other words, in pedagogical discourse the differentiation of theoretical from practical language about education is not even mentioned. The fact that different levels of language are not distinguished is supported by the use of pragmatic and prescriptive concepts of education in the so-called general pedagogical (theoretical and epistemological) discourse. The author stresses the point that the programatic concept of education in the science which goes under the definition of »science about the laws of upbringing and education« is completely useless.

scholarly journals Signification et réflexivité dans la philosophie de Ricœur

2020 ◽  
Vol 11 (1) ◽  
pp. 86-116
Author(s):  
Philippe Lacour
Keyword(s):  
Definition Of ◽  
Different Levels

In this article, I investigate Ricœur’s definition of philosophy by addressing two of its most fundamental conditions: meaning, which somehow constitutes its inner material, and reflexivity, which is the principle of its dynamic articulation. I proceed in two steps. First, I distinguish five different levels of discourse, underlining the originality of each of them: descriptive, transphrastic, self-comprehensive, anthropological, metaphysical. Then I explain the role played by reflexivity, both in its intra- and inter-semiotic dimension, in delimitating these various levels and helping the transition from one to another. In conclusion, I show that the whole of Ricœur’s philosophy can be characterized by a confidence in language, in its both obstinate and cautious effort to “enlighten existence” by pushing the limits of its fontiers.

scholarly journals La linguistique peut-elle sortir de son état pré-galiléen ?

2021 ◽  
Vol 33 ◽  
pp. 1-23
Author(s):  
Jean-Pierre Desclés
Keyword(s):  
Semantic Analysis ◽  
General Topology ◽  
Levels Of Analysis ◽  
Grammatical Categories ◽  
The Future ◽  
Definition Of ◽  
Different Levels

The future of linguistics implies a better definition of concepts, especially in the semantic analysis. The notion of operator plays an important role in several areas of linguistics, for instance categorical grammars and representations of the meanings of grammatical categories. The general topology makes it possible to mathematize the grammatical concepts (time, aspects, modalities, enunciative operations) by means of operators. Curry’s Combinatorial Logic is an adequate formalism for composing and transforming operators at different levels of analysis that connect the semiotic expressions of languages (the observables) with their semantico-cognitive interpretations. The article refers to many studies that develop the points discussed.

Sign in / Sign up

Export Citation Format

Share Document