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Variants of Concern: Authenticity, Conservation, and the Type-Token Distinction
Studies in Conservation ( IF 0.8 ) Pub Date : 2021-09-24 , DOI: 10.1080/00393630.2021.1974237
Brian Castriota 1
Affiliation  

ABSTRACT

Over the last 20 years, the conservation literature around installation and performance artworks has increasingly relied on concepts and analogies from the philosophy of music to reformulate the concept of authenticity for artworks that recur in multiple instances. Within these frameworks, authenticity is often framed as a quality ascribed to a manifestation on the basis of its compliance with the artist’s explicit directives or a precision of formal resemblance with past manifestations. This article resituates the concept of authenticity invoked in fine art conservation within a wider discourse in analytic philosophy on the type-token distinction and artworks as abstract entities that are instantiated in time and space. Given the intersubjective nature and situatedness of authenticity judgements pertaining to a work’s manifestations, this article considers the limitations of authenticity frameworks predicated exclusively on score compliance and considers how a type-token ontology is more capacious. This article demonstrates how this distinction already underpins existing frameworks and discourses, how it aids in conceptualising the relationship between an artwork’s potentially multiple versions or variants and their manifestations, and how it accommodates the ways perceptions of an artwork’s identity are socially mediated through time and may differ across its viewership.



中文翻译:

关注的变体:真实性、保守性和类型令牌区别

摘要

在过去的 20 年里,关于装置和表演艺术作品的保护文献越来越依赖于音乐哲学中的概念和类比来重新定义在多个实例中重复出现的艺术作品的真实性概念。在这些框架内,真实性通常被视为一种表现形式的品质,基于其符合艺术家的明确指示或与过去表现形式的形式相似性的精确性。本文将在美术保护中调用的真实性概念重新置于分析哲学中关于类型标记区分和艺术品作为在时间和空间中实例化的抽象实体的更广泛论述中。鉴于与作品表现形式有关的真实性判断的主体间性和情境性,本文考虑了完全基于分数合规性的真实性框架的局限性,并考虑了类型令牌本体如何更宽敞。本文展示了这种区分如何支撑现有的框架和话语,它如何帮助概念化艺术品的潜在多个版本或变体与其表现形式之间的关系,以及它如何适应对艺术品身份的感知通过时间进行社会调解的方式,并且可能收视率不同。

更新日期:2021-09-24
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