Attention and Aesthetic Value

Q3 Arts and Humanities
Morten Kyndrup
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引用次数: 0

Abstract

We are capable of engaging in different kinds of relations with objects and situations we meet. Any relation is, in principle singular and thus einmalig, unique. Still, certain general types of relationality do exist. Relations may be established with focus (“attention”) on usability, truth, ethics, power, authenticity—and of course, on “beauty,” on aesthetic value. This differentiation is an invention of the Modern world and in itself subject to historical change. In terms of “discursive areas” it has been theorized in varying keys—including quite many universalist ones. We are free to choose our modes of attention. Still, institutionalized discourses in practice pre-configure these modes. Especially when it comes to art and Modernity’s “great divide” between poiesis and aesthesis, the conditions for attentional approaches appear largely pre-figured. The article discusses this pre-configuration and the institutionalized “freedoms” of art and its audience, respectively—including current calls to abolish such differentiations and to transgress the discursive boundaries of art.
注意力与审美价值
我们能够与我们遇到的对象和情况建立不同类型的关系。原则上,任何关系都是唯一的,因此也是唯一的。尽管如此,某些一般类型的关系确实存在。可以通过关注(“注意力”)可用性、真实性、道德、权力、真实性来建立关系——当然,也可以关注“美”和审美价值。这种分化是现代世界的发明,其本身也受到历史变化的影响。就“话语领域”而言,它的理论有不同的关键——包括许多普遍主义的关键。我们可以自由选择我们的注意力模式。尽管如此,制度化话语在实践中预先配置了这些模式。尤其是当谈到艺术和现代性在辛酸和美学之间的“巨大分歧”时,注意力方法的条件似乎在很大程度上是预先设定好的。文章分别讨论了这种预先配置和艺术及其受众的制度化“自由”,包括当前废除这种差异和超越艺术话语边界的呼声。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Nordic Journal of Aesthetics
Nordic Journal of Aesthetics Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.20
自引率
0.00%
发文量
21
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