Art Worlds

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Hans van Maanen

HOW TO STUDY

ART WORLDSOn the Societal Functioning

of Aesthetic Values

A M S T E R D A M U N I V E R S I T Y P R E S S


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how to study art worlds


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H SA W

O S F A V

H M


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C: S J B, A, ND: V3-S, B, N

isbn 978 90 8964 152 6e-isbn 978 90 4851 090 0nur 640 / 756

H M / A U P, 2009

A . W , , , -, (, , , ) .


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C

I 7

part one he Art World as a System

1 I G D 17

2 I P H S. B P DM 31

3 P B G A F 53

4 F M S:B L N H 83

5 N L S A C 105

6 H A W H A F 125

part two On Values and Functions of the Arts

7 W P S A D 149


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able of Conte nts

part three How to Study Art Worlds

I 205

8 F F A S 207

9 H D C F A 241

10 H A V B C 275

E: F S L A E 291

R


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I

F 1960 , . - q . W -

, -; .

O , , , , ; : how the organization of theart worlds serves the functioning of arts in society.

I - . O , - ; , .A q, , . H, : , -

, , q .

I 1964, A D A 1950 1960. H -


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Introduction

, ,

, , . H Journal of Philosophy q , : (D 1964: 577). , , ; .

S 1964 , - ,

G D H S. B E-- , E , P B. B, , B -, .1 : G D, H S. B,P D, P B, N L, B L N

H. A - : D D , B - ( ) -- F B.L, , - , , , ;

, . I q, , .

A , - , . B ; , , -

. S ; , I ( ) .

N, D -


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Introduction

q

A-S - . W 1970 1980, M C. B A A, E - . I Definitions of Art (1991), S D A-S ,

,

S .T A , , q - A . (D1991: 218)

I , D D , , q , .

M D ; - . I , ; -

, .

A , - , . B, pur sang, :A ... -

(1958, 572) . q - . I , , values functions .


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Introduction

. - q q - , . - ; , I . I q , ,

, .2

A , . , , , - , . A, q ,

. W , ( , ) - , .

Te functioning of art worlds

I , (.. K 2002 D 1991). I , valueof art - . , , possible ; ,

, , - , q, - . W , an . A ,


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Introduction

, , ,

A :

T ff fi , ff , : , , ...(A 1966)

I , A :

... . A , , in order to , - .

O , , functions

. I , .

functioning . , . . I , - ( ) functioning ,

. C , , ( , , ) (, ), q 87 . F 0.1 , : , .

O , -

.3

I , , .4 I , , , , - , , . ,


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Introduction

. O , -

(, , ) ; , . . I : ; ;

; , , , , , , , .

Figure 0.1 Fields and relationships to be studied concerning the unctioning o an art

world on the societal level

DOMAINS o

OPERATION

Production Distribution Reception Context

Organizat.

structures

Types and

numbers o

producing

institutions

and their

mutual

relationships

Types and

numbers

o venues

and their

relationships

Structure

and needs o

potential user

populations

Position o the

arts amongst

others systems

Processes Ways o

conceiving

and making

aesthetic

works

Ways o

programming,

ofering and

marketing

aesthetic

works

Types o

participation

and reception

aesthetic

Functioning o

art experiences

in other social

systems

Outcomes Types and

numbers o

aesthetic

works

Types and

numbers o

aesthetic

experience

situations

(art events)

Types and

numbers o

aesthetic

experiences o

social groups

(New) collective

perceptions o

the world


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Introduction

T fi -

, , ( ) ( ), . I , , fi .5 I

.B q, , 0.2 .

T fi , , for , as , .W fi fi .6

Figure 0.2 Two axes which strongly condition the unctioning o an art world, in this case

on the individual level

DOMAINS o

OPERATION

Production Distribution Reception Context

Organizat.Structures

Personneland mutual

relations.

Working

conditions

Personneland mutual

relations.

Working

conditions.

Space

Perception andcommunication

schemata o

user(s)

Total mindsetuser(s)

Processes Conceiving

Elaborating

Rehearsing,

etc.

Programming

Displaying

Ofering

Marketing

Perceiving

Imagining

Experiencing

Communicating

Use o aesthetic

experience in

other mental

domains

Outcomes An aesthetic

product

Event as an

aesthetic service

Aesthetic

experience

(New) mental

schemes to

perceive the world


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Introduction

. I

, . B , , , . S, , , , -

.I , , , , - , ; , .

Notes

B : P,

. I , .

I : V M .

I , V M ,

-. I , , , , . .

() , , , , .

S .. V M & W .


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PAR ONE

he Art World as a System


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1 T I T G D

1.1 Introduction

G D ( 1926) 25 , 1964 1989, . I , , ;

, , S D (D- 1991). D 1964 -1980 A-S N A- ; G D M C. B.

B - 1958,

. R D B, .A , D B . I 1964, M A A- ( he American Philosophical Quarterly) B- P A E ( he Journal of Philosophy). A ,

. I 1971, D B, A A A.O A S I V, E A, B . S- , Evaluating Art , B , S, G H.


20/314


E D , ,

M B ; D Art and the Aesthetic. An Institutional Analysis (1974), :

I I M B. I , . (D 1974: 147)

A , D , he Art Circle. A heory of Art (1984); ...M B. S , D B: B , (1984: 85).A B : -

. 1

B. H . F D .2 H, , D - ,A D, .

1.2 Dickie and Danto

A D 1964 A - q A he Journal of Philosophy (. 61: 571-584). H , . I , D .

. S . H, A W Brillo Boxes :


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he Institutional heory of George Dickie

W ff B

B . I , . (2003 [1964]: 41)

W S, D : B : , (2003[1964]: 44). A

q D , B - , B . B B , .

T ffi D . H fi N. 7. H -

, , ? T , D,

. (...) q . (2003[1964]: 40)

A D : -

q , : (.).

1950 1960 A D , D D . A , D q D D, , D , -

D (D 1986). I ,D , , () , .


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I he Art Circle, D D

(1984: 17-27). I , D q , I , D D (1984: 19). H D D, L, D . D :

I D L - . (1984: 20)

B L , D D , D understood

( ) .I , D ,

. H - . O , , , , , , D D B .

Brillo Boxes W, J C4333( - D- ) , .

D , - D q - .

A D D

- . D D :


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T -

; , D . (1984:20)

W D D (D 1973 1974) q -. H A R 1964

. , D, - ( ) , . A , , , D, D - (D1984: 22). D , -, , D ,

.F, D

D . I D ( - ), ffi (1984:25), fi . I , - D -

; D fi (1984: 26).

I D . F D ; -. D D .

O , D D

, (1984:17). (1984:27). D, , D -, B D, - D - (1991:80). A


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I D D

, , - . D D .D, , , B. H A D A

.

1.3 Dickies theory

1.3.1 Artifactuality

I 1956 M W q , , (1956: 27-

35). O , , D D , , , ; , , , . F W D - . B (1971, Aesthetics:an Introduction), W

thus , , .D .

W , D , : , q ; , W - . D - classificatory evaluative

. I , (1971: 99), . I , (1974: 43).

- . A D ,


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W ,

, q - . A - , . I (.. 1974: 25-27), D - , derivative , : . : ,

, . I , . D - .

I , D conditio sine qua non. F, . F

: . A - ( , D ); , , (1984: 36). A , ,

, , D, (1984: 35).

A, q, D - 1971 . H D - : P D (1971: 101):

A fi 1) 2)

( ) . (.)

D Arts and the Aesthetics, anInstitutional Analysis (1974), .B 1984, , -


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,

, .O

.D - . I 1974 D -, , . B 1984 : O

(1984: 44). S : - , , , -----, (1984: 46-47). , D Fountain -. W , D D - , q... .

1.3.2 Te essential framework

A A D D he Art Cir-cle I N A ( IV) A (- V). A B: I B , (1984: 51).

B - -(1976), fi , ,

, , fi R C C. B D -, , fi -, , ( -); B , I , , D , T I (1984: 51-52). ID , ,

:

W I , B -. (1984: 52)


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B , D

. , - , - , . B- q - , , , : ( D ). D ,

, , , , he ArtCircle.

D q - . (1984: 55). H D, : ... [ , HM]

(.).A , D L D, - (1984:63). M, (1984: 64), ,

.F, , D

, , :

T fi . (1984: 66).

A D () q . H :


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(1984: 72).I

, , , , . D , , , : (...) (1984: 74-75). I ,

, D , , , , q . D , - , , - (1984: 74). W D H S. B ; B ,

.I V he Art Circle, D

. F Art and the Aesthetic, I (1984:79). N , , 1984 . H , a person who participateswith understanding in the making of a work of art (1984: 80),

. A D , : A work of art is an artifact of a kind created to be presented to anart world public (.). : ,, , D , .

: A public is a set of persons the members of which are preparedin some degree to understand an object which is presented to them , he art worldis the totality of all art world systems (1984: 81). B , D , , , (1984: 82).4 I , , D : An art world system is a frame-


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work for the presentation of a work of art by an artist to an art world public (.).

: - , .

B , , - - , . D - . H q

[, HM] (1984: 78). H :

fi fi (...) . (1984: 79)

C D

- (.). , D , , , (.).

, D - :

... fi fl

. T fi ffi . W fi - . (1984:82)

1.4 Te benefits of Dickies institutional theory

O - ,D . I , - . I he Art Circle, , B


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(...)

, (B 1976: 209). D B - , , q : B , (1984: 85). I D , , B ... ...

. H

T ,, , , , . S ...(1984: 86)

O , : - , , (.). Cq . W

- .

W D he Art Circle - : ; . A , , , - ;

, . N, D , B, . F - , - . I , D

. F, , -; , , . B H S. B, .


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Notes

I I value function .

D - () , . H S. B .

- (.)

H D , - , ; ., . q- .


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2 T I P H S.B P D

2.1 Introduction

Art Worlds, H S. B 1982, --. I fi , 1960 1970, , B fi

, 1992 Les rgles de lart(Te Rules of Art, 1996).1 S, B , , ff , , . T-, B ,

.2Art Worlds , 1974 1980.

B , D, Art and the Aesthetic. An Institutional Analysis(1974); D 1984, B . I A, A C, B -- :

P , D D , . (...) N - , - . (B, 1982: 149-150)


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A ,

, , , C- S S I, , B (.).F , : W? W? HM? H M?

q, D , W -

, ?(.) A , ,

. (151)

W B D

, : - . , , , .

q [] (153). E -

, B , - (155).

q B , . F q . H , , q , -

, , - (157). I B ( ) (156), q . D


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Institutionalist Pragmatism of Becker and Dimaggio

(158). B, , ,

. B , , (158). B , B , , .3 ,

. A , , (161). , , , , (161). N , B .

U C,

C.H. C (1854-1929), G.H. M (1863-1931) H. B (1900-1987), C S .W M -, , B -.4 I B

( ) . D B - ,

: -. I - - , , fi :

. (B 1993: 12)

B B and B, q : . F -


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, ,

q K M 1856, heEighteenth Bru-maire of Louis Bonaparte: P , - .S - - , . B B, ,

. M , , , - . WB, , , E , , .

2.2 Beckers concepts

I Art Worlds, B R, A S, A C, E R-. B , .

B - ( ) .

I [ ] (...) , , . (B 1982: X)

F B D, - (.).


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2.2.1 Collective activityO B , , , :

G C (...) M-N I D M B

. (IX)

A () ,B . F, develop an idea (1) . the idea, , , has to be executed (2). F materials and equipment, , thathave to be manufactured (3).

, , , q , (?) , , , (...) distributing(4) (. 3, HM). , q supporting activities (5), , , . , (. 4). , ,

, . B - , B, . activity of response and appreciation (6) . I D , , , B : . , , M , , ,

: -, , . B , (M 1974 [1859]: 492). B creating and maintaining the rationale (7) - (. 4., -


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HM). D ,

D , . B seems , , for any work of art to appear as it finally does (. 5), B , , , , . I . B (.). A (E

D). I q, , , , B , (...) E - E D - A (14).

I ( ), :

(9). A, : , .

B q () , B . H

(24-25).W ; B - q , .5 B q ,

. q, ? - J C K S D


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M L . S -

: . q ,

, , - . , , , -. A B , q

; , , -, .

B - . B, , . P , B, (21).H

, . B , q .

I B , . T : W [ , HM] -

, (25). T , , , . T , fl ; fi ffi , , .

B :

q - . P . N fi q q q . (27)


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, B,

. I , , , - , .S (28). F --E , - , , - U S E 1980 .

2.2.2 Conventions

C . , (29) (.). C , (.).

B - , , -, . H , :

F (...) , -

. (93)

W , , - .6 E , , B 7 M

W - ( ) - ( ), . M - . B :


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(1) [E]ff

. (2) W , . (3) P q. (4) T ff . (5) E ff . (6) A fi ; , . (107)

. F - , (93-94).8A , , B , , , A - (94).

B

. Y (33). O : , q .I - , .9

B , : - - , , . F, , - , B, . S - ---- - . I ,

, - , - - , .


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B

q , -. I .10 J --, , , , , .

, , , . B, - , . S-- , , , , .

,

, , B - , . S , B , - (64). A: E , (...) , : , ,

(66). , B , . , B , :

(...) ,

. I , - . (34)

I , , , ,


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,

. A B , . T fi, , , , , , .

-

. B : 1) - , -q (46); 2) , - (...), (48); 3) () , (...)

(54). (46). , (48) . B , - , (.). A

, , , (54). A q , B , , .B .

2.3 Problems and benefits of Howard S. Beckers approach

A , B D D, -


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.

, B, . O , , . A , , (36). I , B (.).

, q. B , describe . I , , , , .

, , , . - . B ( )

, . , , .

B , . A , B -

, - , . A, , .

q B - - . I , B

. I , . I , B - , q


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. I , B

. -

, , B . A , , . .

2.4 Art sociology and the New Institutionalists

I E D , - , M W, , - 11. I , - ,

: , . B, , , . P DM WP , , , , , (DM P 1991: 24). I, ,

[] , V N (1998: 80). H -, , .

W N I, , , , DM, . B ,

, - , N I H B. I , , B , .


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2.4.1 Main themes in new institutionalismN .DM P Te New Institutionalism in Organizational Analysis (1991), P S (1949, 1957) P (1951). B

- , - (...). B -

(...).E .(1991: 12)

B , - DM P, - ; - , , ;

: , - , (-) , (...) -, (1991: 13).

DM P - , q , ,

(DM P 1991: 2).A, N [] - (1998: 10), - , - (.).

N B I he New Institutionalism in Sociology (1998: XVI).

- , q . U - , .N I - ( )


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; ,

(1998: 32). DM P N I, , - , (.).

F, . N I -

, (1998: 19).12

AN - (1998: 8-9). S , , , , . DM P B ,

.

2.4.2 DiMaggios research into organizational fields (in the art world)

I 1985, DM S US ( Poetics14). .

- . - , -

(1985: 121).S fi - . DM S , , [] ,


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fl

(1985: 108). F - , B (1982) B, .

A . . E - ,

(1985: 112). I q- US 1980 , , - - - .

A - DM P 1983, I C R:I I C R O F

(American Sociological Review 48: 147-160).13 - , DM S , .S DM C O- F P P: U.S. A M, 1920-1940 (P DM (.) 1991: 267-292), .

D M W I C , DM P - (...) (1991: 63), - . B

, , - : , ,

, -. (64-65)

W - , (65). -


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. B DM (1983),

, B - :

1. A 2. T

3. A fi

4. T (65)

( ) , - , (65).

DM P - . , (66). , (66). I : , . -

. S , , (67). M () . U , - DM P. N , , , (...)

(70).DM P : ( ). , - , , :


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, - , -fi - , , , , . (72)

DM P - ,

. , - q (76-77):

T fi ( ) () , .

T fi -

, fi .

A , DM P I C R... DM - US 1920 1940.I .

B 1920, US

. C, () -. C . B , , , , q (DM 1991:270).

DM

. B 1920 1940, 60 400. I , , , . S . I 1916 , 1930 . , ,


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. I -

, , , , , A A M (AAM), . B 1923 1932 - 81 208 365 909 (274). A, , AAM , , - (.).

, DM C . : - ; ; ; ; (275-276). , C C , : - ; ; - ; -

(277).DM

, , 1930.

O , , (283). DM-

q -, (286). I - (.). Inter , , q (.).

I , DM , -

[] by mobilizingto construct an environment they could control at the level of the organizational field (287-288).

F 2.1 DM P , . US 1920


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1940

DM P I C R...: -.

Figure 2.1 Structuration o organizational elds according to DiMaggio and Powell

- ; DM

B . I , DM , B .

STRUCTURATION:

PHASES: RESULT:

1. Increase in the extent o interaction

2. Emergence o interorganisational structures ISOMORPHISM

3. Increase o inormation load * competitive

4. Development o mutual awareness * institutional

coercive

DIMENSIONS: mimetic

1. Increasing density o interorganisational contact normative

2. Increasing fow o inormation

3. Emergence o center-periphery structure

4. Collective denition o the eld

PROFESSIONALIZATION

DIMENSIONS:

1. Production o university-trained experts

2. Creation o a body o knowledge

3. Organisation o proessional associations

4. Consolidation o a proessional elite

5. Increasing the organisational salience o proessional expertise


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Notes

A F E . E.. () Outsiders: Studies in the Sociology of Deviance. N Y: F P.

-, , , .

S, , G.H. M () Mind, Self and Society. From the Standpoint of aSocial-Behaviorist. C: U C P, H. B () SymbolicInteraction, Perspective and Method. E-C, N.J.: P H.

B

. H . H , -, , - .

F . S D

H A, Why Are Artists Poor? (). C. B

.

B B - : () () .

B , ; . F , A.

S M. W ( []), Te Rules of Sociological Method. . N Y: F P. A N (AN) -

. P

DM (.) .


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3 P B G T A F

3.1 Introduction

U P B (1930-2002) - . L , -, F -M- 1960 (A,1H, M) -

, . I 1970 , J-C P, Rproduction:lements pour unethorie du systme denseignement, E 1977 (Re-production in Education, Society and Culture) 1990. B .H , 1979, La distinction: Critique sociale du juge-ment (E 1984: Distinction: a Social Critique of the Judgement

of aste), ( ) , , . , W q , . I , ( ) .

, . B -

. I 1976 Ecole Normale Suprieure, Quelques proprits des champs (S P F), -


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1980 Questions de sociologie. I ,

B .A (La production de la croyance/P B , 1977; F C P, : E- W R, 1983; O K, K, K, 1983/ F C, 1986; F P, LF H, 1986), he Field of CulturalProduction (1993). B B Les Rglesde lart. Gense et structure du champs litraire (1992; he Rules of Art. Genesis

and Structure of the Literary Field , 1996). I ( ) , , F. B he Rules of Art.

. F, B - -

: , . I - , - , , .

B . L H-, , . B

.

3.2 Field theory

B B 2:

E , art world, US fi, - R L B , fi I . S


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Bourdieus Grand heory of the artistic Field

, H S. B q , (...); (...); q (...) (...).. W - fi, I

population, , interactions , , cooperation: , , - objective relations fi .(1996: 204-205)

W B , B, ( , , -

, D P ) .3 I B , B , .

3.2.1 Basic concepts

I B, P ,

B , B (...): , (P 1992: 12).

B . F 3.1 .

, :

A , , , illusio doxa, , (). , .


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Figure 3.1 The structure o key terms in Bourdieus eld theory

M

, , B , ( ) ( ).

position

S , , , - , , -

. A B , : F ( ) , , , , (1992 [1980]:

ARTISTIC FIELD:

A structure oobjective relations betweenpositions in which

a struggle or SPECIFIC SYMBOLIC CAPITAL occurs)

between restrictedand

large-scale production

(on the basis o or being transormed into)economic capital

social capital

illusion cultural capital

in embodied state

in the state o objects

in institutionalized state

doxa

occupied by agents

on the basis o their

HABITUS (system

o dispositions)

taking position


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171). , F C P,

, - , (...) , . (1993: 29)

S, , , -

, . B , , - '(1993: 30). P , , - , , - D - 1990 - A 1980. - B - F, - ,

, , , -.

, . I B , , - . . S - (.). B

, - , () , , . , .. (.). S , ( ), .

A , (, , ) , , q, - . (.. , , ), , , B - -- ,


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. , B

, -- , , , : , , , , pote maudit, . I , : , B , , , - , .

A , ( -) -. M :

ffpositions ( ... - ) position-takings, - , , -, . (1996: 231)

cultural capitalH , . B ; ; . , - .

B , q - , (1992[1983]: 120). H ( ) . I B M ,

C ( )

q (...), fi . (I.)

I M : q, , (


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) (: 139).

, B , . (: 122) .4 , , , , . C , - , (: 310). I , ,

. S, , , - ( q) , , -, , .5 , q () - (: 134).

S , B q . C - . embodied, in-corporated state, . q . . W

( ) q . - -, .6 , , , -, q,

objectified state.C , , -, , , . A , , . A- .


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. institutionalized state,

, . - q, (: 130). . F q . F,

- ; , : , , .

- , . S , . A , ,

, . . I, , - , . A, , ,

, - .

F , , , , () . S .

3.2.2 General field lawsI he Rules of Art, B , . H :


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T -

, fi, , . (1996: 181-182)

H structure of objective relationships, - , -, (: 181). I

B - , q, , . , B, , , , , , . A, , . , .

I Quelques proprits des champs B ( ) ( F C P, P B , he Rules of Art). I , , (1992 [1980]: 172-175).

1

, , .

2 A - , , , , .

3 E , .

4 B , : N

- .


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O ,

.5 O

, , , , , - .

6 A .

7 F, fi ff -

fi .7

- . P 3 4 . habitus, illusio, doxa nomos . DM- (1983) - ( 2).

W DM - B .E DM , - , B, . G , B , -, DM

q - . - , , () (1992 [1980]: 174), .

I B , . I , D . F 3.1 ,

. il-lusio , , (1996: 228). A , illusio collusio, . W illusio , doxa


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, ,

, D S (S 1997: 125).8 -, , q , , , , , q , . - - . I B - - . O

, . nomos, , , doxa il-lusio. , , , illusio doxa, , , , . B - ..., (rger) (1996:

179). , q (1992 [1980]: 177), ( ) , , .9

A ( q) () , ,

... , . (1993: 64)

- , - (.).

3.2.3 Dynamics in the cultural fieldI B , : , , , ( ) ( ) , .


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N ,

.

autonomy and heteronomy

I q , B , , , (1993[1983]: 38) () (1996: 124). I ( 3.2).

Figure 3.2 Relations o dominance between elds

(Source: Bourdieu 1993: 38).

-, . I he Rules ofArt, B

- - ff fi ( ). I ff ( ).(1996: 261)

+

THE FIELD OF POWER

+

FIELD OF CLASS RELATIONS

+

cultural

+ eld -

-

+ = dominant

= dominated


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, , . B , , , , . B :

T heteronomous , -

, , fi - ( fi , fi), success ... T autonomous , fi , [] specificconsecration. (1993: 38).

I , , - -

: . - , , . . O , within , ( ) - . B :

, within ; , , , - within .

B he Rules of Art ( 3.3). , - -

, , - ; , , - , - , H .


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Figure 3.3 The eld o cultural production in the eld o power and in the social space

(1996: 124)10

Field o cultural production CE+ CC+

+

FIELD OF

POWER

non-proessional

cultural producers

SOCIAL SPACE (NATIONAL)

EC CC

CSs +

consecrated

avant-garde

small-scale large-scale

production production

art or arts sake vaudeville

avant-garde serial

bohemia journalism

CSs-

Key

Social Space CE capital economic

Field o Power CC capital cultural

Field o Cultural Production CSs captial symbolic, specic

Sub-eld o small-scaleProduction AUT + high degree o autonomy

AUT low degree o autonomy

CE- CE+

CC+ CC-

Aut +

CE

CSs+

Aut +

CE +

CSs


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S q . I ,

B F , - .

, , , afortiori S W W, - , .11

I ,

( ) , , - . N P- - , , , - - .

I P B B , ,

( ), .

S , , , , , , - fi. (1993: 75)

J

par excellence , fi , . (I: 102)

M , , , .F , :

Sfi fl ,


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fl (

) fi , . (I.)

, P B , - . B , , . H,

- . , , , , , , (1996: 220-221).

S, - , () . S,

, - , (1993: 39).

field fights12

B F C P E- W R. V , ,

. B

- [...] - ( ) fi ( ). (1996: 142)

A q (1996: 217). B q , , , , , q


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. P ;

. P, , , , , , . (-) , . B F , F C ( 3.4), - he Rules of Art, q ,

.13

, , . I he Field of Cultural Production, B :

T -, , .. -ffi

, . S, - ...F, , .. - , .(1993: 51)

P , , ,

( ,14 ), - , . H -. I , - , , . N, ,

. I 3.4, (, ) , . IB :


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Parnassians

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psychologica

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T fi -

q ff : fi, -fi -fi - -, .. ... ; , -fi , - -, fi ...(1993: 53)15

I , , , power of

consecration (1996: 224). S , , , , - , (nomos) (.) as such (1996: 223).

, B, . H .

, - .16 , (1996: 225-226).

the space of possibles

B ,

. , : - . B , , (1996: 235). F , (1993: 64-65). S, , , , , , , , . H B

(1996: 235). A , , ,

( , ), q . (1993: 65)


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,

, - - -, . B q . I q, - - (1996: 231). , , . M . F,

, , (1996: 236). I , - , . S, - - ... - (1993: 57). M :

fi, fi ( ). (1996: 234)

I ( -) , -

, B . H , - . () - , B (R 217-218),

-

(...) ; , fi , , fi , . (1993:45)


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A :

T , - fi , - fi (1993:44).

A F 1960 1970,

, , , , , - . B - (1993: 44); , ( )

. I - B , :

J , , , , fi - fi

, fi fi . S, , - . (1993: 44)

W , B .

3.3 Some comments on Bourdieus theory of the cultural field

A B -, -1990, (.. L 1994 1997; H 1998 , 2003; G


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2003; , S 1999). M

B . I D, N H B -M- (H 2003: 12).17

A, B Art Worlds 2000, B B :

[B, HM] - B . (H 2000: 201)

A G, B : F . A (G2003: 11).18 B -

, , , . G- - (2003:112). B , ,

B (G2003: 101). G :

H . W fi ...? I - . T fl, -

. I , , - fi. (I.)

G , B , , B q


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. B G -

:

T , fi, () , - , , . (B 1996: 239)

G B , A, , , G B ( ) .19 , , B - .

A B , L, , Lesrgles de lart . H B -, .

H B F : S D, (1994: 6). H , - , (: 7-8). L B .S -

- (: 10). O L q B - . L B . I L B - . C , L q,

, , -. H , , B , , . H q:


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H (...) fi ,

, () ?(I: 16)

I , B , , q , - . O ,

, , , . W , , , q, .H, L ( H, ), q- B . I , . B , , , , , ,

. D , B , Gods eye view (: 16).

D L- B. I , , N L , , , -

.F, V R D (2006) -

q B . B - . B, B ( .. 3.3 3.4) , V R D

. -, (, ); (, ) (, -). , B ,


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B . O

. - , B ( ) ( ). O, V R D .

3.4 Bourdieus field theory and the functioning of art in society

A B - B , , . O , , , ;

q . , D ,

. B q ; , -, . H, , -

.

B . B . C : ; , ,

. B , . S .


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N, q -

. F , - , . - within , , q, .

H, B . I , , - . I q , , , - , . A G S , :

(2003: 442). H - , , , . : , , , .20

S, B , q , , q , q .

I - , . I

- . B B - W B - ,


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; B 1930 : F,

(...) , , q (...) (B 1966[1934]: 104-105). I , .

A , B, , ,

, , , - . B , , , () , q, .

Notes

I Le mort saisit le vif. Les relations entre lhistoire rifie et lhistoire incorpore (),B A , - . I q- A - (). H, B .

I he Rules of Art Bq B F C P (/),

. I , B B , , B , , (: -).

P . B , B , (champs), , , - .

B q ,

( []: ).

B R C ( []: ). H A Why Are ArtistsPoor? ()


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, ,

. H B q - ( []:). A , , q.

A, D .

S B - ,

. B B , (S : ). I , doxa , , , .

E , , ,B (: -).

A ., - .

S B ,

. H qB Wq () -, (S : ). I q,, . O , ( ) -. B

(R, ). M , . I - , -, , , , .

M B . H , M , , , , , .

I B he Rules of Art (. ). I B, -

. I , B ( )

- , , , .


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S, B

, -, - , (: ). A - . O , , , .

H N H B , .

G B AN F - F .

G B - E . H - . H - . A

, . I , B ( ).

I - , - , : , .


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4 F T M S:B L N H

4.1 Introduction

G , B - . G , ,

, () . I F , BL G E N H(G 2003: 115). B , A N , ( ) , L (

).I Reassembling the Social (2005), L -

, - , . O , , a type of con-nection (2005: 5). I L , . I

L, H G () .

W , [ , HM] : , , , ,


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, fi. (...) T

. (I: 249)

L , , A N (AN), : ; ; -

(: 7), , - , . B AN - , - - , .

B N H , A N , .

4.2 Te Actor(-)Network Teory

Actor Network heory and After(1999, 2004) AN, B L J L, .

L AN, : ; ; .1 I AN , , M C :

W . I AN (de trop).I . W -

. (C 2004:194)

I - , L, .2 A - , -


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From heory to the Methodology of Singularity

, M W G D

. L , - . AN , L AN , , (L 2005: 11).

L - AN , ,

, (L 2004: 19). H AN a priori - (: 20) - . F , - , , H, AN. ,

. AN , L , summingup , , -, , , (: 17). I , , H B , B L, -, (L 2005: 243).

AN , , . B L L . L , AN ,

, - . B , , - (:15). L . W D G - , , without (...) - (.). L

(.). N ,, , L AN to be described, describe (L 2005: 131-132). I , - (: 128).


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J L AN F -

. H semiotics (L 2004: 3). F D, q, q , .

I , AN -

, P G (2003:130). A , , , , , . , -. Cq, , , (...) - (.). , , , : A (:

5), , C, L R , (1986: ).

I A- N : , , , AN.

P : ( ) ,

. W I , G : W AN (2003: 131). B M L A - (2004: 200-201). S , , , q, - , . P-

q , .B , , , . I , . F,


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,

, - , . S, , , , , . , . Cq, G - ( , ) -

(G 2003: 194) L AN . , . F , - AN . AN ; ; . , L

. F, , , , , , , , , . L AN (L 2004: 17), , . M, , , circulating (.). I AN B A

, , , summing up , , , , , (.), , , , .

F, , : I actor-, (L 2005: 46); : made

to (.). O , , , . A : , , , associated make others do things (: 107). O , L ;


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, -

, AN . I : , (: 217). H, :-.

4.3 Nathalie Heinichs singular approach of art worlds

H F PD

B , , . I D H , B F, , - F (B 2003: 15).

I H , , - , H q

.3 A L A. A CS P V C (2003),4 :

T fi q-. A

...B ffi . (H2003: 55)

H ,

M .A

H A S A A. M(2003)5:


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T [ ,

, HM] , , ! S , . (H 2003: 41)

4.3.1 Sociological attitudes

A q -

, H : .I A S A,

. , ( ), . M - .

S ,

, - ( ) ( ). H -, , :

F .T fi ,

q , fi . (H 2003: 42)

S , , , N H, .E G ,

(2003: 230).H ,

(2003: 43). H q ,


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. I

, (.). . - , , (...) (2003: 44). A H q . I ,

, . - (2003: 45).

I , H : , - . H , , B , L

.I H 1998 , Ce que lart fait la sociologie Le triple jeu de lart

contemporain, . I - , , , q .6 S -, -, , - .

O anti-reductionism

H , , - q , ,

(...): , fi, - ( P B ), ( HB). (H 1998: 15)

- H , H , .B -, ;


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, ,

.M H , , a-critical attitude. S

, - . I , , , , - . , (H 1998: 24).

, ( ) (...), , (: 25). A, , B , H- , , , , . - ; B

.H - . S -

, , - q - Ce que lart fait la sociologie.

H , a-critical attitude; .

descriptive attitude. (de expliquer expliciter), , H-, (: 33). . O pragmatique - , , H Le triple jeu de lart contemporain (1998: 72).

A , , -

; pluralist attitude , - (: 44). q -.7 I Le triple jeu de lart contemporain


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. I -

,

, , , , , - . (H 1998: 254)

I -

, q -. H q , , choice - , .

M H relativist attitude,

- q (H 1998: 56-59). S , , . H . I / . I /

, (: 59). q , q ( ), , , (: 60).

A - , H I N (Neutralit en-gage). R M W , - , ,


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try . I

, -, ( ), , ( ). q, , q , , (: 78). H H -

: , ; , ; , . -, , H,

- - , . (I: 80)

H 1990:

, -, .(I: 80)8

I , - , , .

I , , H

fi . (I: 81)

L, , 2005 , q - -


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AN . H , ,

I , then no politics is possible (2005: 250), , , .L - , . L -, . M , ,

( ), , . L , (: 256);, , . B - (: 260), q (...) (: 256-257). A ,

.W

, H - - .

q H B - . I q -

H , q, B . R, ( Distinction) , .M - , , , , , .

H , . W H - ( ),I


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,

q. S , , q - . U, I I NH. A , - - . I - q q

. q , , , , . I , - , q q , .

4.3.2 Methodological proposals

B ,

H : , .

singularity

S , , H . I Ce quelart fait la sociologie - , , , , , -

, , , (H 1998: 11). S (H 2000: 161) B B , : (H 2000: 201). I 2000, B Art Worlds , , H, ,

. , H, , , (.).

A q, H (H 2000: 159). 9 A


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, , .

-, , , (H 2000: 161). H - , , .10 F - , makes (: 164).

H -, . O , , , H , , q - (H 1998: 68). Q , ( ),

- (: 69).

N , H, . H .

O - ,

, , , fi. (H 1998: 57)

, q, - . O D 1973, H , , , ,

(: 61). S - . W J-M S, - (: 62), D 1984 -


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, he Art Circle, , ,

ff - . H :

T - , ,

. T : , -, , ffi . (I: 53)

W D - . I D B fi - fi .

I H - .

explicitism and pragmatism

A Ce que lart fait la sociologie L , H . I - .

,H , , , , q (H 1998: 34). ,

lartiste maudit , , - ,

. (I: 35)

H AN , - .N L H . A () -


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. I ,L AN - . A perform (...) assembled collected (L 2005: 138). N , L .

. I H , , do: , , , (1998: 37). H , , - (: 38). O , , , . O

: ( ) - do (, .. S 2000; K 2002; E 2003).A -q q H :

T , , , (...) -: , -

, , , - , . (I: 38-39)

H - , , . A H

. A , is, - makes . (H 2000: 164)


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I q

1997 ( D 2003): , , (2003: 52). M H , . F - , H , ,

.H . I S C A, Q M (1998) ( : HM):

F , [1+], [ ] fi [ ]. T : , , , , [2-]. A ;

[3] ... B - , , [4 -]. (H 1998: 70-71)

I H 1998, - . , , , , , ,

[ , , HM] (1998: 38).

A H , ( ), (1998:72). I , , - ( , ):

T , - ff (1) ... ff - (2); ff , , - , (3). (I.)


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R, H -

. A , , - , (2003: 46).

objectivity

F, , H . I he Sociology of Contemporary Art; Ques-

tions of Methods (1998), ( Le triple jeu de lart contemporain). : , , . I , , , , . C - (H2000: 166).

, . H , :

M , , , , - . A . (I.)

, H /;/; /; / - ( ) . A , , , H, (). 11

W H .

, (1998: 72). , , , , (: 73). M, . I , ,


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, -

.H

, q :

W -, , ; , -

, , . I , , , - ff: - . (I: 74)

4.4 AN and the functioning of art

A , AN , .S , , . , AN -

, , , . A , AN , (). A , .

C ,

AN . , , ,

. F, H , , .


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N ,

, -. N, P B , N H. I D . R , , .

H . S , q - .

C , H , L, ; 2005, q, . O L, L S E, . A

, , types , types - . A, . B , . H 1998 q , - analyze ,

. L AN , , (L 2005: 11).

A N , , , - . AN (, ,, ) , , ,

. W .H , , , ; . A : , , , ,


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, , -

.T , .

A, , fi : , , , , , q, , , , , , ffi , , , q (,

). I ff ff , q . C, ff.

Notes

I Reassembling the Social () L AN, . N , .

A, PD : I -, I , how , not (L : ). S, qH S A W?

F -, H P A S A B. I , , C,L, M S, q : L .

O: L : q q (); D : G . E . E , HM.

O: Pq , (); D : E -. A . E , HM.

Pq , - .

I B , H . I B , I - .


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-

- . H , - , . A, H, A M, D F, P S, .

A B A, H - , , , I (...) I (...) A - I , I

(H : ). A , , . ( S C . ) .

H B .


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5 N L S AC

5.1 Introduction

L H S. B, N L , , , fi - . E- , 1960, fi . A

- : Funktionen undFolgen formaler Organization (1964), Grundrechte als Institution (1965) Zweck-begriff und Systemrationalitt (1968). T Das Recht der Gesellschaft (1993). B 1970 1980, , , Soziale Systeme. Grundriss eineralgemeinen Teorie (1984), (1977), (1979), (1988) , fi, , Die Kunst der Gesellschaft (1995) ( E

Art as a Social System, 2000). I L , - , 1984.

J , L - , . E

Art as a Social System q- , , q B L. . F


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L

, .

5.2 Luhmanns idea of social systems

W , , L

. B, , people , B by agents. E A N , actors , .S, , -, , . L , -. F, , L .

L : , , . I , , .M L - ; , . H L 1999 L Communicatie zonder mensen (Communication without

people). ; - , , , - (), ( ) ( ).B , . A , , , . F, L , - : q

(1999: 62).1

I, L ; - . H AN , L - , .


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Niklas Luhmanns System of Artistic Communications

,

, , ; , . I - . I Die Gesellschaft derGesellschaft (1997) L : P , - (105). B, ,

(2000: 43). A , , , [] , ( 166). M L : P - (1999: 92). - , , , - , . S,

... (.), q . L . F - L .

I 1984 (. 16) :

Figure 5.1 Categories o systems (Luhmann 1984: 16)

Systems

Machines Organisms Social systems Psychic systems

Interaction systems Organizations Societies


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T . L , L

: , , , - . A , L- fi . I - . I, . B , ,

L- ff.2 S ff , q . T , - , , , . B ff , (, ) fi .

M , ,

, ; , , . L 1984.

Figure 5.2 Detailed categorization o systems (based on Luhmann 1984, 1995 and 1997)

Systems

Machines Organisms Social systems Psychic systems

Societies

Subsystems (such as economics, religion, education and science, media, art)

Organizations Interaction systems Protest movements


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F, .

. W , . -, , .L ( ) (1984: 574). , , , , , ,

, - . I L :

S ... , . I . ... S , , ; , , ff,

. (1984: 566)

5.3 Social systems and psychic systems

H ; , L , , (1999: 93).

H , , . .

A , . P , , , , - , . I , ,

, , , .L ; autonomous, - (autopoiesis), ; structural ; temporary, .


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L

. P - , . I : ( ) , .

L . F, . . B, , - : ...

- (...) , ---- (2000: 59). F

, , , (...). I , - (...). O

. (I.)

A , L - ( ), , , , (2000: 60). . P , -

, . S , , . C indicate -, (2000: 10).

U , , - , - , - . W -

what , - - ( ) how - . I - , - . I , - ( in einer wahr-scheinlichen Welt) - (Unwahr-


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scheinlichkeit) - (2000: 62; 1995: 103). N

- , , , - . - fi- - , , 5.4.

A , : A (2000: 48). H

? B (...) (.). ( ) , forms for the purpose . I : A - (, , ).

L . 5.4 5.5

.

5.4 Key concepts in Luhmanns theory of the working of a system

M L , , ( ) , -

, , -- -, .

5.4.1 Autopoiesis

, autopoiesis, :

. W , , (.. - ) ( , ; ).N within


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. S, autopoiesis -

(Operative Geschlossenheit) . S . L S B - : . O , L (strukturelle Kopplung) , . S operatively -

: , . H, , , , B-, , , - .3 I , , .

5.4.2 Observation

L (Beobachtung) (2000: 37). O , -, -- . F - , , . S , , ; ,

, , . S , , . H L (1999: 77-78). , ( , , ).

- - -

. I , L , -. A - , (2000: 244). - , L,


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F ,

(.). , .

I , - ; L - - within MA. q what , , q q how - . - q -

, R . -. ( , ). - , , - . C-, , , (2000: 131).

F, - . L , , --

- (174). A -. I q , - (.). I , - , , q, q . A D , B q

, - .

5.4.3 Self- and hetero-reference

- : - , -

-.I , : (Mitteilung), (Information) (Verstehen). U , , q . A -


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, , ,

.4 O, , - - , .5 L , q :

A ff -

form of the utterance (Mitteilung) kind of information . I - -. T , . (...) H- . (2000: 288)6

A , :

A - (...) , , - . (I: 298)

H A D , L : , ,

(2000; 168); , - - , ; , , , - - formal combi-nations (.). I , L, - -

: . A , - - ; q q , , (...) .


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H-

, - -, - - , -. B ; - (,, , ) , - :

... , - q . (2000:155)

W q . B q .

5.4.4 Reduction of complexity by social structures

O L , . (

), q .7

I , -, AN, .

N, , , . I ,

. : (Sinn). M - . M -


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(L 2000: 107).

C - ( ) . I , .

P - - (L 1999:83), - meaningful

.F - ( - ). A L , , q q (L 1999: 101).

M, - -

. F , - - , , , [Sinnform], (L 1984:399). L , (2000: 107). O , (Erwartungshorizont) J . S

. I - , , , . , , , , .

I - , , L-

, :

... , struc-tures of expectations , .T : , ;


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, -

. (1984: 399)

A () L -. A , , , . .

5.5 What Luhmann sees as the distinctive features of art

A , L , , , . B , , .

q, , , q .A , , -, , , L . , ,

, form ( ) . C about , . W ,

[] ... ,

, , , , -, , . (L 2000: 53)

A , . M , L -


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, ,

(.). O , ; , (.)

- , - . I , , q

something else (L 2000: 142).A, , , .

( -, , ), L , , , . - ,

, -. F /; / ; /. B L . H /- /, , () . I L L, / ,

. I, L , , . , , L forms:

F , . I -, . E

q, . T ... , fi fi of forms.(2000: 118; HM)


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I q , /

, / . A L - . A , (2000: 142). L- , q ;

O ff fi,

fi , ff ( , I, ), ( , , ), ffi -, , . T /q/ffi . A ( )

. (2000:143)

I, - , , , , . F q : ?

, , . F , L , fitting/notfitting of imaginative forms.

5.6 How the art system generates the societal functioning of art

L , H L, L - , . A - q , , : .

, ,, , , .


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, -

, L . A , B , , (, - , , .) (, , , .) . L () , (-) . I , B ( )

L . I , , , ( ), , . C , , () , , -. becomes possible (Sinn, , ), , , ,

- , .

W what do, - : , , , . , . I , , ,

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