|Bourdieu I 58
Artwork/Panofsky/Bourdieu: (E. Panofsky: Sinn und Deutung in der bildenden Kunst, Cologne, 1978, p. 18): thesis: The work of art is created for the purpose and it demands being aesthetically experienced. On the other hand, any object can be perceived from an aesthetic point of view. It is the aesthetic intention that "makes" the work of art.
BourdieuVsPanofsky: in order to get out of this circle, Panofsky is forced to place an "intention" in the sense of scholasticism underneath the work of art: a purely "practical" perception contradicts this objective "intention". The class of artistic objects then distinguishes itself by the claim to be perceived purely aesthetically, i.e. to be perceived in its form rather than in its function. But how can such a definition be operationalized?
Artwork/Panofsky: it is almost impossible to determine scientifically exactly when a manufactured object becomes an object of art._____________Explanation of symbols: Roman numerals indicate the source, arabic numerals indicate the page number. The corresponding books are indicated on the right hand side. ((s)…): Comment by the sender of the contribution. The note [Author1]Vs[Author2] or [Author]Vs[term] is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition.
Meaning in the Visual Arts , Chicago 1973
Sinn und Deutung in der bildenden Kunst Köln 1978
La distinction. Critique sociale du jugement, Paris 1979
Die feinen Unterschiede. Kritik der gesellschaftlichen Urteilskraft Frankfurt/M. 1987