Putting Value into Art

Giving value to art David Hugh is well known for his article "standard of taste" trying to establish a value standard (sense of joy or discontent) for evaluating art work. In projects that explain the nature of artistic value judgment through experience rather than a priori relationship, Hume's attempt is often considered to be extremely important. Recently Hume's debate was strongly criticized by Malcolm Bad in his book.

For Kihara, the performance phase is to criticize the values ​​of art and culture, the creative industry based on indicators that create value in art is racial discrimination, intrinsicism, exotic and exploitative. She said: In this performance, the combination of guilt, craziness, hesitation of the audience will produce very sharp and subtle emotions. "Acting is for the audience," Kihara said, "This is a nuisance and embarrassing feeling." The evolution of this interaction destroys the Talanoa series and through cultural cooperation through the physical participation of dance and music It seems to make it possible. Here, it seems that valuation depreciation also interferes with intercultural sharing unless this exchange has adverse effects of guilty, embarrassment, embarrassing emotions.

As early as 1903, Alois Riegl upgraded the value of art to six categories: age value, historical value, cautious memorial value, use value, new value, and relative artistic value. The model can hardly be described about the current art market. Currently basically affecting the market may be other value of our time. The museum has acquired several facilities that are difficult to protect and these experiences are fruitful. Reproducible value shows how work gathers public attention through various media and collectable value evokes a direct environment for transportation, storage, insurance, and important resale.

The speculative value of art is supported by the complexity of information asymmetry. Due to myriad of unknown and unknown art's safety, the value preserved in art is guaranteed. Information on art market is not missing, but qualitative and anecdotal evidence of succulent plants are penetrating. Rumors and sales records are extreme cycles for art auctions - each season is easily repeated with nuances. As the blade rises, speculation begins to boil, and a lively sound is made with a suspicious illusion of uncertainty. It is a kind of "if" pleasure. Confidence in expertise and time trials. Art, or art market is a permanent FOMO machine that works well with many controversial speculative foundations. The most interesting thing is that the passage of time keeps the speculative value of art.