[Crm-sig] Problem: the fakes

martin martin at ics.forth.gr
Fri Feb 20 18:13:38 EET 2015

Dear Simon, Dan,

I'd argue that "fake" is genuine property of the E12 Production
event itself. The "new" Van Meegeren works were ingenious creations of 
art. The intention to make people believe they were from another painter 
should be sort of a plan . That Van Meegeren is
still not recognized as one of the great artists is a social question 
(or problem).

How to model the intention of deceipt? I'd say it needs a goal, which is 
characterized by the
propositions of a future state (people believing), and a method, how to 
achieve that - another
set of propositions (signature, painting style). This looks similar to 
and argument in CRMInf.
Funny problem with a lot of Named Graphs.

Does anyone like to draw a graph?



On 19/2/2015 11:00 μμ, Dan Matei wrote:
> -----Original Message-----
> From: Simon Spero <sesuncedu at gmail.com>
> Date: Thu, 19 Feb 2015 11:37:52 -0500
>> The Fake  work was created to induce a false belief that the work has a
>> certain identity, and a belief that the creator was TPR.
> That's my case ! And not simple situations like fake coins (when the similarity with the original is the point), but works of art made "a la
> maniere de" say, Rubens by an unidentified "artist". The style is replicated, not a work.
> And I want to emphesize the intent to deceive.
>> Van Meegeren, père et fils, present an interesting test case for the new
>> model. It is easy to think of realistic questions that historians might
>> wish to ask a unified system-
>> What works in the style of Vermeer exist, in which collections?
>>    What are the paintings that are currently believed to be Vermeers?
>> What are the paintings that were believed to be Vermeers in 1938?
>> In 1951?
>> What paintings are currently believed to be Fake Vermeers?
>> What justification is there for these beliefs?
> Right !
> Dan
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