Contemporary Aesthetics
- Details
- Category: Discipline
- . Badiou. A. Fifteen Theses on Contemporary Art in http://www.lacan.com/frameXXIII7.htm . Benjamin, W. (2015) Illuminations. Bodley Head. . Coleman, E. B. (2018). Cross-Cultural Aesthetics. In H. Callan (Ed.), International Encyclopedia of Anthropology: Anthropology Beyond Text (Vol. 3, pp. 1267-1274). Wiley-Blackwell. . Doane, M. (2007) Indexicality: Trace and Sign in differences: A Journal of Feminist Cultural Studies, 18(1): 1–6. . Fanon, F (1967) Black Skin, White Masks. Grove. . Gilles, D. (2013) Cinema I - The Movement Image. Bloomsbury Revelations. . Rancière, J. (2013) The Politics of Aesthetics. Bloomsbury Academic. . Robson, J. and Meskin, A. (2016) Video Games as Self-Involving Interactive Fictions in The Journal of Aesthetics and Art Criticism, 74(2): 165–177 . Richardson, J.; Gorbman, C.;Vernallis, C. (eds.) (2013) The Oxford Handbook of New Audiovisual Aesthetics. Oxford Handbooks. . Said, E. (2003) Orientalism. Penguim Books
- Illustration and Drawing
- 6330
- 20270
- Contemporary Aesthetics
- IPLUSO6330-20270
- 3
- 5
- 0
- 4
- Não
- Português
- TP classes tend to be expository (with a strong visual emphasis), open to discussion and problematisation of the key concepts and main figures in the syllabus. Assessment is continuous, interim and without a final exam: the interim assessment includes active participation in classes (15%), two reports written in class (25%), a visual essay (15%) and the oral presentation of two theoretical works on themes covered in the course's syllabus (15% + 30%).
- Mandatory
- The aim of this UC is to introduce students to a range of different ideas, concepts and debates from and around the field of contemporary aesthetics. Work is sustained by an exploration of key concepts and realities, in their relationship with artistic practice, production and consumption. This methodology emerges through a series of thematic study sessions focusing on the relationship between aesthetic thinking, artistic production and the commodification of art. Students are encouraged to develop independent and critical thinking in relation to specific areas, and to locate and articulate this theoretical work in and with wider settings and contexts. Students should engage in ways of thinking about the nature of contemporary aesthetics beyond the term’s common use. What is proposed is the questioning of contemporary aesthetics, conceptually as well as phenomenologically, to bestow tools that will enable students to think about this intricate and sometimes hard to decipher field.
- 1. Aesthesis - Perception, sensation, aesthetic reception - Aesthetics as the ‘capacity to be impressed’ (the aesthetic emotion) 2. Aesthetics as the ‘capacity to impress’ (the aesthetic decision) - Synaesthesia and Disinterested Attention - seeing and looking, touching and despising, confronting and deceiving, wanting and avoiding: the manoeuvres of aesthetic feeling - The science of the sensible in the work of Alexander Baumgarten - Critique of the Faculty of Judgement - Introduction to Kant's philosophical work. - Aesthetic Criteria: Beauty / Sublime / Horror - Catharsis - Between Greek theatre and video games 2. Issues in Contemporary Aesthetics - The concept of Aura in Walter Benjamin; - Edward W. Said's Orientalism - Gender Trouble -Judith Butler - Zygmunt Bauman's Liquid Modernity - The Aesthetics of the Smooth and the Crisis in Narration in Byung-Chul HAN
De carácter TP, as aulas são tendencialmente expositivas (de sublinhado carácter visual), abertas a discussão e problematização dos conceitos-chave e principais figuras do programa.
Avaliação é contínua, intercalar e sem exame final: a avaliação intercalar contempla a participação activa nas aulas (15%), dois relatórios escritos em aula (25%), um ensaio visual (15%) e a apresentação oral de dois trabalhos téoricos sobre temáticas contemplada no universo programático da cadeira (15% + 30%).
A nota mínima para aprovar são 10 (dez) valores.
Trabalhos com elementos com cópia parcial ou na íntegra, sem a devida citação, ou realizados através do uso de programas de inteligência artificial não serão aceites,
tendo uma classificação de 0 (zero) valores.
A não presença, o não cumprimento dos exercícios, a cópia dos mesmos, ou a sua execução através de sites de inteligência artificial, implica fazer o Exame de
Recurso (notas negativas ou melhoria de nota), ou Exame de Época Especial (com regulamento próprio, ex. alunos trabalhadores-estudantes).
Cabe ao aluno a apresentação de todos os exercícios realizados durante o semestre, e teste oral/escrito ou exercício lançado no dia do exame.
Alunos regulares: 75% presenças obrigatórias em aula, avaliações presenciais e obrigatórias.Alunos trabalhadores-estudantes: 30% presenças obrigatórias em aula e avaliações presenciais e obrigatórias.
- Semestral
- With a focus on the relationship between practice and theory in the field of contemporary aesthetics, this curricular unit will rely on mainstream and experimental tendencies in visual art, the audio-visual and the digital, to articulate changes that have occurred in the last 50 to 60 years. The term “contemporary aesthetics" usually refers to the visual arts produced from the prolific 1960s until today. If the 1960s represent the dissolution of the last barriers that determined the presence of artistic movements, we must ask whether contemporary aesthetics marks precisely the simultaneous, and apparently unlimited, multiplication of ways of making and seeing. What is proposed is that we approach the label “contemporary aesthetics” beyond its common usage, to acquire tools that will enable us to think about and discern this territory where, apparently, manifold artistic forms and strategies coexist.
