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2020/2021

Aesthetics

Code: 100277 ECTS Credits: 6
Degree Type Year Semester
2500246 Philosophy OB 2 1
The proposed teaching and assessment methodology that appear in the guide may be subject to changes as a result of the restrictions to face-to-face class attendance imposed by the health authorities.

Contact

Name:
Jessica Patricia Jaques Pi
Email:
Jessica.Jaques@uab.cat

Use of Languages

Principal working language:
catalan (cat)
Some groups entirely in English:
No
Some groups entirely in Catalan:
Yes
Some groups entirely in Spanish:
No

Other comments on languages

A més del català, són benvingudes com a llengües, a l'aula i als processos avaluatoris: castellà, francès, anglés, italià, portugués i alemany

Teachers

Gerard Vilar Roca
Jessica Patricia Jaques Pi
David Jorge Casacuberta Sevilla
Yaiza Ágata Bocos Mirabella
Ager Perez Casanovas
Eva Maria Jiménez Moreno
Valentín Roma Serrano

External teachers

Andrea Soto
Bárbara Bayarri
Laura Vilar
Membres del Projecte d'Innovació docent artencurs
Miquel Molins
Sara Gómez

Prerequisites

There are no special prerequirements. A previos information: Jèssica Jaques and Gerard Vilar are both the  teachers responsable of the course. 

Objectives and Contextualisation

The general objectives of the course are:

  1. The knowledge of the fundamental texts of the history of aesthetics, as well as its vocabulary and argumentation
  2. The application of this vocabulary and argumentation to contemporary discursive praxis and its connection with aesthetic practices. This second objective locates the subject in the field of applied aesthetics.

The specific objectives of the subject are:

  1. The understanding of art as a privileged place for thinking
  2. The knowledge of the points of intersection between aesthetics and the philosophical tradition
  3. The knowledge of some of the fundamental texts of the aesthetic tradition
  4. The presentation of aesthetics as a fundamental gnoseology
  5. The knowledge of arguments and a vocabulary to understand the aesthetic tradition and the aesthetic dimension of the contemporary world
  6. The establishment of a dialogue between the texts of the aesthetic tradition and contemporary art according to the procedures of applied aesthetics
  7. The cultivation of the student's aesthetic sensitivity as a required sense for knowledge, the opening of the world and the generation of collaborative projects
  8. The development of projects in applied aesthetics
  9. Projection, when appropriate, of the knowledge of the subject to future TFG and other research and student projects

Competences

  • Analysing and summarising the main arguments of fundamental texts of philosophy in its various disciplines.
  • Developing critical thinking and reasoning and communicating them effectively both in your own and other languages.
  • Identifying the main philosophical attitudes in the field of aesthetics and critically applying them in the art world.
  • Recognising and interpreting topics and problems of philosophy in its various disciplines.
  • Respecting the diversity and plurality of ideas, people and situations.
  • Students must be capable of applying their knowledge to their work or vocation in a professional way and they should have building arguments and problem resolution skills within their area of study.
  • Students must be capable of communicating information, ideas, problems and solutions to both specialised and non-specialised audiences.
  • Students must develop the necessary learning skills to undertake further training with a high degree of autonomy.
  • Students must have and understand knowledge of an area of study built on the basis of general secondary education, and while it relies on some advanced textbooks it also includes some aspects coming from the forefront of its field of study.

Learning Outcomes

  1. Accurately describing an artistic object with the specific language of art criticism.
  2. Accurately drawing up normative texts.
  3. Accurately using the specific lexicon of the history of philosophy.
  4. Analysing the fundamental concepts of Theory of Art with a critical eye.
  5. Carrying out a planning for the development of a subject-related work.
  6. Carrying out oral presentations using an appropriate academic vocabulary and style.
  7. Correctly drawing up a previously analysed non-regulatory text.
  8. Correctly, accurately and clearly communicating the acquired philosophical knowledge in oral and written form.
  9. Distinguishing and analysing classical and current debates of the History of Art.
  10. Distinguishing and analysing representative texts of the main genres of the philosophical literature.
  11. Distinguishing and outlining the fundamental content of a philosophical text.
  12. Engaging in debates about philosophical issues respecting the other participants' opinions.
  13. Establishing relationships between science, philosophy, art, religion, politics, etc.
  14. Identifying the artistic imagery, placing it into its cultural context.
  15. Identifying the main ideas of a related text and drawing a diagram.
  16. Identifying the regulatory, stylistic or argumentative errors of a text.
  17. Indicating and summarising the common content of several manifestations of various fields of culture.
  18. Interpreting the contents of a text about Theory of Art.
  19. Mastering the relevant languages to the necessary degree in the professional practice.
  20. Producing an individual work that specifies the work plan and timing of activities.
  21. Recognising, with a critical eye, aesthetic referents of the past and present and assessing its importance.
  22. Relating several ideas of the current philosophical debates.
  23. Relating the characteristic elements and factors of the philosophical tradition.
  24. Solving problems autonomously.
  25. Submitting works in accordance with both individual and small group demands and personal styles.
  26. Using specialized knowledge acquired in an interdisciplinary context when debating.

Content

The contents of the course are shaped by 6 of the fundamental concepts of the aesthetic tradition, to each of which correspond one, two or three texts of mandatory reading. The readings of unit 6 will be done collaboratively.

Introduction: Aesthetics as political poiesis.

RANCIÈRE, J., Sobre políticas estéticas. Barcelona, Macba, 2005 . Chapters 1 and 2

1. Mimesis

    PLATO, book X of the Republic.

    ARISTOTLE, Poetics. [selected fragments]

2. Expression

KANT, I., Critique of judgment §§ 23–29

3. Form

    BENJAMIN, W., The work of art in the age of its technical reproducibility.

4. Symbol

    JAQUES, J., La Estética del Románico y el gótico. Chap. IV, el Símbolo 2003.

    HEGEL, Lessons on Aesthetics (Introdution).  (1835)

    CASSIRER, E.,”Art”, Chap. IX Philosophical Antropology.(1944)

5. Aesthetic experience / Taste

   [VOLTAIRE, "Goût", Encyclopédie (1757)]

    KANT, I., Critique of judgment §§ 1–22

6. Arts

    GOODMAN, "When is Art?", Ways of worldmaking.

    HEIDEGGER, M, The origin of the artwork (1936) (selected fragments)

    NIETZSCHE, F., The birth of tragedy

    NOË, A. Strange Tools. Art and Human Nature (selected fragments)

Methodology

The methodology is Neosocratic, that is: the generation and the transfer of knowledge from the vindication of the formative potential of both students and teachers. It is directed from the Artencurso Teaching Innovation Project, of which Jèssica Jaques is Principal Investigator. In this teaching innovation project, various degrees are involved: Philosophy, History of Art, Musicology, Design, Dance and Choreography, with special attention to its intersection. The scope of action is the route of learning outside the classroom into the classroom, in this direction. The pedagogical model is the neosocratic one. The scope is that of applied aesthetics, in an effort to professionalize philosophical-artistic projects of incidence in the public sphere.

The directed activities consist of discursive praxis classes, as well as a tutorial system of small groups and individuals for the elaboration of conceptual maps with formative validity.

The supervised activities consist of artistic praxis workshops and visits to exhibitions, as well as written tests, contributions in artistic research and contribution to the seminars. There will be a special emphasis on the student linking his discursive praxis to aesthetic practices according to the procedures of applied aesthetics.

Autonomous activities focus on the readings, their conceptual systematization, and on the application of argumentation and the vocabulary of evaluable texts to aesthetic practices.

Activities

Title Hours ECTS Learning Outcomes
Type: Directed      
Lectures, seminars, small-group and individual tutorials 60 2.4 4, 26, 10, 13, 18, 21, 22, 23, 3
Type: Supervised      
Workshops on aesthetic practices, exhibition visits, artistic events, tests, participation in seminars 30 1.2 17, 8, 2, 26, 11, 6, 16, 15, 12, 25, 7
Type: Autonomous      
Individual and group readings, making of conceptual and evolutive maps 52 2.08 2, 11, 20, 5, 16, 25, 7, 24

Assessment

Assessment will be carried out continuously and evolutionarily. There will be three compulsory and one optional assessment items.

The compulsory ones will be : Tests 1 and 2, to be done at home. For the first test, the student will have chosen a creative practice, either their own or from a third person, that they will maintain throughout all assessments. The two tests will be sent by email one week before their submission. Test 3: a written text with documentation (if appropriate) of its video/audio/image record or of the literary for the six aesthetic concepts of this course. Maxim. 3000 words. All tests will be submitted by email to the address <esteticatroncal@gmail.com>. If the student finds themselves in the situation of the digital gap, they will communicate it to Jèssica Jaques beforehand, before the deadline of the first test, and an institutional solution will be proposed. 

In principle and except for changes in the day to day of the Faculty or force majeure, the days of the tests/submissions are: October 16 (test 1), November 16 (test 2) and January 15 (test 3). We will try to make Test 1 correspond to the first and second concepts, and Test 2 correspond to the third and fourth concepts. Test 3 will include the six concepts of the course. The three compulsory tests will have the same value each - 2.5 points. That means a maximum of 7.5/10 in total. In addition, the student is invited to submit the optional Logbook that will be sent every two weeks to the address <esteticatroncal@gmail.com> under specific requirements and will be evaluated with a maximum of 2.5 points; submissions must be punctual and every two weeks from October 1, which means one submission each of the following dates: October 1, October 15, October 29, November 5, November 19, December 3, and December 17.these dates are deadlines and cannot be replaced for posterior dates. A follow-up on the submissions through tutorials in office hours is highly encouraged.

Assessment will be not only continuous, but evolutionary, which means the final grade will not be the average of the three tests, but rather a final evaluation of the student's formative evolution will be made. 

The second-chance test, with date and place set by the Faculty, is reserved for students who have not done one of the tests (being compulsory to submit 2/3 tests) on the day indicated in the calendar or who have failed one, two or three compulsory test. Each test must be passed independently of the others.

The student's grade will be "not evaluable" if at the end of the process they have not submitted one, two or three compulsory tests.

The evaluation criteria will be:

  1. The pertinent selection of topics to be discussed when proposing the main questions of the philosophy of art from a work or other type of aesthetic reference
  2. The argumentative clarity
  3. The adequate use of the vocabulary related to the subject
  4. The manifestation of the understanding of the contents proposed in the theoretical sessions
  5. The manifestation of the understanding of the contents of the obligatory readings
  6. Writing style correction
  7. The ability to discuss with the group about the texts
  8. The audacity in the appropriation of the contents (sapere aude), that is to say, the appropriation of the contents
  9. Plagiarism will lead to a serious work on formative awareness. It is worth noting that the official normative states that:  "In the event of a student committing any irregularity that may lead to a significant variation in the grade awarded to an assessment activity, the student will be given a zero for this activity, regardless of any disciplinary process that may take place. In the event ofseveral irregularities in assessment activities of the same subject, the student will be givena zero as the final grade for this subject." 

The ordinary revision will be carried out after each test until the date of submission of the next test, during the usual office hours. The ordinary global revision of the course will be made on a specific day that will be indicated in January, and will take place in the office.

Students are encouraged to come to work in the office their aesthetic / artistic references and their logbooks. Once the subject is finished, you will be invited to contribute to the artencurs blog: <https://artencurs.wixsite.com/artencurs>

All the important indications will be written in Moodle, in order to leave a public written record.

Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Logbook 25 % 5 0.2 4, 8, 26, 1, 10, 11, 13, 14, 15, 18, 21, 22, 23, 24, 3
three papers online Three exercices 25 % each one 3 0.12 4, 17, 8, 2, 26, 1, 9, 11, 19, 20, 13, 5, 6, 16, 14, 15, 18, 12, 25, 21, 7, 22, 23, 24, 3

Bibliography

 1. Compulsory readings (to be downloaded from web <greta.cat/grau>)

ARISTÒTIL, Poètica. Barcelona, Ed. 62.[textos sel·leccionats]

BENJAMIN, W., La obra de arte en la época de su reproductibilidad técnica. Madrid, Taurus (1935)

CASSIRER, E.,”Arte”, Antropologia filosófica. FCE (1944)

GOODMAN, "When is Art?", Ways of world making. NY, Hacked publishing, 1978.

HEGEL, Lliçons d’estètica (Introducció). Barcelona, ed. 62 (1835)

HEIDEGGER, M, El origen de la obra de arte. FCE. (1936)

JAQUES, J., La Estètica del Románico y el gótico. Madrid, Antonio Machado, 2003.

KANT, I., Crítica de la facultat de jutjar. Barcelona, Ed. 62, 2004 (1790) [textos sel·leccionats]

NIETZSCHE, F., El Nacimiento de la tragedia. Madrid, Alianza Editorial

NOË, A. Strange Tools. Art and Human Nature. NY, Hill and Wang, 2015. 

PLATÓ, llibre X de la República. Madrid, Gredos.

RANCIÈRE, J., Sobre políticas estéticas. Barcelona, Macba, 2005 [Caps- 1 i 2]

VOLTAIRE, "Goût", Encyclopédie, 1757

 

2. Secondary Bibliography

ARNHEIM, R., Arte y percepción visual, Alianza Forma, Madrid, 2002

BARASCH, M., Teorías del Arte: De Platón a Winckelmann, Alianza, Madrid, 1991; Modern Theories of Art, 1: From Winckelmann to Baudelaire, New York UniversityPress, New York, 1990; Modern Theories of Art, 2: From Impressionism to Kandinsky, New York University press, New York andLondon, 1998.

BOZAL, V., Historia de lasideas estéticas I iII, Historia 16, Madrid1998; (ed.), Historia de las ideas estéticas y de las teorías artísticas contemporáneas. Visor, Madrid, 1996.

CARROLL, N.,  Philosophy of Art. Routledge, 1999.

CASACUBERTA, D., “Nueve escollos para entender la cultura digital”. Enrahonar: Quaderns de filosofía, ISSN 0211-402X, Nº 32-33, 2001, pags. 235-244

DAVIS, S., The Philosophy of Art. Blackwell, 2006.

DANTO, A. C., El abuso de la belleza. La estética y el concepto del arte. Paidós, Barcelona, 2005.

DANTO, A.,  “La obra de arte y el futuro histórico”, La madonna del futuro. Paidós, Barcelona, 2003 (2000).

FISHER, E., La necesidad del arte. Barcelona, Nexos, 1993 (1959)

GAUT, B.; LOPES, D. (eds.), The Routledge Companion to Aesthetics.Second Edition, Routledge, 2005.

GOMBRICH, E. H., Breve historia de la cultura, Ediciones Península, Barcelona, 2004. 

GOMBRICH, E. H., La historia del arte. Madrid, Phaidon (1950).

GUASCH, Anna Maria (coord.), La crítica de arte, Ediciones del Serbal, Barcelona, 2003.

JAQUES, J.,“El sentido estético”, Disturbis 3 <http://www.disturbis.esteticauab.org/Disturbis234/Disturbis_3.html>

JAQUES, J., , “Ernst Cassirer y la urdimbredelamemoria simbólica”, Er 33, pp. 59-73,2004.

JAQUES, J., “Neokantisme i neokantians”, Enrahonar 23, 1995, 35-69.

JAQUES, J., “Notícia d’Ernst Cassirer”, Enrahonar 24, 199.

JAQUES, J., “Friendships are not in heaven. The Genealogy between Aristotle’s Philia and Kant’s Aesthetic Disinterestedness”. Revista de Filosofía, Vol. 37, n. 2 (2012): 55-68.

JAQUES, J. (ed.), “Pels camins de la raó crítica”, 36 (2004), número extraordinari sobre Kant en el segon centenari.

JAUSS, H. R., Pequeña apología de la experiencia estética. Barcelona, Paidós, 2002 (1972)

JIMENEZ, M.,  ¿Qué es la estética?, Barcelona, Idea Books, 1999.

JIMÉNEZ, J., Teoría del Arte, Tecnos, Madrid, 2002.

KELLY, M., (ed.), Oxford Enciclopedia of  Aesthetics, 1998. 2a edició, 2014. (Especialment recomanat)

KIERAN, M., (ed.), Contempory Debates in Aesthetics and Philosophy of Art. Blackwell, 2006.

KRIS, E. i KURZ, O., La Leyenda del artista, Ensayos Arte Cátedra, Madrid, 1982.

LAMARQUE, P., – H. OLSEN, H., (eds.), Aesthetics and the Philosophy of Art. The Analytic Tradition. An Anthology.  Oxford, Blackwell, 2004.

LYNCH, Enrique, Sobre la belleza,Anaya, Madrid, 1999.

LEVINSON, J., Oxford Handbook of Aesthetics, 2003.

MURRAY, Chris, Key Writers on art: From Antiquity to the Ninetenth Century, Routledge, London and new York, 2003; Pensadores clave sobre el arte: elsiglo XX. Ensayosarte Cátedra, Madrid 2006.

NIETZSCHE, F., El naixement de la Tragèdia. Madrid,Alianza Editorial, 1995 (1872).

RAMIREZ,J.A. Ecosistema y explosión de las artes. Anagrama, Barcelona 1994. (Especialmentrecomanat)

SHINER, Larry,La invención del arte, Paidós Estética 36, Barcelona, 2004.

TATARKIEWICZ, e.,  Historia  de  seis  idees. Madid, Taurus, 1987 (1976). (Especialment recomanat)

VALVERDE, J. M., Breve historia y antología de la estética, Barcelona, Ariel. (Especialment recomanat)

VILAR, G.,  Las razones del arte. Madrid, Antonio Machado, 2005.

VILAR, G., La desartización del arte. Universidad de Salamanca, 2012.

 

 

 

C. Online sources

 

http://esteticauab.org/home.html

www.disturbis.net

https://vimeo.com/instituthumanitatsbcn

www.museupicasso.bcn.es

http://fundaciomiro-bcn.org

http://www.macba.cat

www.fundaciotapies.org

www.museoreinasofia.es

www.museodelprado.es

www.tate.org.uk/modern

www.centrepompidou.fr

www.palaisdetokyo.com

www.moma.org

https://www.moma.org/calendar/exhibitions/history

https://www.edx.org/

http://www.canal-u.tv/producteurs/universite_de_tous_les_savoirs

https://www.ted.com/talks