Degree | Type | Year | Semester |
---|---|---|---|
2500246 Philosophy | OT | 3 | 0 |
2500246 Philosophy | OT | 4 | 0 |
None
The course Seminar on Aesthetics and Philosophy of Art has the subtitle: "Philosophy with art: the Picasso case". The main objective of this course is to make philosophy with art. Being a last-year optional course, it proposes to take a step farther from the philosophy of art and, framed in the field of applied philosophy, seeks the closest proximity between the artistic events and philosophical discourses on them: it aims to understand artistic poiesis attending to both words and things. The chosen artistic practices belong to the Picasso's corpus, in a selection of works that includes object elements (paintings, sculptures, readymades, engravings, and etchings), documentaries (photographs, films), texts (poems, aphorisms, theoretical texts), performative elements (plays, choreography). The discourse will aim to wield unattended narratives in the art writing on Picasso, especially linked to philosophical issues.
The specific objectives are:
1. The practice of the construction of philosophical narratives about artistic events
2. The achievement of an initial degree of experience in applied philosophy on the construction of artistic narratives and their impact on the forums of corresponding debates and professionalization.
3. In-depth knowledge of the corresponding texts
4. In-depth knowledge of a selection of Picasso's works that are especially interesting for the philosophy and practice of new Picasso narratives
5. Professionalization in the Picasso work field and related.
The contents are constituted in the form of five especially fruitful correlations for the intended objectives. Philosophical readings are indicated that will help generate a discourse from them.
6. Body and Gender: the Picasso case. the masculinisation of art history. The strong woman in Picasso. *Foucault: Utopian body, **Jèssica Jaques, Picasso en Gósol, 1906 (selected texts). Stein, G., Picasso. & Some poems.
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 Artencurs Teaching Innovation Project, of which Jèssica Jaques is Principal Investigator. In this teaching innovation project several degrees are involved: Philosophy, History of Art, Musicology, Design, Dance and Choreography, with special attention to its intersection. Its 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. It is in response to this question that students who wish and show the skills can do the degree practices with links to the Picasso world.
A good number of the teaching activities will be developed in the Picasso Museum in Barcelona. This means that, for school insurance coverage, the enrollment of the subject is increased by € 5, which will be returned to the student to start the course, as a form of activism by the teacher against the abusive rates of the Catalan university and Spanish.
The directed activities consist of discussion classes with a high incentive to participation, as well as seminars and a tutorial program in small groups and individual meetings
The supervised activities consist of the contributions to the seminars and the contributions to the written tests, as well as visits to museums and art centers recommended at the beginning of the course and in the attempt that the discursive praxis accompany an artistic praxis according to the procedures of aesthetics applied
Autonomous activities have as an essential reference to the readings, their conceptual work and their application on evaluable texts and images.
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Lectures, seminars, small-group and individual tutorials | 60 | 2.4 | 20, 13, 14, 22 |
Type: Supervised | |||
Workshops on aesthetic practices, exhibition visits, artistic events, tests, participation in seminars | 30 | 1.2 | 6, 24, 8, 10, 11, 5, 25, 17, 16, 18, 12, 23 |
Type: Autonomous | |||
readings and conceptual work on the texts, work on images | 52.5 | 2.1 | 3, 7, 8, 10, 20, 4, 21 |
Assessment will be carried out continuously and evolutionarily. There will be three compulsory and one optional assessment items. The obligatory ones will be: 1. An exam that will be proposed a week before by e-mail to the students, who will have chosen a reference of Picasso's work (or their own aesthetic practice which can be related to Picasso) that they will keep throughout the course; 2.Presentation in map-constellation and in three pages of text of a project to present (for the moment fictitiously) to the MPB or the Doctorate Picasso or in an intersection between these and the project Open Up (on migrant creativity), which must be based on the application of the texts to the initially chosen practice. 3. Presentation of the project as if it were to be accepted. Guided and tutored. Maximum 3500 words. All tests will be delivered to <picassouab@gmail.com>.
If the student is in a digital gap, they will inform Jèssica Jaques beforethe deadline of the first exam, 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 / compulsory submissions are: 16 October, 16 November 15 January.
The questions of the first test will be emailed to the students a week before the deadline. The three compulsory tests will have the same score of 2.5. This means a maximum of 7.5 / 10. In addition, the student is invited to develop a Logbook that will be sent every two weeks to the email address <picassouab@gmail.com> under specific requirements and will be evaluated with a maximum of 2.5 points; deliveries must be punctual and every two weeks from October 2 and following the days: October 16 and 30, November 6 and 20; December 4 and 18. Dates are deadlines and cannot be replaced by later dates. The Logbook can be monitored throughout tutorials in the office during all the course. Since evaluation is not only continuous but evolutionary, the final note will not be the average but will evaluate the evolution of the student. Second-chance exams, with a date and place set by the Faculty, is reserved for students who have not taken one of the three tests (it is mandatory to take 2/3) or who have failed one, two or three texts. Each test must be passed independently of the other two.
The student's grade will be "non-assessable" when at the end of the process they have not taken one, two or three of the tests.
The evaluation criteria will be:
The ordinary revision will be carried out after each test at the usual dispatch schedules. Given the high number of students, it can be done during the entire month between tests. The ordinary global revision ofthe subject will be made on a specific day that will be indicated in January, and willbe 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, to leave a public written record.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Logbook | 25 % | 5 | 0.2 | 3, 6, 7, 10, 13, 4, 14, 5, 18, 12, 23, 22 |
three submissions or exams | Three exercices 25 % each one | 2.5 | 0.1 | 2, 3, 6, 24, 1, 7, 8, 9, 10, 19, 20, 13, 4, 14, 11, 5, 25, 17, 15, 16, 18, 21, 12, 23, 22 |
Aesthetic and Philosophical Compulsory Reading List
Aristòtil, Poètica. Madrid, Gredos.
Aristòtil, Ètica a Nicòmac. Madrid, Gredos
Cassirer , E., « Art », Antropologia filosófica. FCE (1944)
Didi-Huberman, G.: Atlas. ¿Cómo llevar el mundo a cuestas? Madrid: Museo Reina Sofía, 2010.
Didi-Überman, G., Lo que vemos, lo que nos mira, Buenos Aires, Manantial, 2010.
Hegel, G. W., Lliçons d’estètica (Introducció). Barcelona, ed. 62 (1835).
Hume, D : L’estàndard del gust (1757). –Of the Standard of taste. Boston: The Harvard Classics, vol 27., 1909–1914. First published in 1757. On line edition:
[http://www.bartleby.com/27/15.html]. Trad. Cast La norma del gusto, Museu valencià de la Illustració i de la Modernitat, 2008.
Jaques, J. "Las Meninas de Picasso 1957,: Caligrafies de la indisciplina"; a MARÏ, AN. La modenitat Cauta, Angle Editorial, 2015.
JAques, J., "Qué se cuece en el El Deseo atrapado por la cola o la dramatúrgia gastropoiética en la ocupación". La cocina de Picasso, MPB, 2018.
KANT, I., Crítica de la facultat de jutjar. Barcelona, Ed. 62, 2004 (1790),
Krauss, R. The Picasso Papers. New York: Farrar, Strauss, and Giroux, 1998.
FEYERABEND, "Creativity: A Dangerous Myth" in Critical Inquiry, 13(4), 1987, pp 700-711.
FOUCAULT, M. "Heterotopias", Topografías
FOUCAULT, M. "El cuerpo utópico", Topografías
FOUCAULT, M., « Las Meninas” (Les suivantes). A las Palabras y las cosas (Les mots et les choses), Barcelona, Paidós, 1997 (1964 /1966)
MERLEAU-PONTY, La duda de Cézanne. Madrid, Casimiro, 2012.
Rancière, J., Pensar entre las disciplinas. Brumaria 268 (2008).
Sartre, J. P., “Qu’est-ce que la littérature?”, Les Temps Modernes, 1947; recollit a Situations II . París: Gallimard, 1951.
WARBURG, A. Atlas Mnémosyne. Madrid, Akal, 2010.
Recommended Philosophy of Art Readings
AAVV: What is Contemporary Art?, Berlín, Sternberg Press, 2010
AGAMBEN, G., Desnudez, Barcelona, Anagrama, 2011
Belting, H., The End of the History of Art?. The University of Chicago Press, 1987 (1983)
Bourriaud, N., Estética Relacional. Buenos Aires, Adriana Hidalgo, 2006 (1997)
DIDI-HUBERMAN, G., Ante el tiempo. Historia del arte y anacronismo de las imágenes, Buenos Aires, Adriana Hidalgo, 2006
DIDI-HUBERMAN, G., Pueblos expuestos, pueblos figurantes, Buenos Aires, Manantial, 2014
Jaques, J., Kant’s Aesthetic Reading of Aristotle’s Philia: Disinterestedness and the Mood of the Late Enlightenment. Revista de Filosofia, Vol. 37, 2 (2012): 55-68.
KRISTEVA, J., Desire in Language, New York, Columbia University Press, 1980
LIPPARD, L. R., Six years: the dematerialization of the art object from 1966 to 1972; a cross-reference book of information on some aesthetic boundaries, Nueva York, Praeger, 1973
LORCA, F. G. Piero Menarini, ed. El maleficio de la mariposa. Cátedra, Madrid, 2009.
Jaeger, W., Paideia :losideales de la cultura griega. México, FCE.
Lorca, F. G, La casa de Bernarda Alba.
PAGLIA, C., Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson, New Haven, Yale University Press, 1990
RANCIÈRE, J., El inconsciente estético, Buenos Aires, Del Estante, 2005
RANCIÈRE, J., El viraje ético de la estética y la política, Santiago de Chile, Palinodia,2006
WALLIS, B. (ed.), Arte después de la modernidad, Madrid, Akal, 2001.
Sartre, J. P, A puerta Cerrada. (1954)
Sartre, J.-P. Paris sous l’occupation. London: La France Libre, 1945.
Schiller, F., Cartas sobre la educación estética del hombre (1795).
VILAR, G. Desartización. Paradojas del arte sin fin, Salamanca, Ediciones de la Universidad de Salamanca.
VILAR; G., Jean-François Lyotard: Estètica i política. Barcelona, Pensament polític postfundacional, 2019.
Specific texts on Picasso for the Module
Ascal, B., Pablo Picasso.Poèmes & Propos. Alphaboof, Paris, 2013.
Bernardac, M.-L. –Piot, C.. Picasso ècrits. París: Éditions de la
Réunion des musées nationaux: Gallimard, 1989.
Bernardac, M.-L / MICHÄEL, A.. Picasso, propos sur l’art. Paris: Gallimard, 1998.
Brunner, Katheleen. Picasso RewritingPicasso. Black Dog Publisher,
Daix, P., Le nouveau dictionnaire Picasso. Ed. RobertLafont, S.A., París, 2012.
Garaudy, R. Le Communisme et la renaissance de la culture française. Paris: Sociales, 1945.
KRAUSS, R., Arte desde 1900: modernidad, antimodernidad, posmodernidad,Madrid, Akal, 2006.
Krauss, R. “ In the Name of Picasso.” October, no. 16 (March 1981): 5-21.
JAQUES, J., “Las Meninas” de Picasso, 1957: cal·ligrafies de la indisciplina, a MARÍ, A. (ed). La modernitat cauta. Barcelona, Angle Editorial, 2014.
Jaques, J., Picasso en Gósol, 1906: un verano para la modernidad. Madrid, Antonio Machado, 2006.
JAQUES, J., “Repenser Picasso. Le désir attrapé par la queue et les iconographies culinaires de l’absurde et de la stupeur”, Proceedings of the European Society of Aesthetics 7, 2015, pp. 297–316.
JAQUES, J., "Qué se cuece en el teatro de Picasso", MUseu Picasso de Barcelona, 2018.
Michaël, A. – Wolf, L, (Ed.), Le Cahier de l’Herne : Picasso. Ed. de l’herne, París, 2014.
Michaël, A., PicassoPoète, Les Éditions Beaux-Arts de París, 2008.
STEIN, G., Writings, 2 vols. Library of America, 2009.
Steinberg, L., “El burdel filosófico”.
ROMA, Valentín, Economia:Picasso, Museu Picasso de Barcelona, amb el co-comissariat de Pedro G.Romero; Archivo F.X.: Wirstchaft, Ökonomie, Kunjunktur, Württembergischer Kunstverein de Stuttgart. Barcelona, MPB, 2012 .
Texts by Picasso
Inglada, Rafael (ed.), Pablo Ruiz Picasso. Textos Españoles (1894-1968). Málaga, BAMC, 2006.
Jaques, J., Una sel·lecció dels textos de Picasso seran proposats durant el curs segons la traducció de la professora responsable de l’assignatura, especialment els de teatre.
Michaël, A., Picasso Poèmes. Ed. Le Cherche Midi, París, 2005. Trad. Cast. de Anna Nuño. Barcelona Editorial, 2008.
General Texts on Picasso
At the beginning of the module a general bibliography on Picasso will be provided, focusing on the research work proposed by each of the students.