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2021/2022

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
: Andrea Soto Calderón
: Barbara Bayarri Viñas
: Ager Perez Casanovas
: Alfonso Hoyos Morales

External teachers

: Clara Laguillo
: Daniela Callejas
: Laura Vilar
: Membres del Projecte d'Innovació docent artencurs
: Sílvia Galí

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:

The knowledge of the fundamental texts of the history of aesthetics, as well as its vocabulary and argumentation
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:

The understanding of art as a privileged place for thinking
The knowledge of the points of intersection between aesthetics and the philosophical tradition
The knowledge of some of the fundamental texts of the aesthetic tradition
The presentation of aesthetics as a fundamental gnoseology
The knowledge of arguments and a vocabulary to understand the aesthetic tradition and the aesthetic dimension of the contemporary world
The establishment of a dialogue between the texts of the aesthetic tradition and contemporary art according to the procedures of applied aesthetics
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
The development of projects in applied aesthetics
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.
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.
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

Accurately describing an artistic object with the specific language of art criticism.
Accurately drawing up normative texts.
Accurately using the specific lexicon of the history of philosophy.
Analysing the fundamental concepts of Theory of Art with a critical eye.
Carrying out a planning for the development of a subject-related work.
Carrying out oral presentations using an appropriate academic vocabulary and style.
Correctly drawing up a previously analysed non-regulatory text.
Correctly, accurately and clearly communicating the acquired philosophical knowledge in oral and written form.
Distinguishing and analysing classical and current debates of the History of Art.
Distinguishing and analysing representative texts of the main genres of the philosophical literature.
Distinguishing and outlining the fundamental content of a philosophical text.
Establishing relationships between science, philosophy, art, religion, politics, etc.
Identifying the artistic imagery, placing it into its cultural context.
Identifying the main ideas of a related text and drawing a diagram.
Identifying the regulatory, stylistic or argumentative errors of a text.
Indicating and summarising the common content of several manifestations of various fields of culture.
Interpreting the contents of a text about Theory of Art.
Producing an individual work that specifies the work plan and timing of activities.
Recognise and define the common thinking present in a multidisciplinary context.
Recognising, with a critical eye, aesthetic referents of the past and present and assessing its importance.
Relating several ideas of the current philosophical debates.
Relating the characteristic elements and factors of the philosophical tradition.
Solving problems autonomously.
Submitting works in accordance with both individual and small group demands and personal styles.

Content

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.

Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.

Activities

Title	Hours	ECTS	Learning Outcomes
Type: Directed
Lectures, seminars, small-group and individual tutorials	60	2.4	4, 10, 12, 17, 20, 21, 22, 3
Type: Supervised
Workshops on aesthetic practices, exhibition visits, artistic events, tests, participation in seminars	30	1.2	8, 2, 11, 6, 15, 14, 24, 7
Type: Autonomous
Individual and group readings, making of conceptual and evolutive maps	52	2.08	2, 11, 18, 5, 15, 24, 7, 23

Assessment

Evaluation

ssessment will be carried out in a continuous and evolutionary way. There will be three compulsory assessment tests.

The evaluation criteria will be:

Tests 1 and 2. Two exams (Module 1 and Module 2 respectively) to be done at home and sent digitally from the student's institutional email. For the first test, the student will have chosen a creative practice - either their own or from a third person - that they will mantain throughout all assessments. The two tests will be sent to students by email one week before their submission. Test 3. A written text of 2000 words corresponding to the Module 3 of this course; Optionally, the student may choose to include their own aesthetic practices that are linked to their writing (photography, music, dance, illustration, painting: any creative practice); in which case the writing will be 1000 words. The submission will be made electronically 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 beforhand, before the deadline of the test, and an instituional 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 submissions are: October 19 (1st test), November 23 (2nd test), January 13 (3rd test). The questions for the first two tests will be sent to the students by email one week before the due date.

The tests will have as a maximum puntuation: 1st: 3 points; 2nd: 3 points; 3rd: 4 points.

Dates are deadlines and cannot be substituted for posterior dates.

Recovery, with a date and place set by the Faculty, is reserved for students who have not taken one of the three tests (being necessary to take 2/3) or who have failed one, two or three. Eachtest must be passed independently of the other two.

In the event that the tests cannot be done in person, their format will be adapted (maintaining their weighting) tothe possibilitiesoffered by the UAB’s virtual tools. Homework, activities and class participation will be done through forums, wikis and / or exercise discussions through Teams, etc. The teacher will ensure that the Student can access it or offer alternative means, which are within his / her reach.

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

The evaluation criteria will be:

The pertinent selection of the topics to be treated based on the main questions of the philosophy of art raised from a work or another type of aesthetic reference

The argumentative clarity

The adequate use of vocabulary related to the subject

The manifestation of the understanding of the contents proposed in the theoretical sessions

The manifestation of the understanding of the contents of the obligatory readings

The correction of the writing style

The ability to discuss with the group about the texts.

The audacity in the appropriation of the contents (sapere aude), that is, the appropriation of the contents and the development of creativity

If the event of a student commiting any irregularity would lead to careful training awareness work. It should be noted that the regulations in this regard say: "In the event that the student performs any irregularity that may lead to a significant variation in the rating of an evaluation act, this evaluation act will be rated 0, regardless of the disciplinary process that It is possible to instruct. In the event that there are several irregularities in the evaluation acts of the same subject, the final grade for this coursewill be 0 ".

The review of each test will be carried out at the usual dispatch hours in the period between this and the next test. The ordinary global review of the subject will be carried out on a specific day that will be indicated in January, and it will be done in the office (in a non-pandemic situation; otherwise it will be done digitally.)

This subject is linked to the artencurs innovation project:<https://artencurs.wixsite.com/artencurs>

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

Assessment Activities

Title	Weighting	Hours	ECTS	Learning Outcomes
Logbook	60 %	4.5	0.18	4, 16, 8, 1, 10, 11, 12, 13, 14, 17, 19, 20, 21, 22, 23, 3
Third exercice (paper)	40%	3.5	0.14	4, 8, 2, 1, 9, 11, 18, 12, 5, 6, 15, 13, 14, 17, 24, 20, 7, 21, 22, 23, 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