
Philosophy of Art
Code: 108422Credits: 6
| Degree programme | Type | Course |
|---|---|---|
| Philosophy | OB | 1 |
Contact lecturer
- Name :
- Jessica Patricia Jaques Pi
- Email :
- jessica.jaques@uab.cat
Teaching staff
- Andrea Soto Calderon
Teaching staff (external to UAB)
- Laura Vilar Dolç
- Daniela Callejas Aristazabal
Group languages
You can consult this information at the end of the document.
Prerequisites
None
Objectives
The subject aims to immerse students in the Philosophy of Art and, from this, in Philosophy in general, and an initial familiarization with the vocabulary, argumentation, texts, creative processes based on a hybridization of discourses and practices. The field is that of applied aesthetics, in an effort to professionalize in philosophical-artistic projects with an impact on the public sphere.
The general objective is for the student to know and become passionate about the area of intersection between the arts and philosophy, that is: to discover the philosophical dimension of the arts, as well as the transitivity between the discourse on them and the creative activity, which will be what we will call poiesis: a doing from the discourse and a discourse from the practice. That is why the subject belongs vocationally to applied aesthetics. No prior knowledge of either the arts or philosophy is required.
The specific objectives of the subject are: The students' passion for the arts and other aesthetic practices The development of an argument and a vocabulary to understand and explain the philosophical potential of the arts and the creative potential of philosophy The knowledge of some of the fundamental readings for objectives 1 and 2 The knowledge of the fundamental periods of the confluence between art and philosophy, as well as the affinities with other forms of knowledge The understanding of some creative processes of the confluence between art and philosophy. Knowledge of the main tensions between art, science and philosophy Understanding art as a place of construction and destruction of the public sphere Cultivation of the aesthetic sense of the students as a requirement for knowledge and openness to the world, as well as for the passion for the arts First configurations of projects in applied aesthetics Projection, if appropriate, of the knowledge of the subject to future TFG and other research and projects of the student. First professionalization exercises
Learning outcomes
- CM05 (Formulate reasoned opinions in a supervised manner and based on the analysis of philosophical problems.) Formulate reasoned opinions in a supervised manner and based on the analysis of philosophical problems.
- CM06 (Use the philosophical instruments necessary for ethical, political and aesthetic deliberation, with awareness of their relevance in diverse social and cultural contexts.) Use the philosophical instruments necessary for ethical, political and aesthetic deliberation, with awareness of their relevance in diverse social and cultural contexts.
- CM07 (Generate individual and collective practices of openness and rational dialogue integrating active listening, respect for the plurality of opinions through the identification and discussion of inequalities and gender biases in the construction of reasoned consensus.) Generate individual and collective practices of openness and rational dialogue integrating active listening, respect for the plurality of opinions through the identification and discussion of inequalities and gender biases in the construction of reasoned consensus.
- KM05 (Associate the fundamental concepts of philosophical thought: being, truth, value, action, expression, beauty, justice (and its historical development), which structure the different philosophical disciplines.) Associate the fundamental concepts of philosophical thought: being, truth, value, action, expression, beauty, justice (and its historical development), which structure the different philosophical disciplines.
- KM06 (Define the structures and modes of philosophical reasoning, the types of logical, ontological, ethical and aesthetic frameworks from a plural and critical perspective, taking into account the forms of construction of discourses in terms of gender.) Define the structures and modes of philosophical reasoning, the types of logical, ontological, ethical and aesthetic frameworks from a plural and critical perspective, taking into account the forms of construction of discourses in terms of gender.
- KM07 (Identify the essential elements of philosophical practice such as conceptual analysis, the construction of arguments, rational deliberation and the use of language in persuasion and dialogue.) Identify the essential elements of philosophical practice such as conceptual analysis, the construction of arguments, rational deliberation and the use of language in persuasion and dialogue.
- KM43 (Recognise concepts, assumptions and forms of argumentation in classical and contemporary philosophical texts in order to explain their meaning and theoretical relevance.) Recognise concepts, assumptions and forms of argumentation in classical and contemporary philosophical texts in order to explain their meaning and theoretical relevance.
- SM05 (Developindividual reasoning in a debate on a philosophical topic that includes critical arguments and objections based on a diverse perspective.) Developindividual reasoning in a debate on a philosophical topic that includes critical arguments and objections based on a diverse perspective.
- SM06 (Prepare basic, clear, well-structured and argumentatively solid philosophical discourses, both in written and oral format in the writing and defense of an explicit thesis, for the logical organisation of ideas and with the rigorous incorporation of sources.) Prepare basic, clear, well-structured and argumentatively solid philosophical discourses, both in written and oral format in the writing and defense of an explicit thesis, for the logical organisation of ideas and with the rigorous incorporation of sources.
- SM07 (Apply theoretical and practical philosophical tools (concepts and forms of argumentation) to the analysis and evaluation of current discourses, problems or phenomena.) Apply theoretical and practical philosophical tools (concepts and forms of argumentation) to the analysis and evaluation of current discourses, problems or phenomena.
- SM44 (Analyse philosophical arguments, identifying theses, internal coherence, and discursive strategies in order to evaluate their logical soundness.) Analyse philosophical arguments, identifying theses, internal coherence, and discursive strategies in order to evaluate their logical soundness.
Contents
The course presents fifteen topics in three thematic blocks. There are fifteen mandatory readings, which will be distributed one per week. They are usually of reduced length. They are marked with an asterisk; readings with two asterisks are recommended. The readings for topic 13 will be distributed among the group and shared collectively. I. Aesthetic practices and the origin of philosophy 1. Ignorance as a philosophical requirement [*1 RANCIÈRE, J., The ignorant master, chap. 1] 2. From the androgynous to the deconstruction of gender [*2 PLATO, Banquet: the "Myth of the Androgynous"] / Theater and philosophy: poiesis and catharsis; gender and role clashes [**1 ARISTOPHANES, Lysistrata] 3. The desire for beauty and the subversive capacity: appearance, presence, event [*3 PLATO, Symposium: the "Diotima's Speech"; ** 2 Desire in times of war: PICASSO, Desire caught by the tail] 4. Dialogical creativity [ *4 PLATO, Hippias the Elder] 5. Friendship [*5 ARISTOTLE, Book VIII of the Nicomachean Ethics] 6. Aesthetic practices and discursive practices: ecosystems and ethologies II. Aesthetic practices and the late Enlightenment 7. Sapere aude and the hegemony of the imagination [*6 KANT, I., What is the Enlightenment?; **3 SWIFT, J., Gulliver's Travels,**4 VALLE INCLÁN, Lights of Bohemia] 8. The encyclopedic project. Taste as the capacity to judge [*7 JAQUES, J. The aesthetic sense **5 VOLTAIRE, « Gust », Encyclopédie; **6 D'ALEMBERT, J. l R., "Preliminary Discourse to the Encyclopedia] 9. The political foundation of aesthetics [*8 KANT, I., Critique of the faculty of judgment § 40, 44 and 60 ; ; **7 DELFOE, D., Robinson Crusoe] 10. Life itself as a creative political project. The origin of activist manifestos [*9 Olympe de Gouges, Declaration of the rights of woman and of the citizen; **8 Wollstonecraft, M., Vindication of the rights of woman] 11. Art and Revolution. Freedom, Equality, Fraternity. The aesthetic idea and the faculties for creativity [*10 KANT, I., Critique of the faculty of judgment §§ 46-49] III. Aesthetic practices and contemporaneity 12. Inexhaustibility, creativity, ritual, failure [*11 BALZAC, H., The Unknown Masterpiece; **9 VALÉRY, P., Eupalinos or the architect **10 SARTRE, J.P., The words,] 13. Otherness. [ *12 FOUCAULT, M., Heterotopias and The utopian body; *13 de BEAUVOIR,S., The second sex, selected texts; *14. HARAWAY, Donna, Cuando las especies se encuentra selected chapters; ** SARTRE, J-P., Behind closed doors;] 14. The embodiment of philosophy [* 15: BARDET, M., Perder la cara, selected chapters 15. Creative agents: emancipation, enactivism and indiscipline [*16 RANCÈRE, J. The emancipated spectator none 1, **NOË, A., Strange Tools]
Learning activities and methodology
| Title | Hours | ECTS | Learning outcomes |
|---|---|---|---|
| Individual and collective reading of the texts / studying the contents | 28.5 | 1.14 | CM07, KM06, KM43, SM44 |
| Classes - in the classroom and in Peripatetics (routes around campus dedicated to the discussion of texts) -, tutorials in microgroups and individuals | 60 | 2.4 | CM05, CM06, CM07, KM05, KM06, KM07, KM43, SM05, SM06, SM07, SM44 |
| Creative praxis workshops and visits to exhibitions and artistic events / three evaluation tests /exercise of contribution strategies and transfer of the knowledge achieved in the Peripatetics | 52.5 | 2.1 | CM05, CM07, KM05, SM05, SM07 |
The methodology is neo-Socratic, that is: the generation and transfer of knowledge from the claiming of the training potential of both students and teachers in a reverse teaching dynamic. This methodology will be developed both in the classroom and in the Peripatetics, a teaching project that consists of routes around the UAB campus where we will discuss the texts of the week. Classes in the classroom and the Peripatetics will alternate according to the Teaching Calendar, which will be presented at the beginning of the course; The Peripatetics will take place mostly on Fridays, and will be open to twenty people from the Faculty who are studying other degrees or belong to other groups https://www.uab.cat/ca/lletres/filosifia-peripatetiques, The guided activities consist of teaching sessions (in the classroom and in the Peripatetics) with a high incentive to participation, the forms of which will be agreed upon at the beginning of the course. The supervised activities are formed by the exercise of the aesthetic sense. Likewise, contributions to the written and podcast tests will be supervised activities, as well as visits to museums and art centers recommended at the beginning of the course and in the attempt that the discursive praxis accompanies a creative praxis according to the procedures of applied aesthetics. Also by a tutoring program in microgroups and individuals. The autonomous activities have as their essential reference the reading of and conceptual and application work on the assessable texts. In this subject, the use of Artificial Intelligence (AI) technologies is allowed as an integral part of the development of the work, provided that the final result reflects a significant contribution of the student in the analysis and personal reflection. The student must clearly identify which parts have been generated with this technology, specify the tools used and include a critical reflection on how these have influenced the process and the final result of the activity. The lack of transparency in the use of AI will be considered a lack of academic honesty and may lead to a penalty in the grade of the activity, or greater sanctions in cases of seriousness Note: 15 minutes of a class will be reserved, within the calendar established by the center/degree, for students to complete the surveys to evaluate the performance of the teaching staff and to evaluate the subject.
Assessment
Continuous assessment activities
| Title | Weight | Hours | ECTS | Learning outcomes |
|---|---|---|---|---|
| Article I about an aesthetic object | Thirty percent | 3.5 | 0.14 | CM05, CM06, CM07, KM05, KM06, KM07, KM43, SM05, SM06, SM07, SM44 |
| Article II about an aesthetic Object | Thirty percent | 3.5 | 0.14 | CM05, CM06, CM07, KM05, KM06, KM07, KM43, SM05, SM06, SM07, SM44 |
| Podcast about an aesthetic object | Thirty percent | 2 | 0.08 | CM05, CM06, CM07, KM05, KM06, KM07, KM43, SM05, SM06, SM07, SM44 |
Evaluation The three tests will be delivered on the virtual campus. The teacher will post a guideline for each one a week before delivery. To do it, the student will have chosen a creative practice -their own or someone else's-, which will be maintained throughout the course. The objective is to learn to write philosophically about an aesthetic object or fact. The student may choose to include their own aesthetic practices that are linked to their writing (photography, music, dance, illustration, painting, and others; any creative practice); this will in no way mean a higher grade.
The teaching calendar will be available on the virtual campus, and will include the review week and the exam week, if the Department's Teaching Committee agrees to establish them.
Rubrics and maximum score Relevant selection of topics to be discussed in the approach to the main questions of the philosophy of art based on a work or other aesthetic reference, 2 points Demonstration of understanding of the contents worked on in the sessions and the mandatory readings, 2 points Clarity and coherence of arguments, 1 point Appropriate use of specific vocabulary linked to the subject, 1 point Correction of written expression and orality in the podcast, 1 point Capacity for discussion with the group about the texts worked on or other forms of participation agreed at the beginning of the course, 1 point Audacity in the appropriation of the contents (sapere aude), understood as the capacity to make them one's own and to develop, from them, a critical reflection situated in the exercise of philosophy as a creative activity, 2 points
PLAGIA Plagiarism would give rise to careful work on formative awareness. It is worth noting that the regulations in this regard state: "In the event that the student commits any irregularity that could lead to a significant variation in the grade of an assessment, this assessment will be graded 0, regardless of the disciplinary process that may be instructed. In the event that several irregularities occur in the assessment acts of the same subject, the final grade for this subject will be 0". REVIEWS The review of each test will be carried out during the usual office hours in the period between this and the following test. The ordinary global review of the subject will be carried out on a specific day that will be indicated in January, and will be in office B 7-112. At the time of carrying out each assessment activity, the teacher will inform the students (Moodle) of the procedure and date of the review of the grades.
RECOVERY Recovery, with a date and place set by the Faculty, is reserved for students who have not taken one of the three tests (being mandatory to take 2/3) or who do not have a final grade of 5. The work to be done by each student towards recovery will be tutored .
ERASMUS Erasmus students who request to advance an exam must present the teacher with a document from their home university justifying their request.
SINGLE EVALUATION The single evaluation will be organized based on three tests that will take place on the same day. The evidence for each test is as follows: Exercise 1 and 2. Two articles (block 1 and block 2 respectively) delivered digitally from the student's institutional mail. For the first test, the student will have chosen a creative practice - their own or someone else's - that they will try to maintain in the three tests. The objective is to learn to write philosophically about an artistic event. The tests will be sent to students by email one week before the test. Weighting: Test 1: 30% of the final grade; Test 2: 30% of the final grade. Exercise 3: make a podcast as an ignorant teacher from the third block. 40% of the final grade. The three exercises will be submitted on the same day at the end of the semester, to be agreed with the teacher. The same recovery system will be applied as with continuous assessment The student will be a non-evaluable student when they have not been able to provide sufficient evidence of assessment and/or when they have not appeared for one, two or three tests.
Bibliography
Primary Sources
RANCIÈRE, J., El maestro ignorante. Barcelona, Laertes, 2003 (Le maître ignorant 1987, Cap 1)
PLATÓ, Banquet. Barcelona, Ed. 62, 1998, "Mite de l'Andrògin" (189e-193e)
PLATÓ, Hipias Major. Madrid, Gredos.
ARISTÒTIL, llibre VIII de l'Ètica nicomaquea, Fundació Bernat Metge.
KANT, I., ¿Qué es la Ilustración?. Barcelona, Paidós, 1989 (Beantwortung der Frage: Was ist Aufklärung?
1784)
JAQUES, Jèssica., "El sentit estètic", Disturbis 8.
http://www.disturbis.esteticauab.org/Disturbis234/Jaques.html
KANT, I., Crítica de la facultat de jutjar, §§ 40 i 60. Barcelona, Ed. 62., 2004 (Kritik der Urteilskraft, 1790).
Olympe de GOUGES, Declaració dels drets de la dona i de la ciutadana (1791).
<http://www.culturamas.es/blog/2012/09/07/declaracion-de-los-derechos-de-la-mujer-y-de-la-ciudadana-1791-por-olympe-de-gouges/>
KANT, I., Crítica de la facultat de jutjar, §§ 46-49. Barcelona, Ed. 62., 2004 (Kritik der Urteilskraft, 1790).
BALZAC, H., L'obra mestre desconeguda . Barcelona, Quaderns Crema, 2018. (Le chef d'oeuvre inconnu,
1831)
FOUCAULT, M.Heterotopias / El cuerpo utópico. Topologías", Fractal 2006 [1967].
HARAWAY, Donna, Cuando las especies se encuentran (When Species meet). Tabula Rasa, 31, 23-75
de BEAUVOIR, Simone, El segundo sexo. Madrid,Diálogo, 2012 [Le deuxième sexe. 1941]
BARDET, Marie, Perder la cara. México, Cactus, 2021.
RANCIÈRE, J. El espectador emancipado.Barcelona, Ed. Ellago, 2010 [Le spectateur émancipé, 2008]
Secondary Bibliography
ARISTÒFANES, Lisístrata. Fundació Bernat Metge. (Trad. Josep Montserrat)
PICASSO, El desig atrapat per la cua. Barcelona-Madrid, Museu Picasso de Barcelona-La Fábrica, 2018.
(Trad. Jèssica Jaques; Le désir attrapé par la queue, 1944)
SWIFT, J., Els viatges de Gulliver. Galaxia Gütemberg, 2006 [Gulliver's Travels, 1726]
VALLE INCLÁN, Luces de Bohemia, Madrid, Austral, 2010.
VOLTAIRE, Jean Françoisois-Marie Arouet de Voltaire, « Goût ». "Taste." In The Encyclopedia of Diderot &
d'Alembert, Collaborative Translation Project. Translated by Thomas Cassirer. Ann Arbor: University of
Michigan Library, 2003. Originally published as"Goût," Encyclopédie ouDictionnaire raisonnedes sciences, des
arts et des metiers(Paris 1757, Vol. 7. pp. 761-77).
<https://fr.wikisource.org/wiki/L%E2%80%99Encyclop%C3%A9die/1re_%C3%A9dition/GOUT>
D'ALEMBERT, J. l R., "Discours préliminaire" à l'Encyclopédie
<https://fr.wikisource.org/wiki/L%E2%80%99Encyclop%C3%A9die/1re_%C3%A9dition/Discours_pr%C3%A9liminaire>
DELFOE, D., Robinson Crusoe. Barcelona, La Galera, 2009 [1719]
WOLLSTONECRAFT, Mary, Vindicación de los derechosdela mujer.Madrid,Akal, 2014 [Vindication of the
Rights of Women, 1792]
VALÉRY, P., Eupalinos o l'arquitecte. Barcelona, Quaderns Crema, 1983 [Eupalinos ou l'architecte, 1921).
FOUCAULT, M., "Topologías", Fractal 2006 [1967].
FLUSSER, V. Hacía una filosofía de la fotografía. Méjico D.F., Sigma, 1990.
FLUSSER, V. Hacía una filosofía de la fotografía. Méjico D.F., Sigma, 1990.
SARTRE, J.P., Les Mots. París, Gallimard, 1963.
Software
None is required
Course groups and languages
The information provided is provisional until November 30. After this date, you will be able to consult the language of each group through this link. To access the information, you will need to enter the course CODE
| Type of teaching | Group | Language | Semester | Shift |
|---|---|---|---|---|
| (TE) Theory | 1 | Catalan | second semester | morning-mixed |
| (PAUL) Classroom practices | 1 | Catalan | second semester | morning-mixed |