IM154 Documents of Presence and Experience: Process and Experience

Faculty of Arts
Autumn 2020
Extent and Intensity
1/1/0. 4 credit(s). Type of Completion: z (credit).
Teacher(s)
MgA. Jennifer De Felice (lecturer), doc. Mgr. Jana Horáková, Ph.D. (deputy)
Mgr. MgA. Jennifer Ann Helia DeFelice, Ph.D. (lecturer)
Guaranteed by
doc. Mgr. Jana Horáková, Ph.D.
Department of Musicology – Faculty of Arts
Contact Person: Bc. Jitka Leflíková
Supplier department: Department of Musicology – Faculty of Arts
Timetable
Tue 8:00–9:40 N43
Prerequisites
Ability to read texts and participate in a discussion in English.
Course Enrolment Limitations
The course is also offered to the students of the fields other than those the course is directly associated with.
The capacity limit for the course is 150 student(s).
Current registration and enrolment status: enrolled: 0/150, only registered: 0/150, only registered with preference (fields directly associated with the programme): 0/150
fields of study / plans the course is directly associated with
Course objectives
Documents of Presence and Experience is a series of lectures accompanied by audiovisual projections. art films, videos, and documentaries and excerpts from lectures by international artists and collectives from the early 20th century to the present are shown throughout the course, illustrating theoretical deliberations on the theme of Process and Structure within artistic practice. Art and artist databases, institutional resources, alternative communities, and artist residencies are also showcased within the sessions. Conceptual texts and deliberations are included as part of the curriculum. The course's primary objective is to familarize students with a social history of performative artistic practice through the lens of experiential interpretation. Through ritual and mythmaking as points of departure, the course aims to move through underlying principles that have been adapted and incorporated into contemporary art production.
Learning outcomes
Upon succcessful completion of the course students will be able to: - identify and summarize the guiding concepts ritual and myth and its contemporary application - recognize references to ritual and performative process within contemporary art practice - write a theoretical text detailing or adopting the mechanisms of the myth, ritual , or cultural performance - analyse the socio-politcal context which gave/gives rise to shifts in aesthetic paradigms Students should be able to identify and describe the socio-politcal contexts which gave rise to avant-garde cultural movements, discuss key works, and understand the mechanisms of participatory practice.
Syllabus
  • Key Themes: Oral Tradition – Myth, Steps to be Taken – Ritual, The Nature of the Game – Play, Performing Culture, Conceptual Approaches, Language Texts and Signs Myth and ritual are an integral aspect of culture and society, and as such an integral aspect of artistic practice. Throughout the course of the semester we will look at ritual and native cultures, reenactment, and its use within performative practice in terms of samanism, the guru, and the creation of a tribe whether as a unique social entity or a digital community. We will also look at work that is inspired by a return to paganism or inspired by a close relationship to nature and phenomena that are to be found through its observation and animation. Particular attention will be paid to the concept of experience and its transference into an open artistic work which assumes participation and/or interpretation.
Literature
    recommended literature
  • Gadamer, Hans-Georg, Truth and Method, Bloomsbury Academic, 2013
  • Schechner, Richard, Performance Studies: An Introduction, Routledge, 2002
  • Stiles, Kristine, & Selz, Peter, Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings, Universtiy of California Press, 1996
  • Dewey, John, Art as Experience, The Berkeley Publishing Group, 2005
Teaching methods
The presentations are divided into semester-long blocks which deal with individual themes related to perfomativity as a phenomenon. Key concepts such as experience, contemporaneity, avant garde, ritual, play, indeterminacy, social engagement, participation, and improvisation are explored, relying heavily on artistic texts and theoretical works. Lectures are accompanied by audiovisual material. The classes are based on presentation and class discussions. Students will asked to participate actively in discussion based on reading assignments.
Assessment methods
Final evaluation will be based on attendence (75%), active participation in class, the presentation of a project or theme of the student's choice accompanied by a theoretical text (comparative study, curatorial project (approx. 5 n/s)), based on Process and Structure within artistic practice. Semester projects will be assesed based on relevance of theme and quality of research and delivery (presentation, text).
Language of instruction
English
Follow-Up Courses
Further Comments
Study Materials
The course is taught once in three years.
The course is also listed under the following terms Autumn 2017.
  • Enrolment Statistics (recent)
  • Permalink: https://is.muni.cz/course/phil/autumn2020/IM154