Publication in the Diário da República: Despacho n.º 2435/2023 de 17/02/2023
4 ECTS; 3º Ano, 2º Semestre, 30,0 T + 30,0 PL + 5,0 OT , Cód. 964580.
Lecturer
- Miguel Novais Jasmins Rodrigues (1)(2)
(1) Lead Professor
(2) Teaching Professor
Prerequisites
N/A
Objectives
a) To develop a critique of the subject and its representation;
a1) To understand the interplay between art and philosophy in the notion of the subject;
a2) To understand the role of the camera obscura in shaping the definition of the subject in modernity;
b) To identify the relationships between photography, critical thought and art history;
b1) To understand the role of philosophy and critical thought in articulating the sensible;
b2) To establish relationships between representations and reasoning;
b3) To understand the role of the photographic apparatus in articulating/representing the sensible;
b4) To understand the role of sensibility in articulating/representing ideas;
c) To understand the concepts of fragmentation and repetition in the deconstruction of the modern subject;
c1) To understand the loss of the guiding role of grand narratives in defining the subject;
c2) To understand the subject as an object of fragmentation;
d) To situate personal/authorial work within the context of the preceding points;
e1) To understand the position from which the theme of the work is observed;
e2) To understand the relationship between that position, the apparatus and the audience.
Program
1 The Camera Obscura as a Site of Representation
1.1 The Subject as Presence in the Camera Obscura
1.2 Distance and Otherness
1.3 Simulacra and Simulations
2 Self-Perception in the TimeSpaceImage Relationship
2.1 Pre-modern, Modern and Postmodern Modes of Presence in the History of Art and Thought
2.2 Contemporaneity and Anachronism
2.3 The Maps of Jorge Luis Borges
2.4 Translating and Representing
3 Freedom to Think, Choices in Representation
3.1 Descriptive Possibilities Text Based on the Artwork
3.2 Quotation, Dialogue and Appropriation as Domains of Representation
3.3 Descriptive Possibilities Artwork Based on the Text
Evaluation Methodology
A metodologia de avaliação é uniforme aplicando-se em todas as épocas de avaliação.
Desenvolve-se com base na assiduidade, na participação e num conjunto de exercícios, partindo dos conteúdos lecionados, que é compilado e revisto como exercício final de articulação dos conteúdos apresentados com o trabalho de projeto dos alunos.
A classificação final é calculada pela ponderação dos seguintes itens de avaliação:
Assiduidade: 10%
Participação: 20%
Exercícios propostos: 40%
Exercício Final: 30%
Bibliography
- Baudrillard, J. (1991). Simulacros e Simulação. Lisboa: Relógio D'Água
- Flusser, V. (1998). Ensaio Sobre a Fotografia - Para uma Filosofia da Técnica. Lisboa: Relógio D'Água
- Panovski, E. (1998). A Perspectiva como Forma Simbólica. Lisboa: Edições 70
- Sontag, S. (2012). Ensaios Sobre Fotografia. Lisboa: Quetzal Editores
Teaching Method
A Oral presentation;
B Discussion of ideas and authors, relating them to students own work;
C Viewing and discussion of images;
D Collaborative participation.
Software used in class
