IM155 Documents of Presence and Experience: Resistant Strains

Faculty of Arts
Spring 2021
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
there are 10 fields of study the course is directly associated with, display
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 given themes and artistic movements. 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 aquaint the student with the manifesto as a transdisciplinary device.
Learning outcomes
Upon succcessful completion of the course students will be able to: - identify and summarize the guiding concepts of important avant-garde movements - recognize conceptual tendencies within contemporary art practice - write a theoretical text detailing or adopting the mechanisms of the manifesto - 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 a written manifesto and participatory practice.
Syllabus
  • Key Themes: Underground, The Manifesto, Declarations, Participation, Surveillance, Social engagement, Identity Politics The manifesto is a philosophical and theoretical framework within which deeds or experiments can and are performed in support of its proclamations. It provides a platform, radical in how it instates itself at the moment of its presentation, distribution, or publication, its incubation having taken place prior to it's formulation. What is characteristic for the avant-garde art manifesto is its intention to serve as a tool to initiate a paradigm shift in the approach to both the creation and the consumption of art, while having, at the moment of its inception, already bore witness to its establishment as a movement. When the avant-garde manifesto is written, there is already a body of work that represents what is being proclaimed. What is being proclaimed is a message intrinsic, or at the very least carried by the works that are made in its name, including those preceding its actual utterance. In addition the manifesto serves as a call to action, an invitation to join a movement with the potential to initiate change. Where, or whether, a paradigm shift takes place along this axis, and to what degree, varies from manifesto to manifesto. As with the political manifesto, the art manifesto is meant to cause a fracture or fissure through the representation of a communal body which speaks in the first-person plural, 'we'.
Literature
    recommended literature
  • Alex Danchev, 100 Artists Manifestos, From the Futurists to the Stuckists, Peguin Modern Classics, 2011
  • Serpentine Gallery Manifesto Marathon, Koenig Books, 2009
  • Hakim Bey, TAZ: The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism, 1985
    not specified
  • Yvonne Rainer, Feelings are a Fact, MIT, 2006
  • Nicolas Bourriard, Postprodukce, Tranzit, 2004
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 discussions based on reading assignments.
Assessment methods
Final evaluation will be based on attendance (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, personal manifesto (approx. 5 n/s)) based on the given theme of the semester.
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 Spring 2018.
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