|
課 程 進 度 表
Course Calendar
Week 1 (2/19)：導論Week 1
──What is Image? How do we discuss the visuality, sound, tactile, smell, spatiality, and kinetic dimensions of the image? Where is the power of the image? What is a video essay? What is critical curation?
──導論：什麼是影像？如何討論影像的視覺、聽覺、觸覺、嗅覺、空間感、時間感？影像的力量在何處？什麼是錄像論文？什麼是批判性策展？
Video Essay:
Examples of good video essays:
MeCCSA -
- What is Neorealism?
- Mad Men: Set Me Free
- Vertical Framing Video Essay
Articles about the video essay:
Week 2 (2/26)： Unit I 視覺理論：視覺性與治理技術 Visual Theory: the regime of the visible and the technology of governmentality
Topic: Archives檔案性
1. Museum: the taming and social function of museum and its historical narrative博物館的馴化與社會化功能及其歷史敘述
2. The world picture and the Subject 世界圖像與主體
3. The Gaze and the Objet Petit a凝視觀點與欲望對象
Readings:
1. Lacan, Jacques. “Of the Gaze as Objet Petit a,” Seminar XI: The Four Fundamental Concepts of Psycho- Analysis. Trans. By Alan Sheridan, New York, London: W.W. Norton ＆amp; company, 1978. 70-75, 82-89; 97, 99, 100-10; 105-106, 108, 110-116
2. Heidegger, Martin. “Age of the World Picture,” The Question Concerning Technology and Other Essays. 115- 154.
Week 3 (10/4)：範式與署名痕跡
Paradigm and Signatures
Topic: Regime and Logistics of the Visible and the Grid 可見性機制的格線與部署技術
1. The grid and the marks of the visibility可見性的格線與標記
2. Techniques of governmentality and the logistics of the dispositive 治理技術與物流部署
Readings:
1. 傅柯論治理性 Michel Foucault, “Governmentality,” Michel Foucault: Power. Essential Works of Foucault 1954-1984. Ed. James D. Faubion. Trans. By Robert Hurley and others. New York: The New Press, 1994. 201-222.
2. Cowen, Deborah, “A Geography of Logistics: Market Authority and the Security of Supply Chains,” Annals of the Association of American Geographers 100, no. 3 (2010).
3. Heidegger, Martin. "The Question Concerning Technology," “Age of the World Picture,” The Question Concerning Technology and Other Essays. 3-35.
4. 種族主義Michel Foucault, Society Must Be Defended (2003), pp. 1-21, 239-264. 福柯《必須保衛社會》，1976年1月7日, 3月17日。1-37，226-247.（optional）
5. Rae, Gavin. “From Law to Life: Foucault, Sovereignty, and Biopolitical Racism.” Critiquing Sovereign Violence: Law, Biopolitics, Bio-Juridicalism, Edinburgh University Press, 2019, pp. 121–46,
http://www.jstor.org/stable/10.3366/j.ctvnjbfsx.9.（optional）
Week 4 (10/11)：影像、構圖與歷史
Image, Sentence, Design and History
Invited Lecture: Creating Emancipatory Futures - Filmmaking and Activism
Speaker: Valerie Soe
Valerie Soe has created nearly two dozen experimental and documentary films which look at social and political concerns such as racism, representation, and the histories of Asians living in the United States. In this presentation Soe will screen a selection of her short documentary films and will talk about her filmmaking process and how her work intersects with issues in the Asian American community. As Robyn Magalit Rodriguez and Diane C. Fujino note, “Both study and struggle are necessary and intertwined components in our collective work toward creating emancipatory futures.” This presentation explores the uses of creative praxis in working towards empowerment, liberation, and social justice.
BIO
Valerie Soe is a filmmaker, writer, and artist whose work has won awards and exhibited at venues worldwide. Her feature documentary, LOVE BOAT: TAIWAN (2019) won the Audience Award at the Urban Nomad Film Festival in Taipei and has played to sold-out festival audiences across North America and in Taiwan. She is currently in production for her feature documentary WE GO DOWN SEWING: THE AUNTIE SEWING SQUAD. Her writing has been published in books and journals including Countervisions: Asian American Film Criticism; The Palgrave Handbook of Asian Cinema; Amerasia Journal, and Asian Cinema, among others. Soe is the author of the blog beyondasiaphilia.com (recipient of a 2011 Art Writers’ Grant, Creative Capital/Andy Warhol Foundation), which looks at Asian and Asian American art, film, culture, and activism. She is a Professor in the Asian American Studies Department at San Francisco State University.
Week 5 (03/18)Topic: Border politics and the part of no part 邊界政治與無分之分
1. Border politic 邊界政治
2. Count 計算
3. Part of no part 無分之分
4. The partage of the sensible 感性分配
Readings:
1. Jacques Rancière, “Aesthetic Separation, Aesthetic Community: Scenes from the Aesthetic Regime of Art.” Art ＆amp; Research: A Journal of Ideas, Contexts and Methods. V. 2, No. 1, 2008: 1-15.
2. Étienne Balibar, Étienne Balibar, “Preface,” Politics and the Other Scene. Trans. by Christine Jones, James Swenson, Chris Turner. London ＆amp; New York, Verso, 2002. vii-xv.
3. Sandro Mezzadra, “Between Inclusion and Exclusion: On the Topology of Global Space and Borders.” Theory, Culture ＆amp; Society. 29(4/5): 58-75.
Week 6 (03/25) Topic: Affective Traces 感性痕跡
1. Traumatic memories 創傷記憶
2. Collage of objects物件的拼貼
3. Intersections, counterpoint and reversal of perspectives 觀點的交錯、對位、反轉
Readings:
1. Didi-Huberman, IMAGE, LANGUAGE the other dialectic (2018) and Georges Didi-Huberman's concepts of image
2. Cathy Caruth, “'Who Speaks from the Site Of Trauma?': An Interview with Cathy Caruth,” Diacritics, 2019-01, Vol. 47 (2): 48-71.
3. Peter Leese, Jason Crouthamel and Julia Barbara Kohne. Languages of Trauma: History, Memory, and Media. “Introduction,” University of Toronto Press, 2021.
4. Dominick LaCapra, “Trauma, Absence, Loss,” Critical Inquiry. Summer, 1999, Vol. 25, No. 4: 696-727.
Week 7 (04/01)：Unit II Analysis of Visual Texts影像文本分析
1. 徐冰：影像背後的行動
2. 艾未未：行動中的群眾
Reading (selective):
1. Claire Bishop. “The Social Turn: Collaboration and Its Discontents,” Artificial Hells: Participatory Art and the Politics of Spectatorship (2012) 11-40
2. Claire Bishop. “The Social Under Socialism,” Artificial Hells: Participatory Art and the Politics of Spectatorship (2012), 129-162
3. Claire Bishop. “Pedagogic Projects: How do you bring a classroom to life as if it were a work of art?” Artificial Hells: Participatory Art and the Politics of Spectatorship (2012), 241-274
4. Nicolars Bourriaud, “Relational Aesthetics” Participation: Documents of Contemporary Art (2006). Ed. Claire Bishop. (160-171)
5. Lars Bang Larsen, “Social Aesthetics” Participation: Documents of Contemporary Art (2006). Ed. Claire Bishop. (172-183)
6. Molly Nesbit, Hans Ulrich Obrist, Rirkrit Tiravanija, “What is a Station?” Participation: Documents of Contemporary Art (2006). Ed. Claire Bishop. (183-189)
7. Hal Foster, “Chat Rooms” Participation: Documents of Contemporary Art (2006). Ed. Claire Bishop. (190-195)
Week 8 (04/08)：Documentary and Archive 紀錄片與檔案
備忘錄The Memo 窮山惡水電影小組/ 2023/ 30’ /China / Digital / COLOR
這是一對困於上海廉租房的電影製作人情侶的影像日記。面對無盡的瘋狂，有人瘋了，有人攝影機破「窗」而出，見證了這個國家史無前例的社會隔離運動。
This is a video diary of the surreal lockdown made by the filmmaker couple who were trapped in a small, rented apartment in Shanghai. In the face of endless madness,the camera gradually breaks free from the window and observes a vast social isolation unprecedented in the
country’s history. ***
11:30 ~ 13:00
期末報告構想簡報 / 3 分鐘錄像論文試做
PPT for final project topic, or 3-minute video essay
This is a video diary of the surreal lockdown made by the filmmaker couple who were trapped in a small, rented apartment in Shanghai. In the face of endless madness, the camera gradually breaks free from the window and observes a vast social isolation unprecedented in the country’s history.
Week 9 (04/15)：Documentary and Archive 紀錄片與檔案
離散藍調：希臘Rembetika My Rembetika Blues, Mary Zournazi / 2023 / 83’ / USA / COLOR
「Rembetika」是一種在流亡和街頭誕生的音樂，起源於 20 世紀初的大量人口遷移。導演瑪麗．祖爾納齊追溯了她的祖先從土耳其遷徙到澳洲雪梨的過程，然而在這過程當中，她不僅發掘家族軼事，更因此得 知音樂是如何在過去的艱困環境中作為寄託，成為人們的精神支柱。《離散藍調：希臘Rembetika》講述了一段關於音樂和移民所不為人知的精彩歷史故事。
Rembetika music or the Greek blues is a music born of exile and the streets. Developing its roots from the mass
migration of people in the early twentieth century, filmmaker M. Zournazi traces the journey of her forebears from Smyrna in Turkey to Sydney Australia but
discovers more than family history, she finds out how music connects people during times of struggle and crises. By weaving together different stories of music and migration, she documents experiences that are often left out of the chronicles of history.
Week 10 (04/22)：Individual field work (no class)
Week 11 (04/29) Online Forum: Critical curatorial practices
Wen-Shu Lai is currently the head of the Institute of Applied Art, leading the Interrogative transArt Lab: https://wendylai.lab.nycu.edu.tw.
Karin Oen-Lee, 新加坡南洋理工大學藝術史主任， Art Global Modern Art Histories, New Media Art Practices,
Art and Technology, Modern and Contemporary Asian Art, Art World Infrastructure: museums, curatorial practices. https://dr.ntu.edu.sg/cris/rp/rp01883
Shwetal A. Patel, University of Southampton, Arts ＆amp; Humanities, Alumnus University of Southampton.
- Draft: Global Biennial Survey 2018 OnCurating Issue 39 / June 2018 eds. Ronald Kolb, Shwetal A. Patel
- Contemporary Art Biennials–Our Hegemonic Machines in Times of Emergency OnCurating Issue 46 / June 2020 eds. Ronald Kolb, Shwetal A. Patel Dorothee Richter
Week 12 (05/06)Topic: Critical curatorial practices
Discussions of the online forum in the previous week
Week 13 (05/13)：Unit III Practice and Sharing 實作與分享
Project Sharing 1
Week 14 (05/20)
Project Sharing 2
Week 15 (05/27)
Project Sharing 3
Week 16 (06/03)
Project Sharing 4
|