Hybridism and Transdisciplinarity in the Arts

Recommended Prerequisites

Not applicable.

Teaching Methods

- Theoretical presentation by the teachers;

- Reading and commentary of selected texts;

- Case studies: thinkers and creators;

- Analysis of critical lexicon.

- Writing of an individual paper to be presented in class.

Learning Outcomes

The goal of this seminar is to reflect on the nature of artistic knowledge and creation in the transition from a mimetic/disciplinary regime to a postmimetic/postdisciplinary regime. In the course of the seminar, students should be able to 1) describe the historical and institutional process that regulated the establishment of disciplinarity in the context of the mimetic programme in the arts; 2) understand the corresponding definition/segregation of poetics, forms, and “ways of doing” (Rancière); 3) identify the emergence of a postmimetic regime in aesthetic modernity; 4) track the appearance in the long term of forms of heterogeneity and hybridism; 5) understand the transdisciplinary regime of contemporary artistic creation and programming. PhD students will also have the opportunity to attend sessions and meet artists who have developed creative practices in the context of artistic hybridism and transdisciplinarity.

Work Placement(s)

No

Syllabus

1. Art, representation, and disciplinarity.

2. Genealogies of the hybrid: monster, grotesque, metamorphosis, deformed.

3. Interdisciplinarity and Transdisciplinarity

4. Disciplinary displacements in contemporaneity

4.1. Lexicon (Expanded Art; Relational Art; Post-cinema; Musiking)

4.2. Creators (Duchamp; Jonh Cage; Jan Fabre;)

5. Transdisciplinary articulations in artistic programming.

6. Case study: “disciplinary crossings” and other artistic fields at the DGArtes.

Head Lecturer(s)

Fernando Matos de Oliveira

Assessment Methods

Assessment
Classroom presentation on a previously selected subject to be delivered in written form at the end of the semester: 100.0%

Bibliography

BORRIAUD, N. 2009 Estética Relacional, São Paulo, Ed. Martins Fontes.

CANCLINI, N. G. 2001 Culturas Híbridas: Estrategias para Entrar y Salir de la Modernidad. Barcelona, Ed. Paidós.

CARROL, N 2012 Art in an Expanded Field: Wittgenstein and Aesthetics In: The Nordic Journal of Aesthetics, 23(42)

DENSON, S. & LEYDA, J. (eds) 2016 Post-Cinema: Theorizing 21st-Century Film, Falmer, REFRAME Books.

DROUHET, G. 2004. Transgression. Un traject dans l’ouvre de Jan Fabre, Paris, Éd Cercie d’Art.

FOUCAULT, M. 1997.  A Ordem do Discurso. Lisboa, Relógio D'Água.

MADEIRA, C., 2010. Hibridismo nas Artes Performativas em Portugal, Tese de Dout., ICS-UL

NICOLESCU, B. (1999). O Manifesto da Transdisciplinaridade. São Paulo, Triom.

RANCIÈRE, J. 2014. Estética e Política. A Partilha do Sensível, Lisboa, Orfeu Negro.

SMALL, Chr. 1998. Musiking. The Meanings of Performing and Listening, UP of New England.

TAUSSIG, M.1993. Mimesis and Alterity – A Particular History of the Senses, London: Routledge.