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Presentation
Presentation
The UC aims to extend the more visual expression (of the human body and its in-corporealities) to a personalist understanding of its intervention in the world (its own and others', including the natural and artificial), an intervention that implies action, alteration, change and, sometimes, re-creation (of the body, face, eye and hand as major extensions of human interiority as an interface of Nature and World). This creation, re-creation or creativity through the complete experience of the Self and the Other is understood by phenomenologists (from Husserl in his processes of intersubjectivity to the neo-personalists and neo-structuralists) as an aesthetic, attentive, ascensional and descensional process: it is done through a reception (more or less contemplative, more or less active and performative) of the categories of alterity and identity. The UC aims to expose the Body, Face, Eye and Hand as spaces of intersubjective interiority (contrary to a dimensional or univocal vision)
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Class from course
Class from course
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Degree | Semesters | ECTS
Degree | Semesters | ECTS
Bachelor | Semestral | 5
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Year | Nature | Language
Year | Nature | Language
3 | Optional | Português
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Code
Code
ULHT722-24013
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Prerequisites and corequisites
Prerequisites and corequisites
Not applicable
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Professional Internship
Professional Internship
Não
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Syllabus
Syllabus
1. The phenomenological structure of Interpersonal Communication Body, Face, Eye, Hand in its complexity. Cognitive foundations of sensoriality, rationality and human intentionality: feeling, understanding, wanting (or not). Limits of personal exposure, three-dimensionality: contrasts between emotions and affections, consciousness/unconsciousness, language, body, word, image. The corporal phenomenology as a structure of access to the person 2. The Neuronal Structure Body, Face, Eye, Hand. Mythological matrix in the figure of the hero / anti-hero. Limits of the non-verbal. Religious matrix as voluntarist and transcendentalist cognitive transmission. Fundamentalisms and voids: limits of the verbal. Critical-scientific, relativistic and technological matrix; Horizons of Western Culture and epistemological contrast 3. The phenomenology of personal intimacy in the Body. Readings by Husserl, Merleau-Ponty, Bergson, Lévinas and Bubber 4. The phenomenon of TransHumanism and PostHumanism
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Objectives
Objectives
The objectives of the CU: 1. to identify (aesthetically) the phenomenological presentation of the person as body, face, eye, hand 2. understand (critically) that the phenomenology of the visual corresponds to an empirical phenomenology 3. to deepen, in the human phenomenon based in the body, that empirical experiences are neuronal experiences 4. to expose the intense relationship between the person (artist) and corporeality (including the corporeality of Nature and the World, alternate and alternative interfaces) as a phenomenon that reveals the Self. 5. define corporeality as a phenomenological revelation that the artistic process captures (or unveils) in a particular way. In order to achieve these topics, we invest in a theoretical basis of philosophical materials of the phenomenological school in its main authors (Husserl, Merleau-Ponty, Bergson, Lévinas and Bubber). They all have in common the apology of (aesthetic) intentionality as a free and autonomous process, sometimes epiphanic.
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Teaching methodologies
Teaching methodologies
After 4 theoretical sessions (which cover the syllabus), the students begin the role play methodology, which means that from that moment on (the end of the speculative dimension by the lecturer), each session is taken by a student who has the necessary time to "teach the class". This consists of the following: 1. the choice of an Artist who works on either the Body, Face, Hand, or Eye (or other parts of the human figure) 2. the choice of the piece(s) by this artist that you want to investigate, appreciate and present 3. the (justified) presentation of this work to the class, followed by a critical and in-depth debate about it 4. the ability to dialogue, understand, argue and revise aloud, as a genuine exercise in thinking, with a work of art as the root. This shift in the focus of the lesson towards the 3rd year student proves (previously) initial competences and expectations. Represents an innovation in relation to the usual central or directive role of the teacher.
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References
References
Qualquer uma das obras dos autores directamente visados no programa (a saber: Husserl, Merleau-Ponty, Bergson, Lévinas e Bubber) poderão ser convocadas na linha das temáticas Corpo, Face, Olho e Mão. Contudo, como a avaliação dos alunos depende do modelo role-play (que inclui as suas próprias pesquisas bibliográficas e consequente seleção autónoma de textos de autor), a bibliografia principal da UC é fluida, dinâmica e constrói-se progressivamente.
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Assessment
Assessment
Os alunos são avaliados mediante três instrumentos pedagógicos, críticos e dinâmicos:
1. UMA AULA dada aos colegas e à Docente em sistema de role-play, com qualquer suporte desejável (visual, audiovisual ou outro). Esta aula tem um mínimo e um máximo de tempo, seguindo normas de qualidade pedagógica e científica, e igualmente perseguindo objectivos críticos e artísticos. Caso existam mais horas do que alunos, cada aluno dará então DUAS aulas a toda a comunidade educativa
2. ANÁLISE SWOT (apreciação crítica de todos e cada um dos trabalhos apresentados em aula). Este instrumento manuscrito será construído durante a aula. As Análises SWOT serão tantas quantas as sessões em role-play a que o Aluno assiste. Deste modo, não só aprende novas temáticas como pondera aspectos variados nas apresentações dos seus pares, daí retirando conclusões para a sua própria prestação académica, capacidade crítica, argúcia de raciocínio, cultura visual, etc.
3. DEBATE: no final de cada sessão, os Alunos partilham o espaço participando no diálogo e intervindo na heterovaliação dos seus pares.
Cada uma destas ferramentas de Avaliação Contínua adestram soft e hard skills dos Alunos, fomentando consciência interventiva e criativa.
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Mobility
Mobility
No
