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Presentation
Presentation
The art-technology relation is far from being a one-way street, but a dynamic, resonant process that transcends simple causality or determinism. How does technology shape our understanding of art and the experience and production of sound? Are the arts, in the time of digital platforms, now a mere technological playground? Does the dream of the creative machine show a techno-determinism? Or is art the field that gives us back the meaning of life and belief in the world, offering us a basis for reflection on technology? If art wants to be a praxis whose ends are interior to its means, technology could refer to a doing/producing/artifact, operationalized to drive prosthetic solutions, re-mediated, augmented, accelerated and as a technical shortcut. This lasting relation between technology and art underlines the deep entanglement with its means, media and tools. Our aim is to illuminate coincidences, divergences, and historical-philosophical resonances of the art-technology relationship.
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Class from course
Class from course
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Degree | Semesters | ECTS
Degree | Semesters | ECTS
Master Degree | Semestral | 8
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Year | Nature | Language
Year | Nature | Language
2 | Mandatory | Português
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Code
Code
ULHT2722-17420
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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
Art as Technology: Historical Perspectives and Contemporary Debates Sonic Thinking: From Psychoacoustics to AI in Sound Design Aesthetic Judgment in the Digital Age Performativity, Art, Language and Technics Digital Attention Aesthetics and Contemporary Art Noise and Resonance Epistemology of Aesthetics Media Archaeology and Sound Figures Synthetic Sound: History, Technology, and Aesthetics Embodied and Disembodied Listening: Film and Deep Listening Towards Posthuman Sound? New Auditory Frontiers The Changing Face of Art in the Age of AI: Avatars, Identities, and Human-Machine Creativity
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Objectives
Objectives
To develop an understanding of the interplay between art and technology. To critically analyze the historical, cultural, and philosophical dimensions of listening practices and sound technologies. To recognize and problematize aesthetic judgement. To distinguish different positions concerning art and the epistemology of aesthetics in the 20th/21st century. To identify the influence of technology on artistic production. To become aware of the complex relation of materiality, event, performativity, hacking and improvisation in contemporary arts and technology. To understand the intersection of embodied art, anthropotechnics and anthropology of sound, as well as posthuman approaches. To gain insights on the question whether creative machines exist, and on human-machine co-creativity. To distinguish acoustic, epistemological and cultural concepts of noise and resonance. To debate positions and controversies of the digital, computational art, and attentional aesthetics in the era of AI.
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Teaching methodologies
Teaching methodologies
With results and competencies oriented by theory, this theoretical course employs lectures (aulas magistrais) as its methodology, in keeping with the socio-constructivist matrix of the SAMSARA approach. The mapping and problematization of the development of the relationship between art and technology, of its concepts and controversies, of sound technologies between noise, performativity, and resonance, and of their impact on artistic practices are the main elements to be used. The verification and control of competency acquisition are carried out through open discussion of chosen arguments and concepts and through the refinement of thoughts by speaking in the presence of the other. Assessment is both qualitative and quantitative. The qualitative component is the student's active presence in class and their participation. The reading report and the writing of a scientific article of 3,000-5,000 words constitute the quantitative element of assessment.
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References
References
Blumenberg, H. (2020). "Imitation of Nature: Toward a Prehistory of the Idea of the Creative Being" [1957]. In History, Metaphors, Fables: A Hans Blumenberg Reader. Cornell. Bishop, C. (2024). Disordered Attention: How We Look at Art and Performance Today. Verso. Cox, C. (2018). Sonic Flux: Sound, Art and Metaphysics. UCP. Groys, B. (2022). Becoming an Artwork. Polity. Kant, I. (1993 [1790/1793]). Crítica da Faculdade de Juízo. Imprensa Nacional-Casa da Moeda. Nietzsche, F. (2024). O Nascimento da Tragédia. Edições 70. McCormack, J., et al. (2023). "Is Writing Prompts Really Making Art?". In Artificial Intelligence in Music, Sound, Art and Design. Mersch, D. (2015). Epistemology of Aesthetics. Diaphanes. Sloterdijk, P. (2023). O Arrependimento de Prometeu. Da dádiva do fogo à destruição mundial pelo fogo. Trad. Ana Falcão Bastos. Relógio d´Água. Zeilinger, M. (2021). Tactical Entanglements: AI Art, Creative Agency, and the Limits of Intellectual Property. Meson Press.
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Assessment
Assessment
Descrição / Description
Data limite / Deadline
Ponderação / Weight
Apresentação oral e/ou participação ativa / Oral presentation &/or active participation
Ao longo do semestre / Throughout the semester
20%
Ficha das leituras de 3 aulas anteriores
Reading sheets from 3 previous classes
Em aula / In class
20%
Ensaio final (artigo científico, 3000-5000 palavras) com recursos e fontes cientificamente documentadas / Final essay (scientific article, 3000-5000 words) with scientifically documented sources
Fim do semestre / End of semester
60%
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Mobility
Mobility
No
