dissensus - opa-a2a. · pdf file. dissensus. architecture . film . politics. ... gadamer,...

Esco la Tècn ica Super io r d ’Arqu i tec tura de l Va l lès

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www.etsav.edu/ass igna tures/d issensus depar tament d ’express ió grà f ica arqu i tec tòn ica

. dissensus

. architecture . film . politics


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. dissensus tries to explore the contemporary condition and spatial reality on which architects operate broadening the view and fostering critical reflection about aspects of society that are paramount but nonetheless too often taken for granted… sociologists, anthropologists, philosophers, artists, film-makers, thinkers… have understood many of these crucial aspects of our cities and our lifes in a way that seems at least interesting to analyze if not absolutely essential for an architect.

The verification of a great loss of social, critical, political and even utopian impetus in the contemporary debate and production of architecture is the underlying and motivating concern of the course. Upon generalized, common acceptance of action and production mechanisms that follow those of capitalism and the market, one must search for alternative ways to advance towards a political dimension of architecture.

On the basis of already successful explorations of such alternative ways, conducted in the fields of visual arts and cinema, the course tries to offer a double insight and includes a series of film projections as an alternative look at the city and at the issues, theories and reflections explored in the classes. The aim is to foster debate and reflection, opening windows to the appropriation of subversive mechanisms that may be applicable in a trans-disciplinary way.

From such a reflective, somehow uncomfortable position, students should “react”, formulating their own assignments (exercises) in the form of a critical analysis, comparing, deepening, relating or de-constructing one or more of the themes explored in the course.


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The course is structured on the basis of a series of lectures that try to explore the list of themes proposed. Each of these lectures offers a first aproach/insight of one of the themes, which is generally followed, after a break, by a second, shorter and more specific lecture, that offers a sort of counterpoint, in order to complement, redefine or even question the initial aproach/view. Throughout the course, several guests will offer some of these counterpoints by means of their own research, experience and work.

After such a theoretical excursion, a number of films will be screened in the afternoon session. The films will be related to some of the issues addressed during the first part of the day. The selected works are either dealing with really interesting themes or doing it through equally interesting mechanisms (expressive or narrative machines).

The day can then finish with a debate/conversation that works as a platform to connect themes, reflections, contradictions, oppositions, gazes and sensibilities explored during the class or extracted from the previous classes/films. In order to achieve such a debate, daily comments after the class and film will be required for each participant, so that the comments can be used to foster debate the following day/session.


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REQUIRED PROCEDURES, ASSIGNMENTS AND DUE WORK

1. REGISTER IN THE COURSE BLOGEach student must connect to www.etsav.upc.edu/assignatures/dissensus and register by clicking ‘log in’ then ‘register’, and using “name.surname” as username plus providing a valid email address to which the password will be sent. (Be sure to do this properly since your username will be the only way to identify your required comments). You can use this address to access directly to the registration process: http://www.opa-a2a.org/dissensus/wp-login.php?action=register

2. WEBLOG COMMENTSEach student must send at least one comment per day to the posts that will be published as the course progresses. Main posts will be entitled ‘DAY # DAYTHEME ‘. The comment must be sent before midnight. At the end there must be at least 5 comments per student (one per session) although additional commenting and discussion are encouraged.

3. 300-WORD ABSTRACTEach student must produce a short (maximum 300 words) text that presents the idea for a longer essay/paper that will have to reflect on the interplays of the notions of “the other/coexistence” to rethink the role of architecture in the production of spaces for being and for living together, and in relationship to some of the issues addressed in the course. This abstract must be sent via email to [email protected] before Saturday 16th of June 2012 at 20:00h.

4. GROUPSThe participants will be then organized in 6 groups based on the content of the abstracts and every one in each group will be given tasks related to developing their own texts or preparing short presentations of the readings we will share.

5. INDIVIDUAL PAPERSA number of you will be asked to produce a serious critical reflection in the form of a short paper (3000-4000 words) that will develop the issues outlined in the abstract. Finished papers must be sent via email to [email protected] before midnight on Thursday 21st of June 2012.

6 . GROUP RESEARCH-THROUGH-READINGSome of you will continue to work in group to explore the relationships of the readings with the overall theme of the course (the other/coexistence) in ways different than a written text.

5. FINAL PRESENTATIONEach student writing an individual paper and each group working on collective research will prepare a very short, intense and critical presentation/synthesis of the paper/research performed, in the form of a PECHA_KUCHA (X)x(Y)=360sec*. Presentations must be 360 seconds long maximum and consist of a file that can be played full-screen. This presentations should be brought to the class in a USB drive. All presentations will take place the last day of the course on the 22nd of June 2012.

PECHA_KUCHA 360: (X slides)x(Y seconds)=360 seconds total


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WEEK 1 - DISSENSUS 7 - LECTURES / GUEST LECTURES / FILMS / DISCUSSIONS

10:00H INTRO 12:00h - 14:00 Introduction To Dissensus. Objectual Imagery, Pragmatic Dissent (Alberto Altés)14:00h - 16:00 LUNCH BREAK

16:00h - 20:00h FILM SCREENINGS + DISCUSSION F01 // Waking Life. USA, 2001, 99’ V.O. English. S. Eng. (Richard Linklater) F02 // The Dubai in Me. Germany, 2010, 78’ V.O. English. (Christian von Borries)

10:00h - 12:00h The Other, Coexistence, The Public Domain (Alberto Altés) 12:00h - 14:00 The Supplanted City (Elvira Pujol and Joan Vila-Puig, Sitesize)14:00h - 16:00 LUNCH BREAK

16:00h - 20:00h FILM SCREENINGS + DISCUSSION F_03 // Hundstage. Austria, 2001, 121’ V. O. German. S. Eng. (Ulrich Seidl) F_04 // Funny Games. Austria, 1997, 103’ V.O. German, S. Eng. (Michael Haneke)

10:00h - 12:00h Disjuncture, Difference, Exclussion (Alberto Altés) 12:00h - 14:00 Fes, Ciudad Interior (Toni Serra)14:00h - 16:00 LUNCH BREAK

16:00h - 20:00h FILM SCREENINGS + DISCUSSION F_05 // La Haine. France, 1995, 98’ V. O. French. S. Eng. (Mathieu Kassovitz) F_06 // Ekumenopolis. Istanbul, 2011, 88’ V.O. English. S. Eng. (Imre Azem)

10:00h - 12:00h Exiles and Territories, Walls, Borders, Frontiers (Alberto Altés) 12:00h - 14:00 Local Cosmopolitism and Urbanalisation (Francesc Muñoz, UAB)14:00h - 16:00 LUNCH BREAK

16:00h - 20:00h FILM SCREENINGS + DISCUSSION F_07 // Performing the Border, Germany, 59’ V.O. English, (Ursula Biemann) F_08 // Demolition. USA, 2010, 62’ V.O. Chinese. S. Eng. (J.P. Sniadecki) F_09 // Lagos Wide&Close. NED, 2005, 60’. V.O. English (Bregtje van der Haak)

10:00h - 12:00h Critical Spatial Practice - Immediate Architectural Intervention (Alberto Altés) 12:00h - 14:00 ??14:00h - 16:00 LUNCH BREAK

16:00h - 20:00h FILM SCREENINGS + DISCUSSION F_10 // Get Out of the Car. USA, 2010, 34’ V. O. Eng. (Thom Andersen) F_11 // In Order Not to Be Here, USA, 2005, 40’, V.O, English (Deborah Stratman) F_12 // Pervert’s Guide to Cinema, UK, 2006, 150’ V.O. Eng, S. Eng. (Sophie Fiennes)

DAY 01MONDAY2012/06/11

DAY 02TUESDAY2012/06/12

DAY 03WEDNESDAY2012/06/13

DAY 04THURSDAY2012/06/14

DAY 05FRIDAY2012/06/15


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10:00h - 11:00 CRITICAL WRITING TUTORIAL 1 - GROUP A11:00h - 12:00 READINGS 1 - GROUP A12:00h - 13:00 CRITICAL WRITING TUTORIAL 1 - GROUP B13:00h - 14:00 READINGS 2 - GROUP B

16:00h - 17:00 CRITICAL WRITING TUTORIAL 1 - GROUP C17:00h - 18:00 READINGS 3 - GROUP C18:00h - 19:00 CRITICAL WRITING TUTORIAL 1 - GROUP D19:00h - 20:00 READINGS 4 - GROUP E

10:00h - 11:00 CRITICAL WRITING TUTORIAL 1 - GROUP E11:00h - 12:00 READINGS 5 - GROUP E12:00h - 13:00 CRITICAL WRITING TUTORIAL 1 - GROUP F13:00h - 14:00 READINGS 6 - GROUP F

16:00h - 17:00 CRITICAL WRITING TUTORIAL 2 - GROUP A17:00h - 18:00 GROUP RESEARCH TUTORIAL - GROUP A18:00h - 19:00 CRITICAL WRITING TUTORIAL 2 - GROUP B19:00h - 20:00 GROUP RESEARCH TUTORIAL - GROUP B

10:00h - 11:00 CRITICAL WRITING TUTORIAL 2 - GROUP C11:00h - 12:00 GROUP RESEARCH TUTORIAL - GROUP C12:00h - 13:00 CRITICAL WRITING TUTORIAL 2 - GROUP D13:00h - 14:00 GROUP RESEARCH TUTORIAL - GROUP D

16:00h - 17:00 CRITICAL WRITING TUTORIAL 2 - GROUP E17:00h - 18:00 GROUP RESEARCH TUTORIAL - GROUP E18:00h - 19:00 CRITICAL WRITING TUTORIAL 2 - GROUP F19:00h - 20:00 GROUP RESEARCH TUTORIAL - GROUP F

INDIVIDUAL AND GROUP WORK ON FINAL PAPERS AND PRESENTATIONS23:59 3000-4000-WORD PAPER DUE BEFORE MIDNIGHT

10:00 - 14:00 FINAL PRESENTATIONS AND DISCUSSIONS

20:00h 300-WORD ABSTRACT DUE * Please submit your text before 20:00 h

DAY 08MONDAY2012/06/18

DAY 09TUESDAY2012/06/19

DAY 10WEDNESDAY2012/06/20

DAY 11THURSDAY2012/06/21

DAY 12FRIDAY2012/06/22

DAY 06SATURDAY2012/06/16

WEEK 2 - DISSENSUS 7 - CRITICAL WRITING SEMINAR


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MAIN BIBLIOGRAPHY AND REFERENCES

Agamben, Giorgio (2005), State of exception, (Chicago: University of Chicago Press).Barber, Stephen (2002), Projected cities, (London: Reaktion).Bauman, Zygmunt (2000), Liquid modernity, (Cambridge Malden, MA: Polity Press Blackwell).Bazin, André (2005), What is cinema, (Berkeley: University of California Press).Benjamin, Walter, et al. (2008), The work of art in the age of its technological reproducibility : and other writings on media, (Cambridge, Mass. ; London:Belknap Press of Harvard University Press).Bhabha, Homi K (2004), The location of culture, (London ; New York: Routledge).Bruno, Giuliana (2002), Atlas of emotion : journeys in art, architecture, and film, (New York ; London: Verso).Clarke, David B (1997), The cinematic city, (London ; New York: Routledge).Debord, Guy (1995), The society of the spectacle, (1st paperback ed edn., New York: Zone Books).Deleuze, Gilles and Félix Guattari——— (1983), Anti-Oedipus : capitalism and schizophrenia, (Minneapolis: University of Minnesota Press).——— (1987), A thousand plateaus : capitalism and schizophrenia, (Minneapolis: University of Minnesota Press).Delgado, Manuel (1999), El Animal Publico: Hacia Una Antropologia de Los Espacios Urbanos (Spanish Edition), (Editorial Anagrama).Denzin, Norman K (1995), The cinematic society : the voyeur’s gaze, (London ; Thousand Oaks, Calif: Sage Publications).Easterling, Keller (2005), Enduring innocence : global architecture and its political masquerades, (Cambridge, Mass: MIT Press).Gadamer, Hans-Georg (2006), Estetica y Hermeneutica/ Aesthetics and Hermeneutics (Spanish Edition), (Tecnos Editorial S a).Gorostiza, López, Jorge (2007), La profundidad de la pantalla : arquitectura + cine, (Santa Cruz de Tenerife,Colegio Oficial de Arquitectos deCanarias).Harvey, David (1990), The condition of postmodernity : an enquiry into the origins of cultural change, (Cambridge, Mass: Blackwell).Jameson, Fredric (1977), Aesthetics and politics : Ernst Bloch, Georg Luka?cs, Bertolt Brecht, Walter Benjamin, Theodor Adorno, (London: NLB).Koolhaas, Rem, et al. (1998), Small, medium, large, extra-large : OMA, Rem Koolhaas, and Bruce Mau, (2d ed edn., New York, N.Y: Monacelli Press).Kracauer, Siegfried (1997), Theory of film : the redemption of physical reality, (Princeton,N.J. ; Chichester: Princeton University Press).Latour, Bruno——— (1993), We have never been modern, (Cambridge, Mass: Harvard University Press).——— (2005), Making things public : atmospheres of democracy, (Cambridge, Mass: MIT Press ZKM/Center for Art and Media in Karlsruhe).——— (2005), Reassembling the social : an introduction to actor-network-theory, (Oxford ; New York: Oxford University Press).Lefebvre, Henri——— (1991), The production of space, (Oxford, OX, UK ; Cambridge, Mass., USA: Blackwell).——— (2006), La presencia y la ausencia : contribución a la teoría de las representaciones, (México: Fondo de Cultura Económica).Massumi, Brian (2002), Parables for the virtual : movement, affect, sensation, (Post-contemporary interventions; London: Duke University Press).Mennel, Barbara Caroline (2008), Cities and cinema, (London ; New York: Routledge).Merleau-Ponty, Maurice (2002), Phenomenology of perception, (Routledge classics; London: Routledge).Pallasmaa, Juhani——— (2001), The architecture of image : existential space in cinema, (Helsinki: Rakennustieto).——— (2005), The eyes of the skin : architecture and the senses, (Chichester: Wiley-Academy).Rancière, Jacques——— (2006), The politics of aesthetics : the distribution of the sensible, (Pbk. ed edn., London ; New York: Continuum).——— (2007), The future of the image, (English ed edn., London ; New York: Verso).——— (2009), The emancipated spectator, (London: Verso).Segal, Rafi, Eyal Weizman (2003), A civilian occupation : the politics of Israeli architecture, (Tel Aviv, Israel New York: Babel VERSO).Sennett, Richard (1992), The fall of public man, (New York: W.W. Norton).Shiel, Mark and Tony Fitzmaurice (2001), Cinema and the city : film and urban societies in a global context, (Oxford, Blackwell Publishers).Soja, Edward W (2000), Postmetropolis : critical studies of cities and regions, (Malden, MA: Blackwell Publishers).Vidler, Anthony (2008), Architecture between spectacle and use, (Sterling and Francine Clark Art Institute Distributed by Yale University Press).Vogel, Amos and Scott MacDonald (2005), Film as a subversive art, (London [New York]: CT Editions D.A.P./Distributed Art Publishers).Wenders, Wim (1992), The act of seeing : Texte und Gespräche, (Frankfurt am Main: Verlag der Autoren).Wigley, Mark (1998), Constant’s New Babylon : the hyper-architecture of desire, (Rotterdam: Witte de With: 010 Publishers).Zizek, Slavoj——— (2006), The parallax view, (Cambridge, Mass: MIT Press).——— (2009), En defensa de la Intolerancia, (Madrid: Sequitur).Zunzunegui, Díez, Santos (1998), Pensar la imagen, (Signo e imagen ; 15; Madrid: Cátedra : Universidad del País Vasco).


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Coordination: Alberto Altés, Associate Lecturer, phd candidate, UPC

Guest Faculty: Elvira Pujol - Joan Vila-Puig (Sitesize)Toni Serra (OVNI, Barcelona)Francesc Muñoz (Geographer, UAB)Aida Sánchez de Serdio (Artist, UB)Javier Rodrigo Montero (Art Educator and Researcher)

5.0 ETSAV CREDITS // 4.0 ECTS Course Code: 47062


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“At bottom, the intellectual, in my sense of the word, is neither a pacifier nor a consensus-builder, but someone whose whole being is staged on a critical sense, a sense of being unwilling to accept easy formulas, or ready-made clichés, or the smooth, ever-so-accommodating confirmations of what the powerful or conventional have to say, and what they do. ”

Edward Said, Representations of the Intellectual, page 23

dissensus - opa-a2a. · pdf file. dissensus. architecture . film . politics. ... gadamer,...

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