Class Arts and Technologie

Art and technology are terms that originally came together. The division of the terms is a recent phenomenon and aims to account for the distinction between two ways in which man makes and produces things. While art is intended to be a form whose ends are internal to its means, technology refers to a form of making whose ends are outside the means. We will ask about the nature of art and then what technology is and how it works. By taking a historical and theoretical route, where these themes are addressed, we are at the same time showing how technology and art can be interconnected, thus emphasizing the outcomes and syllabus of the course. This course deals with sonic thinking, aesthetics and the future of artistic practice in the context of human-machine collaboration. By immersing themselves in influential texts and ideas, participants will gain an in-depth understanding of the evolving dynamic between art and technology.

Not applicable

1.             Art as Technology: Historical Perspectives and Contemporary Debates 2.             Sonic Thinking: From Psychoacoustics to AI in Sound Design 3.             Diagramatic Thinking, Aesthetic Judgment in the Digital Age 4.             Participation, Performativity, Art, language and Technics 5.             Attention Aesthetics, Avantgarde and Contemporary Art 6.             Art as research & Epistemology of Aesthetics  7.             Noise and Resonance 8.             Media Archaeology and Sound Figures 9.             Synthetic Sound: History, Technology, and Aesthetics 10.           Embodied and Disembodied listening in Film 11.           Towards Posthuman Sound?  12.           The Changing Face of Art: AI, Avatars, and Digital Identities 13.           Improvisation and the Digital: New Forms of Artistic Expression 14.           The Future of Artistic Practice in the age of AI: Human-Machine Creativity 15.           The Future of Artistic Practice in the age of AI II

oral expositional class; hermeneutics and textual heuristics;  mapping of conceptual developments and media archeologies; open debate and public discussion; visual and sonic support material, one site exhibition or performance installation visit.

Belting, H. (2022).Face and Mask. PUP. Benjamin, W.(1992).Sobre arte, técnica, linguagem e política. R d´Água  Blumenberg, H.(2000).“Imitation of Nature” Qui Parle, 12(1), 17–54. https://doi.org/10.1215/quiparle.12.1.17  Bishop, C.(2024).Disordered Attention. Verso. Cox, C.(2019) Sonic Flux. UCP Gerner, A.(2017).Probing Cognitive Enhancements of Social “Resonance”.  Kairos 19(1), 93–133.  Groys, B.(2022).Becoming an Artwork.Polity Kant, I.(1993)[1790/93].Critica da Faculdade do Juízo. FU Levin, T. Y.(2003).Tones from out of Nowhere: Rudolph Pfenninger and the Archaeology of Synthetic Sound McCormack, J., et al.(2023)"Is Writing Prompts Really Making Art?" Mersch, D.(2015).Epistemology of Aesthetics Mersch et al (eds).(2023) Actor & Avatar.Transcript Nietzsche, F.(2023).O Nascimento da Tragédia. Edições 70 Sloterdijk, P.(2024). O Arrependimento de Prometheu.R d´Água Platão (2000). Fedro. [Dialogo sobre a retórica].Lisboa: Guimarães Editores Zeilinger, M. (2021).Tactical entanglements