|
Week
|
Topics
|
Study Metarials
|
|
1
|
Introduction: Preliminary Demarcation of a Type of Bourgeois Public Sphere
|
R1 Habermas, J. (1997). The structural transformation of the public sphere: an Inquiry into a category of bourgeois society. The MIT Press, Cambridge, Massachusetts. (p. 1-27)
|
|
2
|
The Public Sphere as the Organization of Collective Experience
|
R2 Negt, O., & Kluge, A. (1993). Public sphere and experience toward an analysis of the bourgeois and proletarian public sphere. University of Minnesota Press, Minneapolis. (p. 1-21)
|
|
3
|
Context as Content
|
R3 O`Doherty, B. (1986). Inside the white cube: the ideology of the gallery space. The Lapis Press, Santa Monica, San Francisco. (p. 65-87)
|
|
4
|
The means of participation
|
R4 Crossley, N. (2004). On systematically distorted communication: bourdieu and the socio-analysis of publics. N. Crossley, & J. M. Roberts, After habermas: new perspectives on the public sphere içinde (s. 88-112). Blackwell Publishing Ltd., Oxford. (p. 102-108)
|
|
5
|
(Post)modern aesthetics
|
R5 Roberts, J. M. (2003). The aesthetics of free speech rethinking the public sphere. Palgrave Macmillan, New York. (p. 58-74)
|
|
6
|
The capitalist aesthetic
|
R5 Roberts, J. M. (2003). The aesthetics of free speech rethinking the public sphere. Palgrave Macmillan, New York. (p. 74-93)
|
|
7
|
Talking power & Communicating technologies
|
R6 McGuigan, J. (1996). Culture and the Public Sphere. London: Routledge. (p. 176-184)
|
|
8
|
Praxis and Techne
|
R6 McGuigan, J. (1996). Culture and the public sphere. Routledge, London. (p. 184-190)
|
|
9
|
Habermas on Art and the Public Sphere
|
R7 Barrett, J. (2011). Museums and the public sphere. Blackwell Publishing, Malaysia. (p. 29-38)
|
|
10
|
The Museum as Public Space
|
R7 Barrett, J. (2011). Museums and the Public Sphere. Malaysia: Blackwell Publishing. (p. 81-117)
|
|
11
|
Art biennales and cities as platforms for global dialogue
|
R8 Papastergiadis, N., & Martin, M. (2011). Art biennales and cities as platforms for global dialogue. L. Giorgi, M. Sassatelli, & G. Delanty, Festivals and the cultural public sphere içinde (s. 45-62). Routledge, Oxford. (p. 45-62)
|
|
12
|
"Degenerate `Art` ": Public Aesthetics and the Simulation of Censorship in Postliberal Los Angeles and Berlin
|
R9 Burt, R. (1994). "Degenerate art` ": public aesthetics and the simulation of censorship in postliberal los angeles and berlin. R. Burt, The administration of aesthetics: censorship, political criticism, and the public sphere içinde (s. 216-259). University of Minnesota Press, Minneapolis. (p. 216-259)
|
|
13
|
A Different Taste: Neither Autonomy nor Mass Consumption
|
R10 Menke, C. (2015). A different taste: neither autonomy nor mass consumption. B. Fischer, & M. Mergenthaler, Cultural transformations of the public sphere: Contemporary and historical perspectives içinde (s. 183-202). Peter Lang, Bern.
|
|
14
|
Biopolitical Reflections: Cognitive, Aesthetic and Reflexive Mappings of Global Economies
|
R10 Shapiro, K. (2015). Biopolitical reflections: cognitive, aesthetic and reflexive mappings of global economies. B. Fischer, & M. Mergenthaler, cultural transformations of the public sphere: contemporary and historical perspectives içinde (s. 203-227). Peter Lang, Bern.
|
|
Prerequisites
|
-
|
|
Language of Instruction
|
English
|
|
Responsible
|
Asst. Prof. .Kerem Güman
|
|
Instructors
|
1-)Doçent Bahar Başak Üstel Arı
|
|
Assistants
|
-
|
|
Resources
|
R1 Habermas, J. (1997). The structural transformation of the public sphere: an Inquiry into a category of bourgeois society. The MIT Press, Cambridge, Massachusetts.
R2 Negt, O., & Kluge, A. (1993). Public sphere and experience toward an analysis of the bourgeois and proletarian public sphere. University of Minnesota Press, Minneapolis.
R3 O`Doherty, B. (1986). Inside the white cube: the ideology of the gallery space. The Lapis Press, Santa Monica, San Francisco.
R4 Crossley, N. (2004). On systematically distorted communication: bourdieu and the socio-analysis of publics. N. Crossley, & J. M. Roberts, After habermas: new perspectives on the public sphere içinde (s. 88-112). Blackwell Publishing Ltd., Oxford.
R5 Roberts, J. M. (2003). The aesthetics of free speech rethinking the public sphere. Palgrave Macmillan, New York.
R5 Roberts, J. M. (2003). The aesthetics of free speech rethinking the public sphere. Palgrave Macmillan, New York.
R6 McGuigan, J. (1996). Culture and the public sphere. Routledge, London.
R7 Barrett, J. (2011). Museums and the public sphere. Blackwell Publishing, Malaysia. (s. 29-38)
R8 Papastergiadis, N., & Martin, M. (2011). Art biennales and cities as platforms for global dialogue. L. Giorgi, M. Sassatelli, & G. Delanty, Festivals and the cultural public sphere içinde (s. 45-62). Routledge, Oxford.
R9 Burt, R. (1994). "Degenerate art` ": public aesthetics and the simulation of censorship in postliberal los angeles and berlin. R. Burt, The administration of aesthetics: censorship, political criticism, and the public sphere içinde (s. 216-259). University of Minnesota Press, Minneapolis.
R10 Menke, C. (2015). A different taste: neither autonomy nor mass consumption. B. Fischer, & M. Mergenthaler, Cultural transformations of the public sphere: Contemporary and historical perspectives içinde (s. 183-202). Peter Lang, Bern.
R10 Shapiro, K. (2015). Biopolitical reflections: cognitive, aesthetic and reflexive mappings of global economies. B. Fischer, & M. Mergenthaler, cultural transformations of the public sphere: contemporary and historical perspectives içinde (s. 203-227). Peter Lang, Bern.
|
|
Supplementary Book
|
-
|
|
Goals
|
Creates art in contemporary means within a public sphere.
|
|
Content
|
Creates art within a collective through the experiences in theory and the public spheres.
|
|
Program Learning Outcomes |
Level of Contribution |
|
1
|
Explains the relationship between theories, methods, concepts and concepts related to art and design.
|
5
|
|
2
|
Solves the problems encountered in art and design production process and offers new suggestions.
|
3
|
|
3
|
Acknowledges contemporary art understanding.
|
4
|
|
4
|
Participates in team work composed of different disciplines and utilizes gained knowledge.
|
-
|
|
5
|
Evaluates artistic works at national and international level.
|
5
|
|
6
|
Follows the developments in his/her discipline, gains the ability to be open to innovation and development.
|
5
|
|
7
|
Interprets artworks critically.
|
-
|
|
8
|
Explains visual and written sources, professional terminology and concepts in the discipline of specialization.
|
-
|
|
9
|
Presents the information he/she obtained in the discipline of expertise.
|
3
|
|
10
|
Plans and manages applied studies.
|
5
|
|
11
|
Applies the theories of art and design.
|
-
|