亞際社會的邊緣:影像力量的方法論
Margins of the Inter-Asian Societies: Methodology of the Power of Image
| 節 | 週一 |
|---|---|
3 10:10–11:00 | 亞際社會的邊緣:影像力量的方法論 F106A 3 節連堂 |
4 11:10–12:00 | |
N 12:20–13:10 |
* 根據陽明交大上課時間表所列
「亞際社會的邊緣」是指每一個亞洲社會中被邊緣化的人群。我們要將這些邊緣化的狀態放置於地緣政治以及全球經濟全球脈絡下進行理解。我將會開設一系列的課程,探討亞際社會邊緣的議題。 在長期觀察亞際社會的當代狀況中,我們注意到排除性的邊界政治,造成了體制性的社會不平等與各地不同形式的邊緣群體,包括不平等公民、少數族群、原住民、性少數、外籍移工、難民等。這些邊緣化的社會群體,是在漫長的歷史過程以及當前資本全球化以及新自由主義市場競爭之下,所逐漸構成。 本學期將以「影像力量的方法論」作為切入點。 我們將以三個單元進行:(1)視覺理論;(2)影像文本分析;(3)實作與分享。 視覺理論的單元,我們將納入檔案性、可見性、劃分線及感性效果等思考角度,協助同學思考視覺性與治理技術的問題,並進一步探討情感的邊界政治、認識論殖民結構、論述操作、感性殖民、物流部署、創傷記憶以及觀點轉移等議題。 影像文本分析的單元,我們將針對不同文本中複雜的影像進行分析,思考影像如何揭露社會內部系統性的排除心態,其從歷史到當代的構成因素,並分析文本背後的物質性體制脈絡。我們將挑選藝術、展覽、電影、紀錄片等作品,討論作品中影像的力量。 實作與分享的單元,我們將根據同學的研究領域,一起討論特定影像的特殊性與分析方法。我們也將安排影像製作的工作坊,進行實驗性的製作,並舉辦錄像論文(Video Essay)工作坊。 有興趣的同學可以透過文字論述分析、影像論文、展覽論文、紀錄片等不同形式,進行藝術介入以及影像行動的研究計畫。透過檔案收集、論述分析、地圖製作、資料視覺化,各位的研究計畫將會有較多層次的展開。 我歡迎有興趣參與課程計畫的同學和我聯繫,提出建議與提案,一起在這門課中探索,並且完成這個思考過程。請在開學前讓我知道你們的預定研究計畫,以便我設計在課程進度中。 "The Margins of Inter-Asian Society" refers to marginalized groups within each Asian society. We aim to understand these marginalized states within the geopolitical and global economic contexts. In our long-term observation of the contemporary conditions of inter-Asian society, we have noticed exclusionary boundary politics leading to systemic social inequalities and various marginalized groups across different regions. These include unequal citizens, ethnic minorities, indigenous peoples, sexual minorities, foreign migrant workers, refugees, and others. These marginalized social groups are formed through long historical processes and are constituted by contemporary neoliberal market competition of global capitalism. I will offer a series of courses exploring the issues of marginalization in inter-Asian society. This semester (Spring 2024), we will approach this topic through the methodology of "the power of images." We will proceed with three units: (1) Visual Theory, (2) Analysis of Visual Texts, and (3) Practice and Sharing. In the unit on Visual Theory, we will incorporate perspectives such as archivalism, visibility, boundaries, and affective effects to help students think about the issues of visuality and governance techniques. We will explore affective boundary politics, epistemological colonial structures, discursive formation and operation, affective colonialism, logistics and dispositif, trauma memory, and perspective shifting. In the Analysis of Visual Texts unit, we will analyze complex images in different texts, considering how images reveal systemic exclusionary attitudes within society, their historical and contemporary factors, and the material institutional contexts behind the texts. We will select artworks, exhibitions, films, documentaries, etc., and discuss the power of images within them. In the unit on Practice and Sharing, we will discuss the specificity and analytical methods of particular images based on students' research areas. We will also organize workshops on image production for experimental purposes and conduct workshops on video essays. Interested students can conduct research projects on art intervention and visual analysis through various forms such as textual and discourse analysis, visual essays, exhibition papers, documentaries, etc. By collecting archives, conducting discourse analysis, creating maps, and visualizing data, your research projects will have a more multi-dimensional development. I welcome interested students to contact me with suggestions and proposals to explore and complete this thought process together in this course. Please let me know your planned research projects before the start of the semester so that I can design them into the course schedule.
亞際社會的邊緣:影像力量的方法論 Margins of the Inter-Asian Societies: Methodology of the Power of Image (Mon.) 10:10-13:10 NYCU光復校區人社2館106A Course syllabus: https://timetable.nycu.edu.tw/?r=main/crsoutline&Acy=112&Sem=2&CrsNo=534600&lang=zh-tw Zoom Link: https://us02web.zoom.us/j/83682325539?pwd=MXVVTzA2RDdVQWlCdUpzYy9aY2RFZz09 ID: iccszoom@gmail.com pw: iccszoom31611
A. Students are expected to (1) complete at least two required readings before class, (2) participate in the discussion, (3) take turns to lead and facilitate discussion in the class, and (4) submit three two-page journals (1000-1500 words), in principle every 3-4 weeks, on the readings or lectures that concern or interest them, preferably on the same track of your project. (4)Midterm exercise: 3-5 minute video essay based on the topic developed for your term project, and (5) a final term paper. Extend the midterm video essay to 8-10 minutes (with a 10-page paper), or write a 20-25 page research paper. 這學期作業要繳交(1)上課前完成指定閱讀1-2篇;(2)參與課堂討論;(3)輪流負責課堂引言,提供相關影像資料,以供課堂討論;(4)3篇閱讀札記。原則上,每隔3-4週,繳交一篇閱讀札記(1000-1500 字),根據課堂閱讀、演講及相關議題,自己設定感興趣的題目;最好可以延續一個計畫的方向。(4)期中作業:根據這學期期末報告計畫的主題,練習3-5分鐘的video essay, 或是影像論文簡報,(5)期末報告. 8-10分鐘的video essay with 10-page paper, 或是20-25 頁的期末報告。 B. Step-by-step exercises of video essay: (1) build up a topic for your project, (2) establish your argument (thesis statement), (3) put your ideas in conversation with theoretical concepts, (4) collect/analyze data/evidence, (5) consider effective arrangement and communication strategies. C. The final paper should be a research paper (20-25 pages) or an 8-10 minute video essay on a chosen topic related to their research projects. The final term paper can be a continuation or an extension of the reading journal. Therefore, students are strongly encouraged to start to conceive the topic of their final project from the beginning of this course. I also strongly encourage students to try video essays or photo essays. Titles and thesis statements should be submitted by the 10th week after individual conferences with the instructor. We will arrange oral presentations in the form of a colloquium in the 16th~18th weeks, and the final revised paper will be due two weeks after the oral presentation. You can submit the results of your term projects to the CJD platform. 期末報告可以選擇一個與各自研究計畫相關的題目。期末報告可以是閱讀札記的延伸;換句話說,大家撰寫閱讀札記時,討論的概念,引用的文字,都可以作為期末報告的基礎。我鼓勵同學們學期初就開始思考期末報告的方向以及題目,並且嘗試同時以影像完成論文(靜態或是動態)。我將開放時間,讓同學們和我討論期末報告的方向,以便本學期第十週可以繳交期末報告核心論點以及大綱。第12-16週,我們將安排論壇,讓同學們報告作品。完整修改過後的論文作品應在一月底前繳交。成果可以投稿到ICCS的CJD線上出版。 Three Response Journals: 30% Participation/Discussion: 30% Final Project: 40% 2.教學方法及教學相關配合事項(如助教、網站或圖書及資料庫等)
| 週次 | 主題 |
|---|---|
| 第 1 週 | Introduction: What is Image? How do we discuss the visuality, sound, tactile, smell, spatiality, and kinetic dimensions of the image? Where is the power of image? What is a video essay? What is critical curation? 導論:什麼是影像?如何討論影像的視覺、聽覺、觸覺、嗅覺、空間感、時間感?影像的力量在何處?什麼是錄像論文?什麼是批判性策展? Video Essay: Supercut -- - SUPERCUT: Directors Love Mirrors. https://vimeo.com/219582987 - Supermoon (Supercut) https://vimeo.com/437047104 Text + Image -- - TOUCHING THE FILM OBJECT? http://vimeo.com/28201216 voice‐over -- - Edgar Wright - How to Do Visual Comedy https://vimeo.com/96558506) Examples of good video essays MeCCSA-- https://vimeo.com/showcase/3198467 - What is Neorealism? - Mad Men: Set Me Free - Vertical Framing Video Essay Articles about the video essay - Frames Cinema Journal http://framescinemajournal.com/article/video-%C2%AD%E2%80%90essays-%C2%AD%E2%80%90in-%C2%AD%E2%80%90the-%C2%AD%E2%80%90cinema-%C2%AD%E2%80%90history-%C2%AD%E2%80%90classroom/ - The strange case of film criticism and video essay https://festivalists.com/post/110533801961/videoessay - Media Commons-[IN]Transition: https://mediacommons.org - The Audiovisual Essay https://reframe.sussex.ac.uk/audiovisualessay/ |
| 第 2 週 | Unit I 視覺理論:視覺性與治理技術 Visual Theory: the regime of the visible and the technology of governmentality Topic: Archives檔案性 1. Museum: the taming and social function of museum and its historical narrative博物館的馴化與社會化功能及其歷史敘述 2. The world picture and the Subject 世界圖像與主體 3. The Gaze and the Objet Petit a凝視觀點與欲望對象 Readings: 1. Lacan, Jacques. “Of the Gaze as Objet Petit a,” Seminar XI: The Four Fundamental Concepts of Psycho-Analysis. Trans. By Alan Sheridan, New York, London: W.W. Norton & company, 1978. 70-75, 82-89; 97, 99, 100-10; 105-106, 108, 110-116 2. Heidegger, Martin. “Age of the World Picture,” The Question Concerning Technology and Other Essays. 115-154. |
| 第 3 週 | Topic: Regime and Logistics of the Visible and the Grid可見性機制的格線與部署技術 1. The grid and the marks of the visibility可見性的格線與標記 2. Techniques of governmentality and the logistics of the dispositive 治理技術與物流部署 Readings: 1. 傅柯論治理性 Michel Foucault, “Governmentality,” Michel Foucault: Power. Essential Works of Foucault 1954-1984. Ed. James D. Faubion. Trans. By Robert Hurley and others. New York: The New Press, 1994. 201-222. 2. Cowen, Deborah, “A Geography of Logistics: Market Authority and the Security of Supply Chains,” Annals of the Association of American Geographers 100, no. 3 (2010). 3. Heidegger, Martin. "The Question Concerning Technology," “Age of the World Picture,” The Question Concerning Technology and Other Essays. 3-35. 4. 種族主義Michel Foucault, Society Must Be Defended (2003), pp. 1-21, 239-264. 福柯《必須保衛社會》,1976年1月7日, 3月17日。1-37,226-247. (optional) 5. Rae, Gavin. “From Law to Life: Foucault, Sovereignty, and Biopolitical Racism.” Critiquing Sovereign Violence: Law, Biopolitics, Bio-Juridicalism, Edinburgh University Press, 2019, pp. 121–46, http://www.jstor.org/stable/10.3366/j.ctvnjbfsx.9. (optional) |
| 第 4 週 | Invited Lecture: Creating Emancipatory Futures: Filmmaking and Activism Speaker: Valerie Soe Valerie Soe has created nearly two dozen experimental and documentary films which look at social and political concerns such as racism, representation, and the histories of Asians living in the United States. In this presentation Soe will screen a selection of her short documentary films and will talk about her filmmaking process and how her work intersects with issues in the Asian American community. As Robyn Magalit Rodriguez and Diane C. Fujino note, “Both study and struggle are necessary and intertwined components in our collective work toward creating emancipatory futures.” This presentation explores the uses of creative praxis in working towards empowerment, liberation, and social justice. BIO Valerie Soe is a filmmaker, writer, and artist whose work has won awards and exhibited at venues worldwide. Her feature documentary, LOVE BOAT: TAIWAN (2019) won the Audience Award at the Urban Nomad Film Festival in Taipei and has played to sold-out festival audiences across North America and in Taiwan. She is currently in production for her feature documentary WE GO DOWN SEWING: THE AUNTIE SEWING SQUAD. Her writing has been published in books and journals including Countervisions: Asian American Film Criticism; The Palgrave Handbook of Asian Cinema; Amerasia Journal, and Asian Cinema, among others. Soe is the author of the blog beyondasiaphilia.com (recipient of a 2011 Art Writers’ Grant, Creative Capital/Andy Warhol Foundation), which looks at Asian and Asian American art, film, culture, and activism. She is a Professor in the Asian American Studies Department at San Francisco State University. |
| 第 5 週 | Topic: Border politics and the part of no part 邊界政治與無分之分 1. Border politic 邊界政治 2. Count 計算 3. Part of no part 無分之分 4. The partage of the sensible 感性分配 Readings: 1. Jacques Rancière, “Aesthetic Separation, Aesthetic Community: Scenes from the Aesthetic Regime of Art.” Art & Research: A Journal of Ideas, Contexts and Methods. V. 2, No. 1, 2008: 1-15. 2. Étienne Balibar, Étienne Balibar, “Preface,” Politics and the Other Scene. Trans. by Christine Jones, James Swenson, Chris Turner. London & New York, Verso, 2002. vii-xv. 3. Sandro Mezzadra, “Between Inclusion and Exclusion: On the Topology of Global Space and Borders.” Theory, Culture & Society. 29(4/5): 58-75. |
| 第 6 週 | Topic: Affective Traces 感性痕跡 1. Traumatic memories 創傷記憶 2. Collage of objects物件的拼貼 3. Intersections, counterpoint and reversal of perspectives觀點的交錯、對位、反轉 Readings: 1. Didi-Huberman, IMAGE, LANGUAGE the other dialectic (2018) and Georges Didi-Huberman's concepts of image 2. Cathy Caruth, “'Who Speaks from the Site Of Trauma?': An Interview with Cathy Caruth,” Diacritics, 2019-01, Vol. 47 (2): 48-71. 3. Peter Leese, Jason Crouthamel and Julia Barbara Kohne. Languages of Trauma: History, Memory, and Media. “Introduction,” University of Toronto Press, 2021. 4. Dominick LaCapra, “Trauma, Absence, Loss,”Critical Inquiry. Summer, 1999, Vol. 25, No. 4: 696-727. |
| 第 7 週 | Unit II Analysis of Visual Texts影像文本分析 Topic: Artistic Mobilization 藝術行動 1. 徐冰:影像背後的行動 2. 艾未未:行動中的群眾 Reading (selective): 1. Claire Bishop. “The Social Turn: Collaboration and Its Discontents,” Artificial Hells: Participatory Art and the Politics of Spectatorship (2012)11-40 2. Claire Bishop. “The Social Under Socialism,” Artificial Hells: Participatory Art and the Politics of Spectatorship (2012), 129-162 3. Claire Bishop. “Pedagogic Projects: How do you bring a classroom to life as if it were a work of art?” Artificial Hells: Participatory Art and the Politics of Spectatorship (2012), 241-274 4. Nicolars Bourriaud, “Relational Aesthetics” Participation: Documents of Contemporary Art (2006). Ed. Claire Bishop. (160-171) 5. Lars Bang Larsen, “Social Aesthetics” Participation: Documents of Contemporary Art (2006). Ed. Claire Bishop. (172-183) 6. Molly Nesbit, Hans Ulrich Obrist, Rirkrit Tiravanija, “What is a Station?” Participation: Documents of Contemporary Art (2006). Ed. Claire Bishop. (183-189) 7. Hal Foster, “Chat Rooms” Participation: Documents of Contemporary Art (2006). Ed. Claire Bishop. (190-195) |
| 第 8 週 | 期末報告構想簡報 / 3 分鐘錄像論文試做 PPT for final project topic, or 3-minute video essay |
| 第 9 週 | Topic: Documentary and Archive 紀錄片與檔案 離散藍調:希臘Rembetika My Rembetika Blues, Mary Zournazi / 2023 / 83’ / USA / COLOR 「Rembetika」是一種在流亡和街頭誕生的音樂,起源於 20 世紀初的大量人口遷移。導演瑪麗.祖爾納齊追溯了她的祖先從土耳其遷徙到澳洲雪梨的過程,然而在這過程當中,她不僅發掘家族軼事,更因此得知音樂是如何在過去的艱困環境中作為寄託,成為人們的精神支柱。《離散藍調:希臘Rembetika》講述了一段關於音樂和移民所不為人知的精彩歷史故事。 Rembetika music or the Greek blues is a music born of exile and the streets. Developing its roots from the mass migration of people in the early twentieth century, filmmaker M. Zournazi traces the journey of her forebears from Smyrna in Turkey to Sydney Australia but discovers more than family history, she finds out how music connects people during times of struggle and crises. By weaving together different stories of music and migration, she documents experiences that are often left out of the chronicles of history. 傳統舞蹈新性別:薩摩亞羅傑斯舞團THE ROGERS;Joe Wilson, Dean Hamer / 2020 / 16’ / USA / HD / COLOR /(16分鐘) 月亮.男人Man Under The Moon;莊麗華/ 2022 / 50’ / Taiwan / 4K / COLOR / 普遍級 (50分鐘) |
| 第 10 週 | Individual field work (no class) |
| 第 11 週 | Online Forum: Critical curatorial practices us02web.zoom.us/j/83682325539?pwd=MXVVTzA2RDdVQWlCdUpzYy9aY2RFZz09 21世紀批判性策展:公共空間、新媒體以及地緣政治 主題: 針對21世紀的深刻轉變和複雜挑戰,策展藝術家可以採用哪些策略來應對全球和本地的問題?他們對於這個時代的策展實踐有什麼樣的觀點?策展實踐如何可以介入公共空間,質問歷史?當代新媒體以及虛擬空間如何能夠成為策展的媒介?策展如何可以帶出教育的目的?博物館空間是否成了一種限制?或者,博物館空間仍舊具有塑造社群能動性的力量?當前全球地緣政治的變化之中,策展實踐是否也能夠思考藝術工作者身分政治的限制?為了探討這些問題,我們邀請了三位跨地域的策展藝術家參與此次線上論壇,分享他們過去藝術實踐的經驗,一起思考21世紀批判性策展的可能向度。我們也邀請了藝術教育者共同討論這些議題。 講者: 賴雯淑|「質疑性設計」作為社會介入與策展方法 「質疑性設計」由克裡斯多夫・沃迪奇科(Krzysztof Wodiczko)所倡議,是一種藝術介入社會的實踐路徑與方法,針對特定議題展開探究。其目的是透過藝術行動進入公共空間,以人事物作為活隱喻,將特定場域轉化為隱喻空間,並進行提問。說話者、空間、工具物作為仲介媒介,與參與者或觀眾進行互動,透過仲介機制啟動對話或辯證。「質疑性設計」也是一種社會行動藝術化、藝術實踐公共化的策略,透過多媒體投影、互動裝置、策展,目的不是要提供特定議題的解決方案,而是經由提問或質問,讓社會或政治現象背後的原因或問題顯現。質疑性設計也是一種策展方法,也是一種藝術實踐的態度與批判行動,透過策展來讓不可見或邊緣者的困境,得以被看見或聽見,並引發關注與討論。 講者: Karin G. Oen-Lee|「複調」實踐 21世紀的策展實踐提出了「複調」的挑戰:如何在納入不同模式的知識生產和話語實踐之同時,能夠仍舊保留抵抗或反抗話語的展覽體驗時空元素。我將通過博物館展覽的不同例子,例如非收藏性的當代藝術空間、快閃非營利空間、以及「生成藝術速度塗料」(G.A.S.P)商業畫廊,介紹一種以同等立場融合不同超-策展元素,包括研究、規劃、個人和機構的合作。播客、出版和(無論是短期、長期、非正式或正式的)教育課程,如何能夠作為不具有傳統訓練背景的策展實踐者之切入點?具有藝術鑑賞力或是以物件為基礎的策展,如何能夠發展出不同「經驗」觀念之下的展覽製作?通過深入探討四個與陶瓷相關的不同策展項目作為起點,並以四個與新媒體相關的策展計畫作為結束,我將展示策展工作的複雜性——既在策展的概念空間中操作,也在全球藝術世界的虛擬與物質空間中,進行策展專案的管理及合作聯盟的建立。 講者: Shwetal A Patel, 博士|軟實力與新冷戰 最近,BRICS國家(巴西、俄羅斯、印度、中國和南非組成的世界經濟集團)的擴張,使這一地緣政治集團再增六國,預示著西亞、南亞和東南亞、拉丁美洲和非洲軟實力崛起的新時代的到來。在15世紀開始的歐洲殖民計劃裡,國際文化交流主要是由少數強國策劃和控制的。可以說,自上世紀80年代以來,隨著美國成為全球唯一佔主導地位的經濟和軍事大國,世界發生了翻天覆地的變化。今日,文化部門試圖應對前所未有的、需多邊集體努力的挑戰,國際文化關係的既定規範也正在經歷另一次變革,這也讓人想起1947 - 1991年的冷戰時期。此次演講為與會者提供了關於上述多極地緣政治時刻的研究工具,亦在這種範式轉變中,藉機反省援用「聯合國世界人權宣言」時身分政治的侷限。這種劃時代的轉變也反映了藝術世界日益多樣化的趨勢:在這個高度金融化和高度互聯的時代,多種軟實力的動態交互作用,而重塑了藝術世界。鑒於這些複雜且不斷發展的情境,本次演講也試圖思考藝術領域實踐者的倫理考量。 Critical Curatorial Practices in the 21st Century: Public Space, New Media and Geopolitics In response to the profound transformations and complex challenges of the 21st century, what strategies can curatorial artists employ to tackle global and local issues? What are their perspectives on curatorial practices in this era? How can curatorial practices intervene in public spaces and question history? How can contemporary new media and virtual spaces serve as mediums for curation? How can curation serve educational purposes? Are museum spaces becoming restrictive, or do they still possess the power to shape community dynamics? Amidst the current global geopolitical changes, can curatorial practices also consider the limitations of artists' identity politics? To delve into these questions, we have invited three cross-local curatorial artists to participate in this online forum, sharing their past artistic experiences and collectively contemplating the potential dimensions of critical curation in the 21st century. We have also invited art educators to join in discussing these issues. Moderator Joyce C.H. Liu | Professor/Director, International Center for Cultural Studies, NYCU, Taiwan Speakers Wen-Shu Lai | Professor/Director, Institute of Applied Arts, NYCU, Taiwan Karin G. Oen-Lee | Senior Lecturer, Head of Art History, School of Humanities, Nanyang Technological University, Singapore Shwetal Ashvin Patel | Ph.D. Winchester School of Art, University of Southampton, UK Discussants tammy Ko Robinson | Associate Professor, Department of Applied Art, Hanyang Univertsity, S. Korea Hwa-Jen Tsai | Assistant Professor, Institute of Social Research and Cultural Studies, NYCU, Taiwan Interrogative Design as a social intervention and curational method | Wen-Shu Lai The Interrogative Design, initiated by Harvard University professor Krzysztof Wodiczko, is a method for investigating social or political issues, raising critical inquiries, instead of solving problems. Through entering public spaces, taking artistic actions, and using people or things as living metaphors to transform specific sites into metaphorical spaces. In other words, speakers, spaces, and tools serve as intermediary media to interact with participants or audiences and initiate dialogue through intermediary mechanisms. As a method or strategy, the interrogative design conveys information through cross-disciplinary integration such as multimedia projections, interactive installations or curation. The purpose is not to provide solutions but to raise or reveal problems behind the social or political phenomena. The praxis of Interrogative design could be seen as a curational method or approach, an attitude, a critical action, or a social intervention, thus bringing about the conditions of the invisible or the marginal voices to be seen or heard, and triggering follow-up and Polyphony in Practice |Karin G. Oen-Lee 21st century curatorial practices raise questions of the polyphonic: how to include diverse modes of knowledge production and discursive practice while also preserving elements of the spatio-temporal exhibition experience that resist or defy discourse. Drawing from examples at museums, non-collecting contemporary art spaces, pop-up non-profit spaces, and (gasp) commercial galleries, I will share notes on a mode of exhibition making that incorporates para-curatorial elements on equal footing with research, programming, and collaborations with individuals and institutions. How can podcasts, publications, and educational programmes (short-form, long-form, informal, and formal) provide entry points for curatorial practitioners who have non-traditional backgrounds? And how can connoisseurship or object-based practices evolve alongside the diffuse notion of “experience” in exhibition-making? Beginning with a deep dive into four different curatorial projects involving ceramics in and ending with four curatorial projects related to new media practices, this presentation will showcase examples of the vexed issues of working in the conceptual space of the curatorial while simultaneously inhabiting the practical space of project management and coalition building in the virtual and material space of the global art world. Soft Power & New Cold War/s | Shwetal A Patel, PhD The recent expansion of BRICS (a grouping of the world economies of Brazil, Russia, India, China, and South Africa) centring six additional countries to the geopolitical grouping, portents to a new era of rising soft-powers from West Asia, South & South East Asia, Latin America and Africa. For the better part of the European colonial project beginning in the 15th century, international cultural exchange was primarily choreographed and controlled by a small group of powerful countries. Arguably, a seismic shift began from the 1980s onwards as the US became the sole dominant global economic and military power. Today, as the cultural sector attempts to tackle the unprecedented challenges that demand collective multilateral efforts, the established norms of international cultural relations are undergoing yet another transformation in an age reminiscent of the Cold War (circa 1947 – 1991). This lecture-workshop provides students and practitioners with tools to investigate the aforementioned multi-polar geopolitical moment and provides an opportunity to think together about the limits of identity politics along with the application of United Nations Universal Declaration of Human Rights within this paradigm shift. This epochal transition also mirrors the growing diversification of the art world, reshaped by the dynamic interplay of multiple soft-powers in an age of hyper financialisation and hyper connectivity. Given these complex and evolving scenarios, the lecture-workshop speculates on the ethical considerations for practitioners in the field. Bios Wen-Shu Lai, an academic and artist, earned MA and MFA degrees in Art and Design, later achieving a Doctoral degree in Art Education from the University of Iowa. Her teaching tenure began at Angelo State University, Texas, where she taught Art from 2001 to 2004. Currently, Lai holds key roles at the National Yang Ming Chiao Tung University in Taiwan. She is a professor and director at the Institute of Applied Arts, leads the Interrogative transArt Lab, and contributes significantly to the NYCU Sixth Fuel Factory team. Additionally, she engages as a researcher at the International Institute for Cultural Studies at NYCU. In her artistic pursuit, Lai focuses on ontological inquiries, exploring the essence of existence. She served as a visiting scholar at UC Berkeley in 2016. Her research interests span a wide artistic spectrum, encompassing Art Intervention, Cross-disciplinary Arts, Interrogative Design, Hermeneutic Theory, Phantom Narratives, and Artist’s Books. Lai's diverse approach underscores her commitment to investigating the intersections of art, culture, and interpretation. Web Site: https://wendylai.lab.nycu.edu.tw/ Karin G. Oen-Lee is a curator and art historian based in Singapore where she is Senior Lecturer and Head of Department, Art History, at Nanyang Technological University’s School of Humanities. She works on historical, modern, and contemporary creative practices related to the transcultural and the transmediatic. Recently, Karin was Deputy Director of Curatorial Programmes at NTU CCA Singapore and co-editor with Ute Meta Bauer and Tan Boon Hui of the 2022 book SEA: Contemporary Art in Southeast Asia. She previously served as associate curator of contemporary art at the Asian Art Museum of San Francisco where her exhibition projects included teamLab: Continuity (2021), Haroon Mirza: The Night Journey (2018), and Koki Tanaka: Potters and Poets (2016). Prior to her time in San Francisco, Oen was a curator at the Crow Museum of Asian Art in Dallas. She received her BA from Stanford, MA from Christie’s New York, and PhD in the history, theory, and criticism of art and architecture from MIT, where her dissertation focused on experimental new media practices in early Reform Era China. She is a board member of The Institutum, a Singapore-based nonprofit dedicated to contemporary art education and outreach; and iPress, a non-profit publisher of books on architecture, urbanism, and social space founded in Boston in 1970. Web Site: https://dr.ntu.edu.sg/cris/rp/rp01883 Shwetal Ashvin Patel is a writer and researcher practising at the intersection of visual art, exhibition-making and development studies. He works internationally–– primarily in Europe and South Asia–– and is a founding member of Kochi-Muziris Biennale in India, responsible for international partnerships and programmes. He holds a practice-based PhD from Winchester School of Art, University of Southampton, where his thesis was titled 'Biennale Practices: Making and Sustaining Visual Art Platforms'. He is a guest lecturer at Zürich University of the Arts, Royal College of Art, and Exeter University, besides being an editorial board member at OnCurating.org and a trustee at Milton Keynes Museum and Coventry Biennial. He lives between United Kingdom, Belgium and India. Website: https://www.gazette-drouot.com/en/article/dr--shwetal-a--patel-establishing-the--E2-80-9Cpeople-s-biennale-E2-80-9D-in-kerala-india/23794 |
| 第 12 週 | Topic: Critical curatorial practices Discussions of the online forum in the previous week |
| 第 13 週 | May 13, 2024 | Into the heads of Israel: “Izkor: Slaves of Memory” screening & discussion with filmmaker Eyal Sivan 由亞際文化碩 / IAS 劉紀蕙發表於2024年 05月 6日(週一) 09:55 Into the heads of Israel: “Izkor: Slaves of Memory” Screening & Siscussion with Filmmaker Eyal Sivan 2024-05-03 - 2024-06-29 Eyal Sivan 線上Zoom會議室 Into the heads of Israel: “Izkor: Slaves of Memory” screening & discussion with filmmaker Eyal Sivan International Center for Cultural Studies (ICCS) invites filmmaker & theoretician Eyal Sivan to share with us his insights about Israeli society where he was born and raised. https://www.eyalsivan.info/index.php?p=bio#&panel1-8 Date: May 13, 2024 Time: 14:00 (Taiwan time GMT +8) Available online at: https://us02web.zoom.us/j/85456360343?pwd=SzRCRHFSSExzREJRWStaWnczWW5HZz09 Registration link: https://forms.gle/iFHkVZip4QZsyi7n7 🎤Speaker: Eyal Sivan ▶Documentary filmmaker and theoretician based in Paris, France ▶Born in 1964 in Haifa, Israel and grew up in Jerusalem 🎤Moderator: Hanh Nguyen ▶Ph.D. candidate, Institute of Social Research & Cultural Studies, NYCU ▶Editorial board member, Conflict - Justice - Decolonization (CJD), International Center for Cultural Studies, NYCU --------------------------------------------------------------------------------------------------------------------- Norman Finkelstein famously said, “I do not want to get into the heads of Israelis”, highlighting the disturbing reality that the majority of Israelis either endorse or overlook the genocide their government is plausibly committing in Gaza. Yet, we are compelled to ask, why? Why the extreme racism and violence against Palestinians? Why the guiltless, unashamed massacres of children and women? Why the proud bragging of such horrifying deeds? In Israel, the mantra “Never again” envelops the nation in an atmosphere, an ever present cloud, a widespread fear, touching every aspect of daily life, reason, opinions, creativity and choices people make for the future. Every year, a powerful machine for the perpetuation of memory goes over Israeli society like a steamroller. How has this collective memory developed? What are the symbols that contribute to its strength and to what purpose is it being used? Made 3 decades ago, award-winning documentary Izkor: Slaves of Memory by Israeli filmmaker Eyal Sivan remains remarkably relevant as a significant explanation of the nightmarish present. It provides a revealing window into the collective psyche of the Israeli population and, more significantly, unveils the State’s manipulation of history through a series of official celebrations, rituals, tributes, and ceremonies designed to shape and control this psyche. Izkor: Slaves of Memory offers visual, human and pragmatic answers to these questions. From kindergarten to the army, the filmmaker and his crew follow Israelis as they grow up, in order to better understand how every citizen is imbued with this “official memory”. A succession of real time events, of places and of people, that together reveal the intricacies of what can be called “dictatorship of the memory”. Can a people keep walking forward with the rest of the world, all the while repeating endlessly: “Our Future is past us”? 補充資料: The impact of student encampments for Gaza at universities ... YouTube · Al Jazeera English · 2024年5月11日 https://www.google.com/search?q=student+protext+gaza&rlz=1C5CHFA_enTW1040TW1041&oq=student+protext+gaza&gs_lcrp=EgZjaHJvbWUyBggAEEUYOTIICAEQABgNGB7SAQg4MzEwajBqN6gCCLACAQ&sourceid=chrome&ie=UTF-8#fpstate=ive&vld=cid:70b25f92,vid:z0MMiqxzUNQ,st:0 Police drag students from pro-Palestinian protest at Berlin ... YouTube · Guardian News · 2024年5月7日 https://www.google.com/search?q=student+protext+gaza&rlz=1C5CHFA_enTW1040TW1041&oq=student+protext+gaza&gs_lcrp=EgZjaHJvbWUyBggAEEUYOTIICAEQABgNGB7SAQg4MzEwajBqN6gCCLACAQ&sourceid=chrome&ie=UTF-8#fpstate=ive&vld=cid:275a03c8,vid:9Txy6MnoEDE,st:0 Hunger strikes for Gaza: inside the Princeton student protests YouTube · Guardian News · 2024年5月8日 https://www.google.com/search?q=student+protext+gaza&rlz=1C5CHFA_enTW1040TW1041&oq=student+protext+gaza&gs_lcrp=EgZjaHJvbWUyBggAEEUYOTIICAEQABgNGB7SAQg4MzEwajBqN6gCCLACAQ&sourceid=chrome&ie=UTF-8#fpstate=ive&vld=cid:e7ed4654,vid:mMvI-8Dyx9w,st:0 |
| 第 14 週 | Topic:Documentary and Archive 紀錄片與檔案 Screening and a dialogue with the director 備忘錄The Memo 窮山惡水電影小組/ 2023/ 30’ / China / Digital / COLOR 這是一對困於上海廉租房的電影製作人情侶的影像日記。面對無盡的瘋狂,有人瘋了,有人攝影機破「窗」而出,見證了這個國家史無前例的社會隔離運動。 The Memo 備忘錄 Directors: Badlands Film Group 劇照_結果 This is a video diary of the surreal lockdown made by the filmmaker couple who were trapped in a small, rented apartment in Shanghai. In the face of endless madness, the camera gradually breaks free from the window and observes a vast social isolation unprecedented in the country’s history. 記憶家園When we are together 李立劭/ 2023 / 84’ / Taiwan / 4K / COLOR / 普遍級 |
| 第 15 週 | Analysis and critique of the documentaries screened on May 13 & May 20. May 13: Into the heads of Israel: “Izkor: Slaves of Memory” May 20: The Memo & When we are together Discussion points and exercise of critique writing: Please select 2-3 (or more) works/talks as the target of your critique writing. Analyze the following aspects of the works/talks: Definition: what is curation? what is an effective documentary? Thesis statement of the works you select Research problems Structures of the outline choice of the supporting materials/segments The tone The style The total effect of the work final words on documentary-making and critical curatorial practices |
| 第 16 週 | Self-Study Week |
| 第 17 週 | Holiday |
| 第 18 週 | Final Project Sharing and Discussions |
1. Reading materials listed in the syllabus and the e3Campus document section. 2. Other references: --How to Write a Video Essay: A step-by-step Guide and Tips, https://learnpar.com/writing-video-essay/ |by Joseph Kenas/September 10, 2021/Writing Tips https://learnpar.com/writing/ -- How to do a Video Essay: Video Essay Journals: An introduction to the video essay https://ecu.au.libguides.com/video-essay/video-essay-journal-and-channels -- EDITORS’ INTRODUCTION TO ISSUE 15: THE SCHOLARLY VIDEO ESSAY https://www.thecine-files.com/issue15-scholarly-video-essay-introduction/ -- “THE VIDEO ESSAY: PARAMETERS, PRACTICE, PEDAGOGY”. http://www.thecine-files.com/issue7introduction/ --The Video Essay Process: https://ecu.au.libguides.com/video-essay/how-to-do-a-video-essay --Video essays and digital storytelling: 1. Planning and Storyboarding: https://libguides.royalroads.ca/videoessayhowto/storyboarding --photo essay: https://www.photocontestinsider.com/photo-essay-examples/ https://gradecrest.com/photo-essay-guide-and-ideas/ -- The best video essays of 2023 | BFI: https://www.bfi.org.uk/polls/best-video-essays-2023