Fall 2013 - Graduate Course Descriptions
Description of Course:
THIS COURSE IS AVAILABLE TO DOCTORAL STUDENTS ONLY.
This course focuses on the "extended mind" as 1. a study within the history of art and in 2. contemporary literature and theory. This course seeks to understand better the close connection between kinetic perception and the decentralized ‘seat’ of knowledge by looking to art, text, and experience. See: http://en.wikipedia.org/wiki/The_Extended_Mind.
1. The first part of the course will unfold around a concept I call the "haptic unconscious" [working book title: Haptic Unconscious: A Prehistory of the Digital Image in Art] and focuses on the idea of an experiential image developing 1937-1972 in the art work, art criticism, or perceptual theories of Laszlo Moholy-Nagy, Gyorgy Kepes, Rudolf Arnheim, Ernst Gombrich, James J Gibson, and Jack Burnham among others. Central here is the shift from the Gestalt to distributed network.
2. The second part looks to the theory of Mark Hansen, GIlbert Simondon, Mark Rowlands, et. al. and fiction of Stanislaw Lem, Tom McCarthy, et. al. to get at an idea of knowing outside of ratiocination.
Both of these forces, the historical and contemporary, aim at a critique of putative mind and consciousness, with the hopes of rethinking consciousness as a lateral, collective, ecological act.
You will be interested in this class if you are an artist or writer curious about art, systems theory, cybernetics, cognitive science, ecology, aesthetics and politics.
We will read the writings of Stanislaw Lem, Tom McCarthy, Norbert Wiener, Stafford Beer, David Harvey, Francisco Varela, Humberto Maturana, Gregory Bateson, Andy Clark, Mark Rowlands, Mark B.N. Hansen, and N. Katherine Hayles.
Course Requirements/Evaluation Criteria:
-two in-class presentations
-final research paper