Delusions of Certainty: Interactions Between Artist /Author and Audience
Delusions of Certainty: Interactions Between Artist /Author and Audience
Unterrichtssprache/Teaching language
Deutsch/German
weitere Lehrende/other lecturers
Oliver KESSLER
Termine/Dates
Wö |
Mi |
12.10.2022–01.02.2023 |
12:00–14:00 |
ONLINE
|
Anmeldung
Registration via central distribution: https://www.uni-erfurt.de/studium/studium-fundamentale/verteilungsverfahren
Registration
[No data available.]
Module/Modules
B Ang 2021 SFIS#02 // S 6LP ::219921::
B EWI 2021 SFIS#02 // S 6LP ::219920::
B FÖ 2021 SFIS#02 // S 6LP ::219919::
B Ger 2021 QSFIS#02 // S 6LP ::219918::
B Ges 2021 SFIS#02 // S 6LP ::219917::
B IntB 2021 SFIS#02 // S 6LP ::219916::
B KaR 2021 SFIS#02 // S 6LP ::219922::
B Kom 2021 SFIS#02 // S 6LP ::219913::
B Kun 2021 SFIS#02 // S 6LP ::219907::
B Lit 2021 SFIS#02 // S 6LP ::219908::
B MUS 2021 SFIS#02 // S 6LP ::219912::
B Phi 2021 SFIS#02 // S 6LP ::219909::
B PPäd 2021 SFIS#02 // S 6LP ::219910::
B PSY 2021 SFIS#02 // S 6LP ::219911::
B Rel 2021 SFIS#02 // S 6LP ::219906::
B Sta 2021 SFIS#02 // S 6LP ::219905::
B Stu 2011 MTG#02 // S 6LP ::219915::
B TEC 2021 SFIS#02 // S 6LP ::219903::
MTheol KaTh 2015 A696SF#01 // S 6LP ::219914::
MTheol KaTh 2021 SFIS#02 // S 6LP ::219904::
Kommentar
There are many simple words with complex meanings. Love. Death. Freedom. Sovereignty.
Knowledge. Understanding. Often uttered in everyday and political conversation, but rarely
consid ered or dissected. Everyone knows what those words mean. Philosophers have dedicated
entire books to each of these ideas. However, philosophical texts often use language meant to be
specific, but which require a Bachelor Degree or more to understand the usage. Therefore, the
possibility of dealing with these ideas through other media also present an opportunity for
discussions to spread beyond just philosophical classrooms.
The foundational concepts of this course are Media and Communication, Philosophy
of Language,
Metamodernism, Linguistics, Metanarrative, and Identity. By asking students to engage with a
variety of contexts and media with the core theme of language games, they can see how humour is a
shared “game” led by an artist and received by the a udience. This “game” can be used to highlight
different aspects, such as self expression, overcoming barriers, homage to other works, or societal
critique.
This course will challenge students to:
- Reconsider how language is used in communication;
- Rethink t he assumptions underlying common rhetoric and everyday language
- Critically evaluate various media as commentary on communication and meaning, and;
- Understand humour as both a means and an end.
This lecture series will necessarily deal with media consumpt ion methods, the medium of the
message, and the content itself. While each session will vary with content, the overall structural
aspects will be the same:
- Introduction/session overview
- Taught content
- Discussion/debate as a learning check/to diversify per spectives
- Reframe the content/connect to other themes
- Overview of the session and content
Final assessment will be in two parts, a presentation of 5 minutes, and
an essay of 8 10 pages.
Students will present the core idea of their paper, and fellow class mates will be assigned to provide
formal feedback and suggestions. The essay will be on a piece of art selected by the student ,
critically evaluated for the societal messages that influence and are propagated by the work.
Lecture 1: McLuhan, Sapir Whorf , Wittgenstein and the Structures of Your World
- Discussing philosophical and linguistic ideas about how we interpret the worlds around us
Lecture 2: Critiquing the Classics Historical Context and Fame
- Margaret Cavendish as a contemporary critic of Descart es, and yet much less famous
Lecture 3: Arrival Language and Decision
- Sapir Whorf hypothesis and available choice as presented in the film
Lecture 4: Into the SpiderInto the Spider--Verse Verse –– Identity andIdentity and ExpressionExpression
- Graffiti as an art form/vandalismGraffiti as an art form/vandalism, the politics of soc, the politics of social crimeial crime
Lecture 5: Hitchhiker’s Guide to the Galaxy –– Assumption From ExperienceAssumption From Experience
- Douglas Adams and subverting expectationDouglas Adams and subverting expectation, dealing with the absurd, dealing with the absurd
Lecture 6: Megamind –– Villainy is for the HeroVillainy is for the Hero
- Narratives of villainy and heroism/expectationsNarratives of villainy and heroism/expectations
Lecture 7: : Erik SatieErik Satie and Bill Baileyand Bill Bailey –– Parody is HomageParody is Homage
- Beethoven, caricatureBeethoven, caricature ofof and appreciationand appreciation for influential artists and artfor influential artists and art
Lecture 8: Eddie Izzard –– Illuminating BoundariesIlluminating Boundaries
- StandStand--up comedy and toeing the lineup comedy and toeing the line of societal judgementsof societal judgements
Lecture 9:: The CornettoThe Cornetto TrilogyTrilogy –– Setup and PayoffSetup and Payoff
- Rule of threes, Chekov’s Gun, and ReinforcementRule of threes, Chekov’s Gun, and Reinforcement as cinematic storytelling techniquesas cinematic storytelling techniques
Lecture 10: D: Don’t Hug Me I’m Scared (DHMIS) –– Critique and Distorted Expectation
- Using the fformat/medium/against the audience, indie developmentnt vs. commercialvs. commercial
Lecture 11:: Jinjer and TOOL Jinjer and TOOL –– Change Your Mind Later
- Technical skill and pushing boundaries in music
Lecture 12:: Reggie Watts –– Disorientation and Enjoyment
- Using the absurd in comedy, treating the audience as equals
Lecture 13: Mel Brooks –– Healing Trauma
- Mockery of what should be mocked, undermining seriousness with the ridiculous
Comment
There are many simple words with complex meanings. Love. Death. Freedom. Sovereignty.
Knowledge. Understanding. Often uttered in everyday and political conversation, but rarely
consid ered or dissected. Everyone knows what those words mean. Philosophers have dedicated
entire books to each of these ideas. However, philosophical texts often use language meant to be
specific, but which require a Bachelor Degree or more to understand the usage. Therefore, the
possibility of dealing with these ideas through other media also present an opportunity for
discussions to spread beyond just philosophical classrooms.
The foundational concepts of this course are Media and Communication, Philosophy
of Language,
Metamodernism, Linguistics, Metanarrative, and Identity. By asking students to engage with a
variety of contexts and media with the core theme of language games, they can see how humour is a
shared “game” led by an artist and received by the a udience. This “game” can be used to highlight
different aspects, such as self expression, overcoming barriers, homage to other works, or societal
critique.
This course will challenge students to:
- Reconsider how language is used in communication;
- Rethink t he assumptions underlying common rhetoric and everyday language
- Critically evaluate various media as commentary on communication and meaning, and;
- Understand humour as both a means and an end.
This lecture series will necessarily deal with media consumpt ion methods, the medium of the
message, and the content itself. While each session will vary with content, the overall structural
aspects will be the same:
- Introduction/session overview
- Taught content
- Discussion/debate as a learning check/to diversify per spectives
- Reframe the content/connect to other themes
- Overview of the session and content
Final assessment will be in two parts, a presentation of 5 minutes, and
an essay of 8 10 pages.
Students will present the core idea of their paper, and fellow class mates will be assigned to provide
formal feedback and suggestions. The essay will be on a piece of art selected by the student ,
critically evaluated for the societal messages that influence and are propagated by the work.
Lecture 1: McLuhan, Sapir Whorf , Wittgenstein and the Structures of Your World
- Discussing philosophical and linguistic ideas about how we interpret the worlds around us
Lecture 2: Critiquing the Classics Historical Context and Fame
- Margaret Cavendish as a contemporary critic of Descart es, and yet much less famous
Lecture 3: Arrival Language and Decision
- Sapir Whorf hypothesis and available choice as presented in the film
Lecture 4: Into the SpiderInto the Spider--Verse Verse –– Identity andIdentity and ExpressionExpression
- Graffiti as an art form/vandalismGraffiti as an art form/vandalism, the politics of soc, the politics of social crimeial crime
Lecture 5: Hitchhiker’s Guide to the Galaxy –– Assumption From ExperienceAssumption From Experience
- Douglas Adams and subverting expectationDouglas Adams and subverting expectation, dealing with the absurd, dealing with the absurd
Lecture 6: Megamind –– Villainy is for the HeroVillainy is for the Hero
- Narratives of villainy and heroism/expectationsNarratives of villainy and heroism/expectations
Lecture 7: : Erik SatieErik Satie and Bill Baileyand Bill Bailey –– Parody is HomageParody is Homage
- Beethoven, caricatureBeethoven, caricature ofof and appreciationand appreciation for influential artists and artfor influential artists and art
Lecture 8: Eddie Izzard –– Illuminating BoundariesIlluminating Boundaries
- StandStand--up comedy and toeing the lineup comedy and toeing the line of societal judgementsof societal judgements
Lecture 9:: The CornettoThe Cornetto TrilogyTrilogy –– Setup and PayoffSetup and Payoff
- Rule of threes, Chekov’s Gun, and ReinforcementRule of threes, Chekov’s Gun, and Reinforcement as cinematic storytelling techniquesas cinematic storytelling techniques
Lecture 10: D: Don’t Hug Me I’m Scared (DHMIS) –– Critique and Distorted Expectation
- Using the fformat/medium/against the audience, indie developmentnt vs. commercialvs. commercial
Lecture 11:: Jinjer and TOOL Jinjer and TOOL –– Change Your Mind Later
- Technical skill and pushing boundaries in music
Lecture 12:: Reggie Watts –– Disorientation and Enjoyment
- Using the absurd in comedy, treating the audience as equals
Lecture 13: Mel Brooks –– Healing Trauma
- Mockery of what should be mocked, undermining seriousness with the ridiculous
Literatur/Literature
[Es liegen keine Daten vor.]/[No data available.]