Escola Tècnica Superior d’Arquitectura del Val lès

. d

isse

nsu

s 8

_ s

pri

ng

_se

me

ste

r 2

012

-20

13

www.etsav.edu/assignatures/dissensus departament d’expressió gràfica arquitectònica

. dissensus

. architecture . film . politics

‘Education is not worthy of the name unless it be stripped of all dogmatism’(Francesc Ferrer, 1913: 28)

Escola Tècnica Superior d’Arquitectura del Val lès

4

Escola Tècnica Superior d’Arquitectura del Val lès

. d

isse

nsu

s 8

_ s

pri

ng

_se

me

ste

r 2

012

-20

13

www.etsav.edu/assignatures/dissensus departament d’expressió gràfica arquitectònica

. dissensus tries to explore the contemporary condition and spatial reality on which architects operate broadening the view and fostering critical reflection about as-pects of society that are paramount but nonetheless too often taken for granted… sociologists, anthropologists, philosophers, artists, film-makers, thinkers… have un-derstood many of these crucial aspects of our cities and our lifes in a way that seems at least interesting to analyze if not absolutely essential for an architect.

The verification of a great loss of social, critical, political and even utopian impetus in the contemporary debate and production of architecture is the underlying and motivating concern of the course. Upon generalized, common acceptance of ac-tion and production mechanisms that follow those of capitalism and the market, one must search for alternative ways to advance towards a political dimension of architecture.

On the basis of already successful explorations of such alternative ways, conducted in the fields of visual arts and cinema, the course tries to offer a double insight and includes a series of film projections as an alternative look at the city and at the is-sues, theories and reflections explored in the classes. The aim is to foster debate and reflection, opening windows to the appropriation of subversive mechanisms that may be applicable in a trans-disciplinary way.

From such a reflective, somehow uncomfortable position, students should “react”, formulating their own assignments (exercises) in the form of a critical analysis, comparing, deepening, relating or de-constructing one or more of the themes ex-plored in the course.

The course is structured on the basis of a series of lectures that try to explore the list of themes proposed. Each of these lectures offers a first aproach/insight of one of the themes, which is generally followed, after a break, by a second, shorter and more specific lecture, that offers a sort of counterpoint, in order to complement, redefine or even question the initial aproach/view. Throughout the course, several guests will offer some of these counterpoints by means of their own research, ex-perience and work.

After such a theoretical excursion, a number of films will be screened in the after-noon session. The films will be related to some of the issues addressed during the first part of the day. The selected works are either dealing with really interesting themes or doing it through equally interesting mechanisms (expressive or narrative machines).

The day can then finish with a debate/conversation that works as a platform to connect themes, reflections, contradictions, oppositions, gazes and sensibilities explored during the class or extracted from the previous classes/films. In order to achieve such a debate, daily comments after the class and film will be required for each participant, so that the comments can be used to foster debate the following day/session.

Escola Tècnica Superior d’Arquitectura del Val lès

6

WEEK 1 - DISSENSUS 7 - LECTURES / FILMS / DISCUSSIONS

10:00H INTRO 10:00h - 13:00 Introduction To Dissensus. Objectual Imagery, Pragmatic Dissent (Alberto Altés)13:00h - 14:00 LUNCH BREAK

14:00h - 18:00h FILM SCREENINGS + DISCUSSION F01 // Waking Life. USA, 2001, 99’ V.O. English. S. Eng. (Richard Linklater) F02 // The Dubai in Me. Germany, 2010, 78’ V.O. English. (Christian von Borries)

10:00h - 13:00h The Other, Coexistence, The Public Domain (Alberto Altés)

13:00h - 14:00 LUNCH BREAK

14:00h - 18:00h FILM SCREENINGS + DISCUSSION F_03 // Hundstage. Austria, 2001, 121’ V. O. German. S. Eng. (Ulrich Seidl) F_04 // Funny Games. Austria, 1997, 103’ V.O. German, S. Eng. (Michael Haneke)

10:00h - 13:00h Disjuncture, Difference, Exclussion (Alberto Altés)

13:00h - 14:00 LUNCH BREAK

14:00h - 18:00h FILM SCREENINGS + DISCUSSION F_05 // La Haine. France, 1995, 98’ V. O. French. S. Eng. (Mathieu Kassovitz) F_06 // Ekumenopolis. Istanbul, 2011, 88’ V.O. English. S. Eng. (Imre Azem)

10:00h - 13:00h Exiles and Territories, Walls, Borders, Frontiers (Alberto Altés)

13:00h - 14:00 LUNCH BREAK

14:00h - 18:00h FILM SCREENINGS + DISCUSSION F_07 // Performing the Border, Germany, 59’ V.O. English, (Ursula Biemann) F_08 // Demolition. USA, 2010, 62’ V.O. Chinese. S. Eng. (J.P. Sniadecki) F_09 // Lagos Wide&Close. NED, 2005, 60’. V.O. English (Bregtje van der Haak)

10:00h - 13:00h Critical Spatial Practice - Immediate Architectural Intervention (Alberto Altés)

13:00h - 14:00 LUNCH BREAK

14:00h - 18:00h FILM SCREENINGS + DISCUSSION F_10 // Get Out of the Car. USA, 2010, 34’ V. O. Eng. (Thom Andersen) F_11 // In Order Not to Be Here, USA, 2005, 40’, V.O, English (Deborah Stratman) F_12 // Pervert’s Guide to Cinema, UK, 2006, 150’ V.O. Eng, S. Eng. (Sophie Fiennes)

DAY 01TUESDAY2013/06/11

DAY 02WEDNESDAY2013/06/12

DAY 03THURSDAY2013/06/13

DAY 04FRIDAY2013/06/14

DAY 05SATURDAY2013/06/15

Escola Tècnica Superior d’Arquitectura del Val lès

. d

isse

nsu

s 8

_ s

pri

ng

_se

me

ste

r 2

012

-20

13

www.etsav.edu/assignatures/dissensus departament d’expressió gràfica arquitectònica

10:00h - 11:00 01_BAIRD_George_(Criticality_and_its_discontents)11:00h - 12:00 02_VAN_TOORN_Roemer_(No_More_Dreams)12:00h - 13:00 03_INGOLD_Tim_(Up_Across_and_Along)13:00h - 14:00 13_TILL_Jeremy_(Beyond_Discourse_Notes_on_Spatial_Agency)14:00h - 15:00 LUNCH BREAK15:00h - 16:00 04_BAUMAN_Zygmunt_(On_the_Difficulty_of_Loving_Thy_Neighbour)16:00h - 17:00 05_SWYNGEDOUW_Erik(Designing_the_Post_Political_City)17:00h - 18:00 06_INGOLD_Tim_(When_ANT_meets_SPIDER)18:00H - 19:00 14_FOUCAULT_Michel_(Society_Must_Be_Defended)

10:00h - 11:00 07_HARVEY_David_(The_Art_of_Rent)11:00h - 12:00 08_WACQUANT_Loic_(Designing_Urban_Seclusion)12:00h - 13:00 09_ZIZEK_Slavoj_(Multiculturalism_or_the_Cultural_Logic_of_Multinational_Capitalism)13:00h - 14:00 15_MARCHART_Olivier_(Art_Space_and_the_Public_Sphere)14:00h - 15:00 LUNCH BREAK15:00h - 16:00 10_BOURDIEU_Pierre_(Against_the_Tyranny_of_the_Market)(94-108)16:00h - 17:00 11_CRUZ_Teddy_(Transborder_Flows)17:00h - 18:00 12_LAZZARATO_Maurizio_(Grasping_the_Political_in_the_Event)18:00H - 19:00 16_ALTES_Alberto_LIEBERMAN_Oren_(Interventions_Durations_Effects)

**Full references of the texts and pdf copies will be provided during the first day of the course.

* Film screenings might be modified depending on the “mood” and interests of the participants.

CRITICAL FICTIONS INDIVIDUAL WORK ON CRITICAL WRITING

CRITICAL FICTIONS INDIVIDUAL WORK ON CRITICAL WRITING

10:00h - 13:00h FINAL PRESENTATIONS AND DISCUSSIONS13:00h - 14:00 LUNCH BREAK14:00h - 17:00h FINAL PRESENTATIONS AND DISCUSSIONS

??

DAY 06MONDAY2013/06/17

DAY 07TUESDAY2013/06/18

DAY 08WEDNESDAY2013/06/19

DAY 09THURSDAY2013/06/20

DAY 10FRIDAY2013/06/21

WEEK 2 - DISSENSUS 7 - CRITICAL FICTIONS READING/WRITING SEMINAR

Escola Tècnica Superior d’Arquitectura del Val lès

8

REQUIRED PROCEDURES, ASSIGNMENTS AND DUE WORK

1. REGISTER IN THE COURSE BLOGEach student must connect to www.etsav.upc.edu/assignatures/dissensus and register by clicking ‘log in’ then ‘register’, and using “name.surname” as username plus providing a valid email address to which the password will be sent. (Be sure to do this properly since your username will be the only way to identify your required comments). You can use this address to access directly to the registration process: http://www.opa-a2a.org/dissensus/wp-login.php?action=register

2. WEBLOG COMMENTSEach student must send at least one comment per day to the posts that will be published as the course progresses. Main posts will be entitled ‘DAY # DAYTHEME ‘. The comment must be sent before midnight. At the end there must be at least 5 comments per stu-dent (one per session) although additional commenting and discussion are encouraged. *First comment must be approved by the blog administrator before it is published.

3. CRITICAL READINGA selection of texts will be read and discussed in depth during the course. In pairs, you will take responsibility of thoroughly reading and discussing one of them (texts 1-12) in order to prepare a short 5-10 min presentation that will summarize the most important ideas and introduce the key questions for discussion. Additionally, everyone should read and prepare 4 more texts (text 13-16). Everyone should scan-read ALL texts. Texts will be assigned during the first day of the course.

4. READING SEMINARSDuring the first 2 days of the second week, we will hold 4 reading seminars in which we will discuss the texts. The seminars will work around short presentations by the reading pairs and group discussions.

5. CRITICAL FICTIONSEach student must produce a serious critical fiction/reflection in the form of a short text (1000-3000 words) that will develop ideas/issues/questions dealt with in the course. Finished papers must be sent via email to alberto.altes@upc.edu before midnight on Thursday 20th of June 2013.

6. FINAL PRESENTATIONEach student must prepare a very short, intense and critical presentation/synthesis of the text/fiction/research produced, in the form of a PECHA_KUCHA (X)x(Y)=360sec*. Presentations must be 360 seconds long maximum and consist of a file that can be played full-screen, and an enactment of the text. This presentations should be brought to the class in a USB drive. All presentations will take place the last day of the course on the 21st of June 2013.PECHA_KUCHA 360: (X slides)x(Y seconds)=360 seconds total

Escola Tècnica Superior d’Arquitectura del Val lès

. d

isse

nsu

s 8

_ s

pri

ng

_se

me

ste

r 2

012

-20

13

www.etsav.edu/assignatures/dissensus departament d’expressió gràfica arquitectònica

Escola Tècnica Superior d’Arquitectura del Val lès

10

MAIN BIBLIOGRAPHY AND REFERENCES

Agamben, Giorgio (2005), State of exception, (Chicago: University of Chicago Press).Barber, Stephen (2002), Projected cities, (London: Reaktion).Bauman, Zygmunt (2000), Liquid modernity, (Cambridge Malden, MA: Polity Press Blackwell).Bazin, André (2005), What is cinema, (Berkeley: University of California Press).Benjamin, Walter, et al. (2008), The work of art in the age of its technological reproducibility : and other writings on media, (Cambridge, Mass. ; London:Belknap Press of Harvard University Press).Bhabha, Homi K (2004), The location of culture, (London ; New York: Routledge).Bruno, Giuliana (2002), Atlas of emotion : journeys in art, architecture, and film, (New York ; London: Verso).Clarke, David B (1997), The cinematic city, (London ; New York: Routledge).Debord, Guy (1995), The society of the spectacle, (1st paperback ed edn., New York: Zone Books).Deleuze, Gilles and Félix Guattari——— (1983), Anti-Oedipus : capitalism and schizophrenia, (Minneapolis: University of Minnesota Press).——— (1987), A thousand plateaus : capitalism and schizophrenia, (Minneapolis: University of Minnesota Press).Delgado, Manuel (1999), El Animal Publico: Hacia Una Antropologia de Los Espacios Urbanos (Spanish Edition), (Editorial Anagrama).Denzin, Norman K (1995), The cinematic society : the voyeur’s gaze, (London ; Thousand Oaks, Calif: Sage Publications).Easterling, Keller (2005), Enduring innocence : global architecture and its political masquerades, (Cambridge, Mass: MIT Press).Gadamer, Hans-Georg (2006), Estetica y Hermeneutica/ Aesthetics and Hermeneutics (Spanish Edition), (Tecnos Editorial S a).Gorostiza, López, Jorge (2007), La profundidad de la pantalla : arquitectura + cine, (Santa Cruz de Tenerife,Colegio Oficial de Arquitectos deCanarias).Harvey, David (1990), The condition of postmodernity : an enquiry into the origins of cultural change, (Cambridge, Mass: Blackwell).Jameson, Fredric (1977), Aesthetics and politics : Ernst Bloch, Georg Luka?cs, Bertolt Brecht, Walter Benjamin, Theodor Adorno, (London: NLB).Koolhaas, Rem, et al. (1998), Small, medium, large, extra-large : OMA, Rem Koolhaas, and Bruce Mau, (2d ed edn., New York, N.Y: Monacelli Press).Kracauer, Siegfried (1997), Theory of film : the redemption of physical reality, (Princeton,N.J. ; Chichester: Princeton University Press).Latour, Bruno——— (1993), We have never been modern, (Cambridge, Mass: Harvard University Press).——— (2005), Making things public : atmospheres of democracy, (Cambridge, Mass: MIT Press ZKM/Center for Art and Media in Karlsruhe).——— (2005), Reassembling the social : an introduction to actor-network-theory, (Oxford ; New York: Oxford University Press).Lefebvre, Henri——— (1991), The production of space, (Oxford, OX, UK ; Cambridge, Mass., USA: Blackwell).——— (2006), La presencia y la ausencia : contribución a la teoría de las representaciones, (México: Fondo de Cultura Económica).Massumi, Brian (2002), Parables for the virtual : movement, affect, sensation, (Post-contemporary interventions; London: Duke University Press).Mennel, Barbara Caroline (2008), Cities and cinema, (London ; New York: Routledge).Merleau-Ponty, Maurice (2002), Phenomenology of perception, (Routledge classics; London: Routledge).Pallasmaa, Juhani——— (2001), The architecture of image : existential space in cinema, (Helsinki: Rakennustieto).——— (2005), The eyes of the skin : architecture and the senses, (Chichester: Wiley-Academy).Rancière, Jacques——— (2006), The politics of aesthetics : the distribution of the sensible, (Pbk. ed edn., London ; New York: Continuum).——— (2007), The future of the image, (English ed edn., London ; New York: Verso).——— (2009), The emancipated spectator, (London: Verso).Segal, Rafi, Eyal Weizman (2003), A civilian occupation : the politics of Israeli architecture, (Tel Aviv, Israel New York: Babel VERSO).Sennett, Richard (1992), The fall of public man, (New York: W.W. Norton).Shiel, Mark and Tony Fitzmaurice (2001), Cinema and the city : film and urban societies in a global context, (Oxford, Blackwell Publishers).Soja, Edward W (2000), Postmetropolis : critical studies of cities and regions, (Malden, MA: Blackwell Publishers).Vidler, Anthony (2008), Architecture between spectacle and use, (Sterling and Francine Clark Art Institute Distributed by Yale University Press).Vogel, Amos and Scott MacDonald (2005), Film as a subversive art, (London [New York]: CT Editions D.A.P./Distributed Art Publishers).Wenders, Wim (1992), The act of seeing : Texte und Gespräche, (Frankfurt am Main: Verlag der Autoren).Wigley, Mark (1998), Constant’s New Babylon : the hyper-architecture of desire, (Rotterdam: Witte de With: 010 Publishers).Zizek, Slavoj——— (2006), The parallax view, (Cambridge, Mass: MIT Press).——— (2009), En defensa de la Intolerancia, (Madrid: Sequitur).Zunzunegui, Díez, Santos (1998), Pensar la imagen, (Signo e imagen ; 15; Madrid: Cátedra : Universidad del País Vasco).

Escola Tècnica Superior d’Arquitectura del Val lès

. d

isse

nsu

s 8

_ s

pri

ng

_se

me

ste

r 2

012

-20

13

www.etsav.edu/assignatures/dissensus departament d’expressió gràfica arquitectònica

Coordination: Alberto Altés, Lecturer, PhD Candidate, UPC

Guest Faculty: (to be announced)

5.0 ETSAV CREDITS // 4.0 ECTS Course Code: 47062

. dissensus

. architecture . film . politics

Escola Tècnica Superior d’Arquitectura del Val lès

12

“The raw awareness that you have the power to change the world is more important than any other resource. Self-determination must be established on a daily basis, by acting back on the world that acts upon you - whether that means calling in sick to work on a sunny day, starting a neighborhood garden with your friends, or toppling a government. You cannot make a revolution that distributes power equally except by learning firsthand how to exercise and share power - and that exercising and sharing, on any scale, is itself the ongoing, never-concluded project of revolution. What you do today is itself the extent of that revolution, its limits and its triumph.”(CrimethInc. )