dag derde jaars,
het scenariolesrooster de komende weken:
26 februari
10-12.30
11 maart
10-12.30 Merleau-Ponty
25 maart
11-17.30 Amsterdamdag
11:00 SMCS bookshop (meeting point)
11:15 SMCS Magnum
14:30 FOAM
16:00 SMBA
17:00 Athenaeum
8 april
10-12.30
zondag 3 februari 2008
Een selectie uit de A+CD Scenario bibliografie:
Allen, Robert C., ed., Channels of discourse, reassembled, Routhledge, 1992.
Benjamin, Walter, Het kunstwerk in het tijdperk van zijn technische reproduceerbaarheid, SUN, 1985.
Berger, John, Ways of Seeing, British Broadcasting Corporation, London, 1972 ISBN 0 563 122447 / Penguin Books ISBN 0 14 013515 4
Blackburn, Simon, Plato’s Republic, Atlantic Books, London, 2006.
Brecht, Bertolt, Über Theater, Reclam, 1964.Dudley, Andrew, Film in the aura of art, Princeton University Press, 1984.
Foster, Hal, Design and Crime, Verso, New York, 2002
Godard, Jean-Luc, Alphaville, Weekend, Classic Film Scripts, Lorrimer London, 1984.
Goldberg, Roselee, Performance Art, from Futurism to the Present, Thames and Hudson, 1988.
Gombrich, E.H., Art and Illusion, A study in the psychology of pictorial representation, Phaidon Press, Oxford, 1960.
Gorris, Marleen, Drie Scenario’s, in: Het Nederlands scenario, International Theatre & Film Books, Amsterdam, 1990.
Groome, David, An Introduction to Cognitive Psychology, Psychology Press, New York, 2006.
Heywood, Ian, Social theories of art, New York University Press, 1997.
Hyde, Lewis, The Gift, Canongate, Edinburgh, 2007.
Keuken, Johan van der, Zien, Kijken, Filmen, Van Gennep, Amsterdam, 1980.
Kristeva, Julia, De vreemdeling in onszelf, Contact, Amsterdam, 1991.
Küppers, Harald, Die Farbenlehre der Fernseh-, Foto- und Drucktechnik; Farbentheorie der visuellen Kommunikationsmedien, DuMont++ Buchverlag Köln, 1985.
Luyendijk, Joris, Het zijn net mensen, Podium, Amsterdam, 2006.
Maffei, Lamberto, ed., Beeldende kunst en onze hersenen, Veen, Amsterdam, 1997.
Mannoni, Laurent, Eyes, Lies and Illusions, The art of deception, Hayward Gallery, London, 2005.
Moore, Michael, The official Fahrenheit 9/11 reader, Simon and Schuster, New York, 2004.
NFTA, handboek camera, Amsterdam, 2006.
Raessens, Joost, Filosofie & Film, Deleuze en de cinematografische moderniteit, DAMON Budel, Amsterdam, 2001.
Ruven, Paul, Het geheim van Hollywood, 2007.
Sennett, Richard, The fall of public man, Knopf, New York, 1986.
Sylvester, David, Moonraker, Strangelove and other celluloid dreams: the visionary art of Ken Adam, Serpentine Gallery, London, 1999.
Truffaut, François, Jules et Jim, découpage intégral, Points Films, 1972.
Allen, Robert C., ed., Channels of discourse, reassembled, Routhledge, 1992.
Benjamin, Walter, Het kunstwerk in het tijdperk van zijn technische reproduceerbaarheid, SUN, 1985.
Berger, John, Ways of Seeing, British Broadcasting Corporation, London, 1972 ISBN 0 563 122447 / Penguin Books ISBN 0 14 013515 4
Blackburn, Simon, Plato’s Republic, Atlantic Books, London, 2006.
Brecht, Bertolt, Über Theater, Reclam, 1964.Dudley, Andrew, Film in the aura of art, Princeton University Press, 1984.
Foster, Hal, Design and Crime, Verso, New York, 2002
Godard, Jean-Luc, Alphaville, Weekend, Classic Film Scripts, Lorrimer London, 1984.
Goldberg, Roselee, Performance Art, from Futurism to the Present, Thames and Hudson, 1988.
Gombrich, E.H., Art and Illusion, A study in the psychology of pictorial representation, Phaidon Press, Oxford, 1960.
Gorris, Marleen, Drie Scenario’s, in: Het Nederlands scenario, International Theatre & Film Books, Amsterdam, 1990.
Groome, David, An Introduction to Cognitive Psychology, Psychology Press, New York, 2006.
Heywood, Ian, Social theories of art, New York University Press, 1997.
Hyde, Lewis, The Gift, Canongate, Edinburgh, 2007.
Keuken, Johan van der, Zien, Kijken, Filmen, Van Gennep, Amsterdam, 1980.
Kristeva, Julia, De vreemdeling in onszelf, Contact, Amsterdam, 1991.
Küppers, Harald, Die Farbenlehre der Fernseh-, Foto- und Drucktechnik; Farbentheorie der visuellen Kommunikationsmedien, DuMont++ Buchverlag Köln, 1985.
Luyendijk, Joris, Het zijn net mensen, Podium, Amsterdam, 2006.
Maffei, Lamberto, ed., Beeldende kunst en onze hersenen, Veen, Amsterdam, 1997.
Mannoni, Laurent, Eyes, Lies and Illusions, The art of deception, Hayward Gallery, London, 2005.
Moore, Michael, The official Fahrenheit 9/11 reader, Simon and Schuster, New York, 2004.
NFTA, handboek camera, Amsterdam, 2006.
Raessens, Joost, Filosofie & Film, Deleuze en de cinematografische moderniteit, DAMON Budel, Amsterdam, 2001.
Ruven, Paul, Het geheim van Hollywood, 2007.
Sennett, Richard, The fall of public man, Knopf, New York, 1986.
Sylvester, David, Moonraker, Strangelove and other celluloid dreams: the visionary art of Ken Adam, Serpentine Gallery, London, 1999.
Truffaut, François, Jules et Jim, découpage intégral, Points Films, 1972.
ethics of storytelling, and of listening
PUBLIC LECTURE BY MIKA HANNULA
Feb. 5, 2008, 19.30h
Location: Piet Zwart Institute, Mauritsstraat 36, 3012 CJ Rotterdam
Ethics of Storytelling
According to the Aristotelian idea of seeing life as a narrative, a good life of a human being is spent searching for the good life of a human being. This is not an empty tautology. Rather, it forces us to provide contextualized versions for what it means to be an active, critical and self-reflective human being. The idea of seeing life as a narrative also points directly to the obvious consequence: if and when it is a narrative, there are always plural, contested and conflictual ways to describe yourself.
Two writers that have articulated the power of self-definition through narratives are Albert Camus and Salman Rushdie. They describe the power to be able to participate in the production of meanings as situated and embedded selves.
For Paul Ricoeur, the core of ethics of narratives is our ability and responsibility to tell time-
and place-bound as well as value-laden stories - stories that push forward alternatives and different viewpoints. But is this enough? Mika Hannula claims that we ought to demand more from the idea of ethics of storytelling, and to pay attention to the dual character of storytelling. For any kind of story, we need the ones who tell it, and the ones who listen to it. Thus, we need a context, and we need a reciprocal relationship. We require not only the ethics of telling the story, but also the ethics of listening.
A lecture in the framework of the thematic seminar "One-Eye, Two-Eyes,
and Three-Eyes - On the Notion of Storytelling" held at the Piet Zwart
Institute by the UQBAR FOUNDATION
www.uqbarfoundation.org
www.pzwart.wdka.hro.nl
Feb. 5, 2008, 19.30h
Location: Piet Zwart Institute, Mauritsstraat 36, 3012 CJ Rotterdam
Ethics of Storytelling
According to the Aristotelian idea of seeing life as a narrative, a good life of a human being is spent searching for the good life of a human being. This is not an empty tautology. Rather, it forces us to provide contextualized versions for what it means to be an active, critical and self-reflective human being. The idea of seeing life as a narrative also points directly to the obvious consequence: if and when it is a narrative, there are always plural, contested and conflictual ways to describe yourself.
Two writers that have articulated the power of self-definition through narratives are Albert Camus and Salman Rushdie. They describe the power to be able to participate in the production of meanings as situated and embedded selves.
For Paul Ricoeur, the core of ethics of narratives is our ability and responsibility to tell time-
and place-bound as well as value-laden stories - stories that push forward alternatives and different viewpoints. But is this enough? Mika Hannula claims that we ought to demand more from the idea of ethics of storytelling, and to pay attention to the dual character of storytelling. For any kind of story, we need the ones who tell it, and the ones who listen to it. Thus, we need a context, and we need a reciprocal relationship. We require not only the ethics of telling the story, but also the ethics of listening.
A lecture in the framework of the thematic seminar "One-Eye, Two-Eyes,
and Three-Eyes - On the Notion of Storytelling" held at the Piet Zwart
Institute by the UQBAR FOUNDATION
www.uqbarfoundation.org
www.pzwart.wdka.hro.nl
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