SILABUS Mata Kuliah : Kajian Seni Rupa I Program Studi S2 : Penciptaan dan Pengkajian Seni Pascasarjana, ISI Surakarta SKS :4 SMESTER :1 Dosen : Dr. Guntur, M.Hum A. DESKRIPSI MATA KULIAH Seni merupakan ekspresi pengalaman keindahan. Pengalaman keindahan yang diekepsresikan melalui beragam bentuk, gaya, teknik, dan media. Akan tetapi seni bukan semata-mata persoalan keindahan. Seni bertalian dengan beragam aspek kehidupan, seperti: sosial, kultural, religi, politik, dan ekonomi. Seni yang dimaksud meliputi: lukis, patung, arsitektur, kriya, dan desain. Mata kuliah ini membahas fenomena seni dari berbagai perspektif, seperti: estetika, sosiologi (seni), antropologi (seni), sejarah (seni), dan komunikasi simbolik. B. ORGANISASI PERKULIAHAN Tatap muka di kelas, bahan ajar, tugas, dan presentasi adalah bagian integral dari proses pembelajaran guna membantu pencapaian kompetensi mahasiswa. Tatap muka didukung oleh citra digital dan presentasi multi-media. Bahan ajar terdiri dari buku dan artikel. Mahasiswa melakukan penelitian awal terkait rencana penelitian tesis. Untuk memperkuat pengalaman intelektual, setiap mahasiswa wajib mempresentasikan hasil penelitian dan mendiskusikannya di kelas. C. TUJUAN • Memiliki pengetahuan dan wawasan tentang relasi seni dalam beragam aspek kehidupan • Memiliki kemampuan menganalisis dan menggambarkan fenomena seni • Meningkatkan daya apresiasi seni terhadap fenomena sosial, kultural, politik D. KOMPETENSI • Mampu menjelaskan fenomena seni (rupa dan desain) dari berbagai teori atau pendekatan. • Mahasiswa memahami relasi seni dengan fenomena religi, sosial, kultural, ekonomi, dan politik. • Mampu mengaplikasikan teori atau pendekatan dalam mengkaji fenomena seni (rupa dan desain) • Mampu mempresentasikan hasil kajian E. MATERI KULIAH:
1. SENI DAN ILMU PENGETAHUAN Membahas seni, ilmu, dan pengetahuan. Imajinasi dan pengalaman. Relasi dan kontribusi seni dalam ilmu pengetahuan, dan relasi dan kontribusi ilmu pengetahuan dalam seni. Dalam hal ini juga dibahas konsepsi Hegel tentang seni dan pikiran. REFERENSI: Garfield, Eugene. “Art and Science. Part 1. “The Art-Science Connection”, No. 8, p.1-10, February 20, 1989; Essays of an Information Scientist: Creativity, Delayed Recognition, and other Essays, Vol:12, 1989: 54-61. Kabbani, Raifah M. “Conservation: A Collaboration Between Art and Science”. The Chemical Educator, 1 / Vo. 2, , 1997. http://journals.springer-ny.com/chedr “Hegel, art and mind”. Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge. 2005: 52-54 “Art, science and knowledge”. Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge. 2005: 54-58 “Aesthetic cognitivism, for and against”. Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge. 2005: 58-62 “Imagination and experience”. Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge. 2005: 62-65 “The objects of imagination”, pp: 65-68. Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge. 2005 “Art and the world”, pp: 68-70. Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge. 2005 “Understanding as a norm”, pp: 70-73. Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge. 2005 “Art and human nature”, pp: 73-74. Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge. 2005 Ramachandran, V.S. and Hirstein, William. “The Science of Art: A Neurological Theory of Aesthetic Experience”. Journal of Consciousness Studies, 6, No. 6-7, 1999: 15-51. Cloonan, Thomas F. “Art and Flesh: A Psychology of Art by Way of Merleau-Ponty”. Les Collectifs du Cirp, Volume 1 (édition spéciale), 2010: 61-76.
Smagorinsky, Peter. “Vygotsky‟s Stage Theory: The Psychology of Art and the Actor under the Direction of Perezhivanie”. Mind, Culture, and Activity, 18: 319–341, 2011. Nader, Kamali and Moosa, Javdan. “The Relationship between Art and Psychology”. J. Life Sci. Biomed. 2(4): 129-133. Lindauer, Martin S. “Interdiciplinarity, the Psychology of Art, and Creativity: An Introduction”. Creativity Research Journal, Vol. 11, No. 1, 1998: 1-10. 2. SENI, KEBUDAYAAN, DAN MASYARAKAT Membahas seni dalam perspektif sosiologi (seni). Seni dan institusi seni, seni dan kehidupan sosial, fungsi seni. Institusi seni meliputi seniman, galeri, kurator, kritikus, dan museum. Dibahasa juga tentang seni dalam struktur sosial, fungsi sosial seni dalam kehidupan masyarakat. Membahas fenomena seni dalam perspektif kebudayaan. Seni dalam realitas sosial, ekonomi, religi, dan politik. REFERENSI: “Art as Ideology”. Wolff, Janet. The Social Production of Art, pp: 50-70. Carter, Curtis. “Artists and Social Change”. International Yearbook of Aesthetics, Volume 13 (Art and Social Change), 2009: 1938. “Art as an institution”. Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge.2005: 228-230. “The role of the arts in a local economy”. Heilbrun, James and Gray, Charles M. The Economics of Art and Culture, Second Edition, 2004: 336-360. “Art and social aspiration”. Eldridge, Richard. An Introduction to the Philosophy of Art, Cambridge: Cambridge University Press, 2003: 248-249. 3. SENI DAN INDUSTRI Membahas seni dalam konteks industri, ekonomi kreatif, dan industri kreatif. Seni industri dan industri seni, seni pasar dan pasar seni. REFERENSI: “The market in art” . Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge.2005: 193-195. Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge.2005 “Art and leisure”. Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge. 2005: 195-1998
McNally, Joseph, “Art and Industry”. Heritage, No. 3, 1978: 6371. Roodhouse, Simon.”The Creative Industries: Definitions, Quantification and Practice”. Christiane Eisenberg, Rita Gerlach and Christian Handke (eds.). Cultural Industries: The British Experience in International Perspective. 2006: 13-32. Online. Humboldt University Berlin, Edoc-Server. Available: http://edoc.hu-berlin.de. United Nation Education, Scientific and Cultural Organisastion. “Understanding Creative Industries: Cultural statistics for publicpolicy making” Kusumastuti, Yuliana. “Market Forces: A Case Study of Contemporary Art Practice in Indonesia”. Master Thesis: Charles Darwin University Erler, Alexandre. “Dickie‟s Institutional Theory and The “Openness” of The Concept of Art”. Postgraduate Journal of Aesthetics, Vol. 3, No. 3, December 2006: 110-117. “The market in works of art”. Heilbrun, James and Gray, Charles M. The Economics of Art and Culture, Second Edition, 2004:165187. 4. SENI DAN KOMUNIKASI Membahas seni dari perspektif komunikasi, seni sebagai ekspresi emosi, ekspresi artistik sebagai intepretasi, seni sebagai komunikasi simbolik. REFERENSI: González, José Juan. “Art as the Expression of Emotion in the Language of Imagination: Dickie's Misunderstandings of Collingwood's Aesthetics”. Art, Emotion and Value. 5th Mediterranean Congress of Aesthetics, 2011: 175-184. Ingram, P. G. “Collingwood's Theory of Art as Language”. Master Thesis: McGrill University, Montreal, Canada, 1971. Collingwood, R.G. The Principles of Art. Oxford: Oxford Claredon Press, 1945: 282-295. Dilworth, John. “Artistic Expression as Interpretation”. British Journal of Aesthetics, 44, No. 1 (January 2004), pp. 10-28. “Art as Expression”. Carroll, Noël. Philosophy of Art: A contemporary introduction. London and New York: Routledge, 1999: 66-79. Thyssen, Ole. “Aesthetic Communication”. Online International Journal of Arts and Humanities, 2012. http://www.onlineresearchjournals.org/IJAH Leder, Helmut, Belke, Benno, Oeberst, Andries and Augustin, Dorothee. “A model of aesthetic appreciation and aesthetic judgments”. British Journal of Psychology (2004), 95, 489–508.
Danto, Arthur C. “From Aesthetics to Art Criticism and Back”. The Journal of Aesthetics and Art Criticism, Vol. 54, No. 2. (Spring, 1996), pp. 105-115. Thampi, G. B. Mohan. "Rasa" as Aesthetic Experience”. The Journal of Aesthetics and Art Criticism, Vol. 24, No. 1, Oriental Aesthetics (Autumn, 1965), pp. 75-80. 5. SENI DAN KREATIVITAS Seni merupakan fenomena psikologi, kreativitas. Membahas tentang seni dan psikologi seniman, seni sebagai ekspresi psikologi. REFERENSI: “Imagination and experience”. Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge. 2005: 62-65 Smagorinsky, Peter. “Vygotsky‟s Stage Theory: The Psychology of Art and the Actor under the Direction of Perezhivanie”. Mind, Culture, and Activity, 18: 319–341, 2011. Dilworth, John. “Artistic Expression as Interpretation”. British Journal of Aesthetics, 44, No. 1 (January 2004), pp. 10-28. González, José Juan. “Art as the Expression of Emotion in the Language of Imagination: Dickie's Misunderstandings of Collingwood's Aesthetics”. Art, Emotion and Value. 5th Mediterranean Congress of Aesthetics, 2011: 175-184. Feldman, Edmund Burke. Art as Image and Idea, New Jersey: Prentice-Hall, Inc., pp: 50 -53. 6. SENI DAN ESTETIKA Membahas teori seni dan teori estetika. Teori seni imitasionalisme, ekspresionalisme, formalisme. Estetika klasik, neoklasik, modern, dan posmodern. REFERENSI: Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge.2005 “Beauty and pleasure”, Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge.2005: 14-16. “Kant on beauty”. Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge.2005: 16-19. “The aesthetic attitude and the sublime‟. Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge.2005: 19-21.
“Art and the aesthetic‟. Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge.2005: 21-23. “The art of the readymade” . Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge.2005: 188-191 “Conceptual art” . Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge.2005: 191-193. “Objectivism vs subjectivism” . Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge.2005: 200-203. “Art and interpretation” . Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge.2005: 203-207. “The artist‟s intention and the „intentional fallacy‟” . Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge.2005: 207213. “The aesthetics of nature” . Graham, Gordon. Philosophy of the Arts: An introduction to aesthetics, Third Edition. London and New York: Routledge.2005: 213-218. Leder, Helmut, Belke, Benno, Oeberst, Andries, and Augustin, Dorothee. “A model of aesthetic appreciation and aesthetic judgments”. British Journal of Psychology, 95, 2004: 489–508. Rosenstein, Leon. “The End of Art Theory”. Humanitas, Volume XV, No. 1, 2002: 32-58. Leder, Helmut, Belke, Benno, Oeberst, Andries, and Augustin, Dorothee. “A model of aesthetic appreciation and aesthetic judgments”. British Journal of Psychology, 95, 2004: 489–508. Carney, James D. “A Historical Theory of Art Criticism”.Journal of Aesthetic Education, Vol. 28, No. 1 (Spring, 1994), pp. 13-29. Zangwill, Nick. “Art and Audiens”. The Journal of Aesthetics and Art Criticism, Vol. 57, No. 3, (Summer, 1999), pp: 315-332. Nemser, Cindy. “Art Criticism and Perceptual Research”. Art Journal, Vol. 29, No. 3 (Spring, 1970), pp. 326-329. Tekiner, Deniz. “Formalist Art Criticism and the Politics of Meaning”. Social Justice, Vol. 33, No. 2 (104), Art, Power, and Social Change (2006), pp. 31-44. Weitz, Morris. “The Role of Theory in Aesthetics”. The Journal of Aesthetics and Art Criticism, Vol. 15, No. 1 (Sep., 1956), pp. 27-35. 7. TUGAS PENELITIAN Mahasiswa melakukan penelitian lapangan sesuai dengan rencana topik penelitian tesis dengan menggunakan pendekatan tertentu. Mahasiswa
menyusun proposal penelitian sesuai dengan panduan penulisan. Mahasiswa menyerahkan proposal penelitian tesis kepada dosen. 8. PRESENTASI HASIL PENELITIAN Mahasiswa mempresentasikan dan mendiskusikan proposal penelitian di kelas dengan difasilitasi dosen pengampu. Mahasiswa melakukan revisi sebelum menyerahkan proposal final kepada dosen. HAK DAN KEWAJIBAN 1. Mahasiswa berhak memperoleh pengahargaan berupa nilai pada mata kuliah yang ditempuh setelah memenuhi persyaratan 2. Mahasiswa berhak menggunakan fasilitas dan sumber belajar yang ada sesuai dengan ketentuan yang ada 3. Mahasiswa wajib mengikuti perkuliahan sekurang-kurangnya 75 ℅ dari rencana tatap muka 4. Mahasiswa wajib menyelesaikan tugas 5. Mahasiswa wajib mempresentasikan tugas 6. Perubahan jadwal perkuliahan dimungkinkan atas persetujuan mahasiswa dan dosen. NILAI MATA KULIAH 1. Sistem evaluasi pembelajaran menggunakan sistem penilaian berbasis kinerja (portofolio) 2. Nilai mata kliah merupakan jumlah kumulatif dari setiap komponen nilai sesuai dengan bobotnya masing-masing 3. Komponen nilai terdiri dari: kehadiran tatap muka, aktivitas kelas, penyelesaian tugas, dan presentasi tugas 4. Bobot komponen nilai, kehadiran tatap muka = 40 ℅, aktivitas kelas = 10 ℅, penyelesaian tugas = 30 ℅, dan presentasi tugas = 20 ℅.
