La deriva situacionista como herramienta pedagógica

Abstract

The objective of the thesis Situationist drift as a pedagogical tool is to elucidate the contributions of situationist discourse which concern contemporary art practices as potential critical research tools, social exploration and reflection program. The hipothesis of this work is that the analysis of psychogeography, dérive and détournement from the angle of knowledge production, can shed valuable light on the ability of our teaching practices to generate experiences that challenge owr own standards of perceptual, visual, urban and everyday systems, as well as our interpretations of the real and the imaginary. Its legacy to the consolidation of a theoretical and methodological pedagogical dimension of contemporary art foundation is the claim that fiction is a part of our reality that dispenses with the relations between signs and images, including how one creates meaning and others make us see. To argue it, the body of this work consists of the following chapters besides this introduction and epilogue: II. The educational vocation of the vanguards. Aesthetic, moral, political and overcoming art (narrative axis), III. Paradoxes common between the program and the Situationist concept of educational mediation of contemporary art (theoretical approach); VI. Situationist drift as a teaching tool (argumentative axis); V Analysis of the educational program Landscapes en route to the cultural space Casa Vecina in Mexico City (practical axis). The second chapter begins to narrate the educational dimension of Situationist strategies on the horizon of what Jacques Rancière calls a pedagogical vocation more longing for critical art that animates all the 'aesthetic regime of the arts' and goes from the principles of aesthetic education as was conceptualized by Friedrich Schiller, certain programs of historical vanguards that have made art play a political role, also going through some guidelines of German Romanticism approaches. The third chapter seeks to theoretically substantiate the four paradoxes shared between the Situationist characterization of the show and the concept of educational mediation that determine most of our programs. It is proposed in its place, not so much a solution to the fundamental ambivalence that circumscribes our skills as a focus of educational mediation from a conception of emancipation as formulates Jacques Rancière in The Ignorant Schoolmaster (1987): the process of verification of equal intelligence in all its manifestations. In the fourth, the contributions of the Situationist tools to discourses that deal with the complexity of contemporary art in the field of art education and the place of knowledge in our spaces and circulation channels are elucidated. The fifth section is examined as a case study, my proposed educational program developed Landscapes in route in City of Mexico, which crystallizes the practical application of the Situationist drift as a teaching tool. The purpose of the program was ultimately the generation of heuristic experiences related to spontaneous nature of disorientation, a search for 'playful-constructive' actions as opposed to our daily lives.

Date of Award	17 Dec 2014
Original language	Spanish
Supervisor	Gerard Vilar Roca (Director) & Jessica Patrici Jaques Pi (Director)