A.

COURSE INFORMATION

COURSE ARTAP 10 NO. OF 3

NUMBER UNITS

COURSE TITLE Art Appreciation

PREREQUISITE/S N/A

DEPARTMENT/ Fine Arts SCHOOL Humanities

PROGRAM

SCHOOL YEAR 2022-2023 SEMESTER First Semester

INSTRUCTOR/S Allan Justo Pastrana

VENUE Areté: SECTION K SCHEDULE TF/0930-1100

Innovation
202

B. COURSE DESCRIPTION

This course provides an approach to art appreciation that integrates both personal context
and various critical frameworks into opportunities for participation in the discourses centered
on art and society. Through interactions with historical and contemporary art practices,
students will gain insight into ongoing treatments of art across diverse cultures. This
culminates in one's humanistic understanding and response.
 FORMATION STAGE IN LOYOLA SCHOOLS CURRICULA FRAMEWORK

FOUNDATIONS: Exploring and Equipping the Self

✓ ROOTEDNESS: Investigating and Knowing the World

DEEPENING: Defining the Self in the World

LEADERSHIP: Engaging and Transforming the World

ALIGNMENT TO CORE CURRICULUM LEARNING OUTCOMES

✓ CCLO 1 Demonstrate effective communication skills (listening and speaking,

reading and writing) in English and Filipino.

CCLO 2 Evaluate information and issues in various spheres of life using

mathematical reasoning and statistical tools to process and
manage data.

✓ CCLO 3 Propose ways to address pressing social and ecological problems using
appropriate critical approaches and scientific thinking

✓ CCLO 4 Develop a creative and moral imagination that is responsive to

contemporary global realities and challenges, but also deeply rooted in
local histories, conditions, norms, and institutions.

CCLO 5 Internalize the significance and value of her/ his unique existence and
purpose in life in light of Christian faith.

CCLO 6 Discern life choices with a keen awareness of ethical dilemmas and
considerations.

CCLO 7 Exemplify a commitment to enhancing human life and dignity, especially

those who are excluded and in greatest need.

CCLO 8 Practice a vision of leadership and committed citizenship rooted

in Christian humanism.
C. COURSE LEARNING OUTCOMES

By the end of this course, students should be able to:

COURSE LEARNING OUTCOMES

CLO1: Situate various critical frameworks of appreciating art within the human experience,
as expressed through relationships between the global and local, the societal and the
personal.

CLO2: Participate in creative practices and critical discourses through discussions, visits to
art spaces, and watching performances, among others.

CLO3: Synthesize your context and engagements with art to gain insight on culture and self.

CLO4: Translate learning into personal and productive responses through critical essays
and creative output.

CLO5: Assess and articulate your appreciation of art as a result of the course.

CLO6: Demonstrate a more critical and broadening understanding of how issues

and perspectives intersect and reinforce each other through verbal, visual, or
written communication that is appropriate for various contexts and sources.

CLO7: Develop a sense of compassion and service, shaped by human encounters and
informed by an understanding of the socio-cultural, economic and political
infrastructures, leading to a discerned and critically engaged response.
D. COURSE OUTLINE and LEARNING HOURS

Course Outline CLOs Estimated

Contact
or Learning
Hours and
Onsite Sessions

Module 0: Introduction CLO 2, 3 Possible

onsite
Course Overview and Welcome, Course Materials, Meet meetings:
Your Coach and Community, Roles, Rules, and Routines, August 16, 23,
26, 30
Guidelines for Discussion (and Other Tasks),
Introductions Learning
hours:
Module 0 is made to touch base with students as 10 hours
individuals so as to approach the course in a
learner-manner. This will include small, ungraded
activities that can reveal the class’ overall basic
knowledge on art. It will also serve to ease the
students into preliminary terms, concepts, and
frameworks that will recur throughout the course.

Module 1: Encountering Art CLO 1, 2, 4, 5 Possible

onsite
What is art? How do I know when something in front meetings:
of me is art and not just some object? Is there September 2,
6, 9, 13, 16,
something about that object? Or is it art because it’s
20
beautiful or it moves me? It’s in a museum—it’s got to
be art, right? Learning
hours:
20 hours
The introductory module uses the instance of
interaction with art as its main material, investigating its
underlying questions and assumptions. The module
opens the discussion of art by framing the aesthetic
experience as something already part of the everyday,
and allowing that experience to stand as foundation for
the appreciation of art. The trajectory of this
appreciation would then include introductions to
frameworks (e.g. form-function-content,
art-artist-audience), languages of art (native, colonial,
contemporary, technological) and other manners by
which the creative practice has been theorized.

Module 2: Art and Reality CLO 1, 3 Possible

onsite
How many different ways can you paint a bowl of fruit? meetings:
Can’t you just photograph it? If I need to know September
23, 27, 30,
something about a car, what will a painting of it
October 4, 7,
realistically achieve? Why bother seeing the Spolarium in 11
the National Museum when I can see it in a book or with
Google image search? Why aren’t things like they are in Learning
movies? Why is my life like a movie? hours:
20 hours
This module tackles the multiple interactions between
art and reality. The topics range from the early
conceptions of art as imitation, the creation of
representations, the changes brought about by
mechanical reproduction, all up to the process of artistic
creation as also creation of realities, simulations, and
even fabrications. The module can also tackle notions of
creativity in the sense of artistic journeys—learning via
imitating styles, sources, and inspirations. Even art as
expression is seen as a variant of art trying to
create/recreate reality.

Module 3: Art and Value CLO 3, 4, 6, 7 Possible

onsite
Why are the paintings in the malls cheaper than the meetings:
ones in the gallery? Who cares if this is pop, rock, or pop October 14,
18, 21, 25, 28,
rock? I’m really into it, though, does that make me
November 4
hipster? Why is watching ballet more “cultured” than
watching a rom-com? Learning
hours:
20 hours
This module focuses on the multiple relationships
between art and its values. The topics range from the
conceptions and promises of style, the need for
categorization, the divides between high art and low art,
the creation of taste, up to its contextualization in
cultures. Also included in this module would be an
introduction to the different art ecologies and
institutions, their creations and productions, essentially
clarifying how value is mediated between these shifting
parts.

Module 4: Art and Identity CLO 2, 4, 5, 6, 7 Possible

onsite
Why is there an entire library for women’s writings? Is meetings:
it Filipino because the artist is Filipino, or because it November 8,
11, 15, 18, 22,
depicts life in the Philippines? What is this saying
25
about the artist? What is this saying about me?
Learning
The fourth module focuses on the uninterrupted hours:
connection between art and identity. Here the discussion 20 hours
primarily focuses on the human aspect of art, whether as
artist or audience, and how these art interactions
formulate and at the same time modify existing notions
of identity. Although all of these will have already been
foregrounded throughout the whole course, this module
aims to make it the central question. The topics here also
include the weight of factors such as race, gender,
ethnicity, identification, culture, and even autobiography
as challenging pre-existing assumptions about the
connection between the human and art.
E. ASSESSMENTS AND RUBRICS

Assessment Assessment CLOs

Tasks Weight

Participation, especially in instructor-moderated, 15% CLO 1, 2, 3

small group panel discussions during onsite
sessions that will be graded per module. (See
Course Outline and Schedule above for dates of
possible onsite sessions)

1 individual analysis paper for Module 1: 25% CLO 1, 3, 4, 5

Encountering Art (will require understanding of
the formal elements and principles of an art form
being studied, will be assigned after
visiting/watching an art exhibit/performance,
around 500 words, to be submitted on
September 30).

Art documentation for Module 2: Art and Reality 15% CLO 1,3,4,5
(group work, where each group is tasked to
visit/watch/assess a particular art event, trend,
"location", performance, presentation, etc. and
then submit a documentation in the form of either
a podcast or talk show webisode, analyzing and
discussing the chosen subject, discussions are
expected to reflect learnings from class alongside
a critical investment in the relation between art
and reality within various contexts, to be
submitted on October 21).

Panel discussion for Module 3: Art and Value 15% CLO 1,2,3,4,5, 6, 7
(different groups will propose (during onsite
sessions) specific topics dealing with art and
value and critiqued/discussed by the entire
class, each member of the group acting as a
panel member taking one perspective of the
issue and making a coherent argumentation, can
take the form of a webisode by recording video
 conference of members to be submitted on
November 11).

Performing identities for Module 4: Art and 30% CLO 1,2,3,4,5, 6, 7

Identity (a creative and self-reflexive art project,
any art genre, that reflects not only learnings
throughout this module but also personal
understanding of one’s identity, accompanied by a
written essay, around 500 words—a
poetics/artist's statement of sorts, to be
submitted on the last week of the term for the
culminating arts presentation).

Each course requirement will be graded based on the following criteria:

INDICATIVE CRITERIA ASSESSMENT

WEIGHT

CONTENT 50%
● Knowledge, understanding, and awareness of
complexity
● Engagement with the question/prompt
● Relevance of insight/argument

ORGANIZATION 30%
● Structure
● Extent and depth of research
● Use of sources

PRESENTATION 20%
* modifiable criteria befitting the requirement's
form/medium
● Written/oral style
● Surface literacy
● Accuracy of references
F. TEACHING and LEARNING METHODS

TEACHING & LEARNING METHODS and ACTIVITIES CLOs

Class discussions and recorded lecture videos CLO 1, 2, 5

Visiting art spaces CLO 2, 3

Watching performances and videos and films on art CLO 1, 2, 3, 6, 7

Integration of online platforms (including, and especially, social CLO 3, 5, 6

media) in the delivery of lessons and required output from
students

Small-group panels and consultations CLO 1, 2, 3, 5, 7

Writing essays that are both personal and critical CLO 1, 3, 4, 5, 6

Creation and conceptualization of art projects CLO 2, 3, 4, 5, 6, 7

G. REQUIRED READINGS

Module 1: Encountering Art

Berger, John. "The White Bird." Selected Essays: John Berger. Ed. Geoff Dyer. New York:
Vintage, 2003. 567-572. Print.
Guillermo, Alice. “Reading the Image.” Image to Meaning: Essays on Philippine Art. Quezon
City: Ateneo De Manila University Press, 2001. 1-16. Print

Module 2: Art and Reality

Benjamin, Walter. “Work of Art in the Age of Mechanical Reproduction.” Illuminations. New York:
Harcourt, Brace & World, 1968. 217–251. Print.
Lico, Gerald. “Architecture and Society.” Edifice Complex: Power, Myth, and Marcos.
Quezon City: Ateneo De Manila University Press, 2001. 1-21. Print.

Module 3: Art and Value

Geczy, Adam. “Chapter 8: Money.” Art Histories, Theories and Exceptions.

Oxford: Berg Publishers, 2008. 131-144. Print.
Reyes, Soledad S. “From Darna to Zsa Zsa Zathurna: Desire and Fantasy.” From Darna to
Zsazsa Zaturnnah: Desire and Fantasy: Essays on Literature and Popular Culture.
 Manila. Anvil Publishing, 2009. 1-34. Print.
Santiago, Joseph Sedfrey. The Art of Collecting, An Introduction to the Philippine Market.
Quezon City: Ateneo de Manila Press, 2020. Print.

Module 4: Art and Identity

Datuin, Flaudette May. “Critical Categories as Social Categories.” Art Criticism Workshop:
Writing in Context, Context. Ed. Patrick Flores. Manila: National Commission for
Culture and the Arts, 1998. 33–43. Print.
Nochlin, Linda. "From 1971: Why Have There Been No Great Women Artists?" ARTnews.
ARTNews, 30 May 2015. Web. 02 Aug. 2016.
.

H. SUGGESTED READINGS

Aristotle. “Poetics.” The Norton Anthology of Theory and Criticism. Ed. Vincent B.
Leitch. New York: Norton, 2001. 90-117. Print.
Barthes, Roland. “From Work to Text.” The Norton Anthology of Theory and
Criticism. Ed. Vincent B. Leitch. New York: Norton, 2001. 1470–1475. Print.
Barthes, Roland. “The Death of the Author.” The Norton Anthology of Theory and
Criticism. Ed. Vincent B. Leitch. New York: Norton, 2001. 1466–1470. Print.
Baudrillard, Jean. “Simulation and Simulacra.” Jean Baudrillard – Selected Writings.
Ed. Mark Poster. Stanford, CA: Stanford UP, 1988. 166–184. Print.
Baudrillard, Jean. The System of Objects. Trans. James Benedict. New York: Verso, 1996.
181-205. Print.
Berger, John. “Chapters 5 and 7.” Ways of Seeing. London: Penguin Books, 1972.
83-112 and 129-155. Print
Collingwood, R. G. “Art Proper (1) As Expression.” The Principles of Art.
New York: Oxford UP, 1958. 105–24. Print.
Danto, Arthur. "The Artworld." The Journal of Philosophy 61.19 (1964):
571-84. JSTOR [JSTOR]. Web. 27 July 2015.
Danto, Arthur C. "The Transfiguration of the Commonplace." The Journal of
Aesthetics and Art Criticism 33.2 (1974): 139-48. JSTOR [JSTOR]. Web. 27
July 2015.
Dickie, George. “A Tale of Two Artworlds.” Danto and His Critics.
Ed. Mark Rollins. Oxford (UK): Blackwell, 2012. 111–117. Print.
Greenberg, Clement. “Avant-Garde and Kitsch.” Art and Culture: Critical
Essays. Boston: Beacon, 1989. 3–21. Print.
Howells, Richard, and Joaquim Negreiros. "Iconology." Visual Culture.
Cambridge: Polity, 2003. 11–31. Print.
Howells, Richard, and Joaquim Negreiros. "Form." Visual Culture. Cambridge: Polity, 2003.
31–50. Print.
Morrison, Toni. "Toni Morrison – Nobel Lecture." NobelPrize.org. Nobel Foundation,
 1993. Web. 8 Jan. 2020.
Plato. “Book X.” The Republic of Plato. Trans. Benjamin Jowett. Oxford: Clarendon, 1888.
307–38. Print.
Pollack, Barbara. "A Bowl of Pearls, a Ton of Tea, and an Olympic Stadium." ARTnews.
ARTnews, 7 Aug. 2015. Web. 2 Aug. 2016.
Reilly, Maura. "Linda Nochlin on Feminism Then and Now." ARTnews. ARTnews, 26 May
2015. Web. 2 Aug. 2016.
Shaw, Gwendolyn Dubois. “The “Rememory” of Slavery.” Seeing the Unspeakable:
The Art of Kara Walker. Durham: Duke UP, 2004. 37–65. Print.
Stalabrass, Julian, “The Rules of Art Now.” Contemporary Art – A Very Short
Introduction. Oxford: Oxford UP, 2006. 101–118. Print.
Tolstoy, Leo. “Chapter V.” What Is Art? Trans. Aylmer Maude. New York: Funk &
Wagnalls, 1904. 46–52. Print.
______.”Chapter XV.” What Is Art? Trans. Aylmer Maude. New York: Funk & Wagnalls, 1904.
152–55. Print.

I. GRADING SYSTEM

A 92-100 Excellent

B+ 87-91 Very Good

B 83-86 Good

C+ 79-82 Above Average

C 75-78 Average

D 70-74 Poor/Below Average

F 69 and below Failure

J. CLASS POLICIES AND PROCEDURES

1 Official LMS and Other Applications

Canvas will serve as the class’s official learning management system (LMS), while Google Meet or
Zoom will be used for video conferencing needs. Only officially enrolled students should have access
to these class platforms. Ideally, no requirements shall be accepted if not submitted through the LMS.
If you are having problems with these channels, inform the instructor as soon as possible or go to LS
One. Student access to the LMS will be closed one week after the electronic release of grades. For
students who encounter situations that will prevent them from accessing lectures, modules, and
other class materials through regular modes, requests for low-bandwidth or offline versions may be
communicated privately to the instructor so that they can make necessary arrangements ahead of
time.

2 Communication

Communication between faculty and students will be limited to the official LMS and official Ateneo
emails. We are all responsible for ensuring through habit and/or technological assistance (e.g., via
notification functions) that we are regularly updated and responsive. Let us also respect our own
personal circumstances and not expect real-time responses; 48 hours (not including weekends)
between a message and an acknowledgment and/or reply is reasonable.

3 Onsite Sessions with Provisions for Synchronous Learning and Asynchronous Methods

This is technically a fully onsite class, but necessary configurations and provisions must be available
given the volatility of our situation. All these decisions should of course comply with official University
memos on academic policies that are adapted to different learning methods addressing current needs
and circumstances. Students should follow all health protocols set forth in school regulations and
memos and city and national government rules and announcements. It is their responsibility to know
these things and to keep track of changes in official directives from these institutions.

In case there is a need for synchronous sessions, the following policies from previous fully online
setups shall apply. Synchronous sessions are held during official class hours. Details for those
meetings will be sent through official communication channels. Asynchronous provisions (i.e.,
recordings, transcripts) for all synchronous sessions will be provided within three days after the
scheduled session. Additional sessions that must be held outside of those hours will observe a
schedule amenable to the majority. Only the lecture-equivalent parts of the session will be recorded
and shared to protect student privacy. In an online setting, students are expected to participate in all
course activities, both synchronous and asynchronous. Unstable or irregular internet access and other
issues may prevent students from attending synchronous sessions; hence, attendance can’t and will
not be a basis for grading (especially for failing the course).

Measuring a student’s minimum commitment to a course, though, still includes participation in class.
So, in cases where participation in synchronous activities is crucial for the subject matter, the
instructor reserves the right to require a set number of synchronous sessions as a precondition for
certain graded requirements. Of course, you can request for reasonable accommodation necessitated
by challenges posed by the current situation, and alternatives to synchronous sessions may be
requested by the students and provided by the teacher. A student who fails to effectively commit to
the class through submission of requirements and participation in other activities may be deemed to
have dropped the course. Students should inform the instructor of the circumstances leading to
absences in case adjustments to how synchronous sessions are set-up or handled can be made to
encourage attendance. A session is considered cancelled if the instructor loses their internet
connection and cannot return within 15 minutes.

During the sessions themselves, it is preferred that cameras be switched on so that the presence of
both teachers and students is registered and the interaction between them enhanced. Non-verbal
feedback is afforded to both teachers and students by the cameras. However, because of limited
internet connectivity or other reasons, one cannot expect cameras to be on all the time. As a matter
of courtesy, and if their circumstances allow them to do so, students should switch on their cameras
when the occasion arises (e.g., when they ask, or respond to, questions, or for academic reasons such
as for proof of identity, for graded recitation, and for performance arts classes). Alternatively,
students are encouraged to use the chat function at any time during the synchronous session (and
not just when I ask if there are questions). Students are also encouraged to reply to each other’s chat
messages.

Although the course is fully onsite, it will still employ a number of asynchronous methods of delivery
and participation. Students are expected to keep up with time parameters indicated in the modules
(i.e., dates, deadlines). That said, you can request for reasonable accommodation necessitated by
challenges posed by the situation.

4 Attendance

Students are expected to attend classes regularly and fully participate in class activities and
discussions. In case absences are unavoidable, it is the student’s responsibility to reach out to their
classmates and/or instructor to ask about missed lessons and assignments.

The total number of absences in a class must not exceed 20% of the total number of meetings per
academic term, as stated in the 2021 LS Undergraduate Academic Regulations Section III.2.1. For
onsite and flex classes that means the total number of PHYSICAL class meetings and ONLINE
synchronous sessions.

Students will receive an automatic grade of W (WITHDRAWAL) if they exceed the number of allowed
absences. For undergraduate students, “the grade of W is equivalent to 0 quality points and is
included in the QPI computation. A student must retake courses where the grade of W was received”
(2021 LS Undergraduate Academic Regulations Section III.2.2). Excused absences will not be counted
towards the maximum number of absences. Check University memos and handbooks for additional
details about excused absences. These would require supporting documents and verification through
appropriate channels.
5 Privacy, Confidentiality, and Intellectual Property Protection

Respect, sensitivity, and inclusivity for everyone is expected. The online environment gives rise to
concerns about privacy and confidentiality, and it is imperative that we take the extra effort to protect
ourselves, our peers, and our work. Let us thus commit to the principle of “what happens in the
class’s spaces, stays in the class’s spaces.” Private information and personal data, which includes
contact information, academic records, and other sensitive information, collected during an online
class or other official activity must not be used for personal purposes or reasons. Students should not
post such data on personal social media accounts or use them for other unofficial and unauthorized
purposes.

Students likewise are expected to respect the intellectual property rights of their instructors and
peers. Students are not allowed to share or repost any of the class content posted in the LMS and in
other class designated spaces (e.g., Google Drive, email correspondences) on any other online
platform without the instructor’s written permission as well as the written permissions of any and all
parties who contributed to the content. Such consent includes (but is not limited to) the text on LMS
pages, posts by the instructor and/or students in the discussion boards, links to documents and other
media owned by teachers and classmates, as well as your peers’ uploaded assignments.

Class materials and personal data (including the files or records that contain them) stored or
uploaded to an LMS may be covered by a number of legal or technical requirements (e.g.,
confidentiality, access restriction, retention, and intellectual property laws). Therefore, publicly
disseminating, reposting, or resharing them may be violative of the Data Privacy Act and other
applicable laws, regulations, and policies. Extreme care must be exercised when handling them.
Consulting the appropriate offices and, when necessary, securing consent or authorization are
strongly advised before any of the foregoing actions are taken.

6 Gender-Responsiveness and Safe Spaces

We are committed to maintaining the same safe, inclusive, and gender-responsive learning
environment online as we hope to foster offline. To that end, we commit to teaching and learning
practices that promote gender equality and justice (e.g., the use of non-sexist language and
avoidance of gender stereotypes and biases in our learning spaces), as well as to implementing
policies that protect students and faculty alike from sexual and gender-based violence, discrimination,
and harassment, in line with the provisions of the LS Gender Policy and the Code of Decorum and
Administrative rules on Sexual Harassment. Accordingly, group consultations are to be held in lieu of
one-on-one consultations. In the event that individual consultations are unavoidable, or the student
requests individual consultations, the student has the following options: to consult by email and/or by
chat box, to keep their video off on a video-conferencing platform, and/or to record the session or
have it recorded by their instructor. Onsite consultations may have to be conducted in school spaces
where there are other people present.

7 Academic Integrity

Plagiarism and other forms of academic dishonesty will not be tolerated and will be dealt with
 according to the corresponding LS protocols. It is the student’s responsibility to review what
constitutes plagiarism, especially in the digital/information age.

8 Decorum

Whether online or in-person, a class is a class, so let us be mindful of treating it as such. During these
sessions, show respect by being focused and attentive. Let us maintain an environment that is
conducive to learning. You are technically not allowed to use electronic devices during onsite class
discussions and activities unless the instructor permits their use for specific classroom tasks.

Let us be mindful of the fact that discussion boards in the LMS are an integral part of learning and are
considered class spaces too in case of online sessions. Be prepared before you post so as to
contribute organized and coherent responses. Participate actively (online or onsite) by interacting
with your peers. Engage with the required and supplementary material while crafting contributions to
the discussion so that what you offer is founded and invites deeper attention to material the class
may have initially encountered individually.

Let us respect each other’s opinions and feelings by maintaining civility even if we are offering an
opposing view. Let us uphold netiquette and thus avoid derogatory, dismissive, and offensive
language.

9 Helpful Resources

For Canvas concerns: Canvas Resources, or email LS Canvas

For offline access to resources: email OAR SOH
For related and other concerns (including student wellbeing): email LS ONE
For tips on online learning: Ateneo SALT
For Rizal Library access: Rizal Library Resources
For Ateneo Blue Cloud primer: Ateneo Blue Cloud
For a guide to code of academic integrity: Code of Academic Integrity
For more information on the LS Gender Policy: LS Gender Policy
Additional document: Code of Decorum and Administrative Rules on Sexual Harassment,
Other Forms of Sexual Misconduct, and Inappropriate Behavior

K. CONSULTATION HOURS*

NAME OF FACULTY EMAIL DAY/S TIME

Allan Justo Pastrana apastrana@ateneo.edu MTTh MTh/1530-1700

T/1300-1700

*Please pick a consultation schedule within the hours indicated above. Options outside of these consultation
hours may only be considered after exhausting all possibilities and if both parties agree on the new schedule.