Contemporary Photography and Art 2
| Kód | Zakončení | Kredity | Rozsah | Jazyk výuky | Semestr |
|---|---|---|---|---|---|
| 307ECON2 | zkouška | 4 | 2 hodiny PŘEDNÁŠEK týdně (45 minut), 82 až 102 hodin domácí příprava | anglicky |
Garant předmětu
Jméno vyučujícího (jména vyučujících)
Tomáš DVOŘÁK, Josef LEDVINA, Noemi PURKRÁBKOVÁ, Michal ŠIMŮNEK
Katedra
Předmět zajišťuje Katedra fotografie
Obsah
10. 2. (jl)
DEEPFAKE!!! / Between Epistemic Vigilance and Paranoia
McKenzie-McHarg, Andrew. “Experts versus eyewitnesses. Or, how did conspiracy theories come to rely on images?”. Word & image. 35, no. 2 (2019): 141-158.
17. 2. (np)
Gamification (of) Art
Wark, McKenzie. Gamer Theory, Harvard University Press, 2007, especially the first chapter AGONY (on The Cave) (paragraphs 001–025)
Optional:
Nguyen, C. Thi. Games. Agency As Art, Oxford University Press, 2020
Bown, Alfie. Playstation Dreamworld, Polity Press, 2017
Galloway, Alexander. Gaming: Essays on Algorithmic Culture, University of Minnesota Press, 2006
24. 2. (jl)
The Politics and Aesthetics of Obsolescence: Analog Photography in the Digital Age
Iversen, Margaret. “Analogue: On Zoe Leonard and Tacita Dean”. In Photography, Trace, and Trauma. University of Chicago Press, 2019.
3. 3. (np)
Poetics and Politics of Infrastructures
Zylinska, Joanna. Nonhuman Photography, MIT Press, 2017, Especially Chapter 2
Optional:
– Weizman, Eyal. Forensic Architecture. Violence at the Threshold of Detectability, Zone Books, 2017
– Graae, Andreas, Immanuel and Maurer, Kathrin. Drone Imaginaries: The Power of Remote Vision, Manchester University Press, 2021
– Easterling, Keller. Extrastatecraft: The Power of Infrastructure Space, Verso, 2014
10. 3. (jl)
Order, Form, Pattern / Randomness, Formlessness, Chaos
Bois, Yve-Alain, and Rosalind Krauss. Formless: A User's Guide. Zone Books, 1997. (especially the introductory chapter The Use Value of „Formless“, pp. 13-40)
17. 3. (np)
Irony vs. Sincerity: Postmodern Surfaces, Metamodern Pendulum, Post-irony and Emotionality in Contemporary Art
Vermeulen, Timotheus. “The New Depthiness”, E-flux journal, 2015, accessible at: https://www.e-flux.com/journal/61/61000/the-new-depthiness/
Optional:
– Vermeulen, Timotheus and Van den Akker, Robin, Gibbons, Alison (eds.). Metamodernism: Historicity, Affect, Depth After Postmodernism, Rowma & Littlefield, 2017
– Jameson, Frederic. Postmodernism, or, the cultural logic of late capitalism, Duke University Press, 1991
– Hutcheon, Linda. Politics of Postmodernism, Routledge, 1989
24. 3. (jl)
Legacy of the Avant-Garde: the Question of Autonomy and Instrumentality of the Work of Art
Bürger, Peter. Theory of the Avant-Garde. Translated by Michael Shaw. Manchester University Press, 1984.
(especially chapter On the Problem of the Autonomy of Art in Bourgeois Society, pp. 35-54)
31. 3. (np)
Contemporary Art and the Future: The Ends of Future, Accelerationism and New Futurisms
Srnicek, Nick and Williams, Alex. The Accelerationist Manifesto, in: #Accelerate. The Accelerationist Reader, Urbanomic, Merve, 2014
Optional:
– Berardi, Franco. After the Future, AK Press, 2009
– Fisher, Mark. Capitalist Realism: Is There No Alternative?. John Hunt, 2022
– Hameed, Ayesha, Gunkel, Henriette, and O’Sullivan, Simon (eds.). Futures and Fictions, Repeater, 2017
7. 4. (jl)
Art and the Anthropocene: the Case of Plastics
Kane, Carolyn L. “Plastic Shine: From Prosaic Miracle to Retrograde Sublime”. E-flux Journal 65, May, 2015. https://www.e-flux.com/journal/65/336456/plastic-shine-from-prosaic-miracle-to-retrograde-sublime/.
14. 4. (np)
Decolonization and Postcolonial Thought in Contemporary Art
Demos, T. J. Return to the Postcolony, Specters of Colonialism in Contemporary Art, Sternberg Press, 2013, Introduction (pp. 7–18) + The Haunting: Renzo Martens’ Enjoy Poverty (pp. 97–123)
Optional:
– Fanon, Frantz. Wretched of the Earth, Grove Press, 2021
– Said, Edward. Orientalism, Penguin Books, 2007
21. 4.
Easter Monday - no classes
28. 4. (np)
Relation and Process: The Artwork as a Field of Interaction
Nail, Thomas. Theory of the Image, Oxford University Press, 2019, kapitola 3: The Field of Art (p. 69–95),
Optional:
– Bourriaud, Nicolas. Relational Aesthetics, les presses du réel, 2002
– Bishop, Claire. Artificial Hells. Participatory Art and the Politics of Spectatorship, Verso, 2012
– Barad, Karen. “On Touching – The Inhuman that Therefore I Am”, differences 23:3, 2012 (p. 206–223)
Výsledky učení
The student is oriented in contemporary art, understands contemporary theories of art and photography, is able to think about photography in the context of current discussions about technical images and is able to reflect on some of the topics discussed in his/her own creative work.
Předpoklady a další požadavky
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Literatura
Hodnoticí metody a kritéria
Regular attendance is required to complete the course (maximum of 3 absences per semester). In addition, two written papers must be submitted - one short (2-3 SPs) at the midpoint of the semester (by March 23) and the other in the form of a final seminar paper (5-10 SPs, by May 25) at the end of the semester (Standard Page = 1800 characters including spaces). This is followed by an oral examination in the form of a discussion of both submitted texts.
Submit your work to josef.ledvina@famu.cz and noemi.purkrabkova@famu.cz (please send to both addresses).
Instructions for the written assignments:
For the *shorter written assignment*, students will select a contemporary artwork, exhibition, photograph or other alternative art format to which they will respond analytically and/or critically. The *final term paper* should relate directly to the topic of the forthcoming BA thesis. The use of scholarly literature and relevant sources is a prerequisite, as is formal editing appropriate to the standards of a BA thesis. It is recommended to consult the topic of the final term paper with one of your teachers before writing.
Submit your work to josef.ledvina@famu.cz and noemi.purkrabkova@famu.cz (please send to both addresses).
Poznámka
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Rozvrh na zimní semestr 2024/2025:
Rozvrh zatím není připraven
Rozvrh na letní semestr 2024/2025:
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06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
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| Datum | Den | Čas | Vyučující | Místo | Poznámky | Č. paralelky |
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| Po | 11:30–13:05 | Josef LEDVINA | Učebna KF 112 Lažanský palác |
přednášková par. 1 |
Předmět je součástí následujících studijních plánů
- Fotografie EN - bakalář - 2022 (Povinné předměty)