department of fine art - konstfack 1920...department of fine art elective courses 2019/2020 bachelor...

DEPARTMENTOFFINEART

ELECTIVECOURSES2019/2020

BachelorandMaster

COURSEPERIOD1week3-44

Page1.PaintBitchweek43-44

Page4.KINGKONGSINGALONGweek43-44


Page7.IssuesinLifeandArt:WhyAffectTheory?Week48

Page10.WorkingonBodies-TheSocialReproductionoftheWorkplaceWeek49-50

Page13.SculpturalexplorationWeek48,49and50

Page17.ObjectsinMirrorareCloserThanTheyAppearWeek49-50


Page20.BeyondAnthropocenema–AManifestoweek2

Page23.IssuesinLifeandArt:positionsonracismandcensorshipWeek3


Page26.EnBok–ArtistbookWeek5,6and7

Page28.Webbpublicering:Teknik,DesignochKonstWeek5,6and7

Page30.Soundininteractionweek6-7

Page35.FurtherArtTheory,PhilosophyandAestheticsWeek6-7

Page37.Imprint–Ameetingbetweenthephotographyandsculpturestudiosweek8,12and13


Page37.Imprint–AmeetingbetweenthephotographyandsculpturestudiosWeek12-13Page40.X–Screen(Helpmyscreenisflat!)Week12-13

Page43.MålerietsuttrycksmedelWeek12-13

DEPARTMENTOFFINEART

COURSEDESCRIPTION

COURSENAME:PAINTBITCH3credits

Fall/2019Courseperiod:week43and44Revised2019-09-02

CourseDirector:MartinGustavssonParticipatingTeachers:MicheleMasucci

GENERALINFORMATION

WelcometoPAINTBITCHincludedinthecoursesINTRODUKTIONMKO101,FÖRDJUPNING1MKO102,VALBARAKURSER1KOK100,VALBARAKURSER2KOK200ochVALBARAKURSER3KOK300

Thisisacoursewhereweareactivelypaintingwithdifferentmaterialsandexercises.Aspaceforcollaborationandexceedingpersonalgoalsorproject.Wewillpaintbutnotnecessarilymakingapainting.

Herearefouroftheconceptsthatwewillbedealingwith;

• Colour,light,contrast:aspectsofpaintpractice• Frameboundaries:idealismandmaterialityinpainting• Fromexctasytoslumber:performativity,gestures,attitudesandmovementinpainting• Reflection,rationality,mysticism:whenpicturesthink

Beforeweevenstartingtothinkconsciouslyourbodieshavestartedsensing,recognising,perceiving.Sensationprecedesthinking.Thusthinkinghasalottolearnfromtheimmediacyofsensationandthetedioustaskofenteringadialoguewithcolour,formandtheprocessofperceptionthroughtheartisticprocessofpainting.Inthiscoursewewillopenforawidespectrumofgenreswithinpainting,fromconceptualpaintingtonewimpressionism,performanceartandclassicalstudiopainting.Dis-coursewillbepracticedonthecanvas.Differentaspectsofthemateriality,performanceandspatialconditionsofpaintinganditschoreographywillbeexplored.Whatpowerdoespaintingcontainto-day?Howdoweorientpaintingasamediumandartform?Howdoweengageourselvesasartistswithpainting?Howdoesemotion,affectivity,memoryandexpressioncometogetherinpainting?Thesequestionswillbeexploredtogetherinasmallgroupthroughthepracticeofpainting

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COURSELAYOUTANDFORMSOFTEACHING

Thecourseistwoweeksandwillbetutorlead5outoftendays.Youwillbegivenassignemntsforselfpracticeorgrouppractice.Wewillbeworkinginthepaintingstudioandsomematerialwillbeavailable

SCHEDULE

10daysinthePaintingstudio10-16ofwhich5areteacherled.

COURSEREQUIREMENTSANDEXAMINATION

Allstudentsareaskedtoparticipateactively.Thecourseisexaminedthroughcontinualoralassessmentsandgroupdiscussion.ThegradesavailablearePassorFail.Topassallstudentsarerequiredtoparticipateforthedurationofthecourse.

YourgradeisreportedinLadokthreeweeksaftertheendofthecourse,atthelatest.ShouldyoureceiveanF(fail),youwillbenotifiedinwriting.Thewrittenstatementwillentailanexplanationforthegradingandmakeclearwhatyouneedtodoinorderforyoutoreceiveapass.

INTENDEDLEARNINGOUTCOMESANDGRADINGCRITERIA

YoucanfindtheexpectedlearningoutcomesinthecourseplansINTRODUCTIONMKO101,INDEPTHSTUDIES1MKO102,ELECTIVECOURSES1KOK100,ELECTIVECOURSES2KOK200andELECTIVECOURSES3KOK300intheintranet.

Thegradepassisawardedastudentwho:

Participatesinallactivitiesforthedurationofthecourse.

COURSELITERATUREANDOTHERLEARNINGRESOURCES

Thecourseliteratureisthework

COURSEEVALUATION

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Attheendofthecourse,youwillbesentanevaluationformwhereyouwillbeabletoanswerquestionsaboutthecourse.Theevaluationformisanonymous.TheprimarypurposeofcourseevaluationistoformabasisforqualityworkandeducationaldevelopmenthereatKonstfack.

COURSEADMINISTRATION

Ifyouhaveanyquestionsofamoreadministrativenatureoraboutspecialneeds,suchasaccesstocourseliteratureasaudiobooks,pleaseturntothecoursedirectorortoAnitaMalmqvist([email protected]).

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DEPARTMENTOFFINEART

COURSEDESCRIPTION

COURSENAME:KINGKONGSINGALONG

3credits

Autumn/2019Courseperiod:week43and44Revised2019-06-01

CourseDirector:ThomasElovssonParticipatingTeachers:PetraBauerochRobinMcGinley

GENERALINFORMATION

Welcometo”KINGKONGSINGALONG”,includedinthecoursesINTRODUKTIONMKO101,FÖRDJUPNING1MKO102,VALBARAKURSER1KOK100,VALBARAKURSER2KOK200ochVALBARAKURSER3KOK300

Thiscoursetakesalookathowwrittenmusical/performativescorescanbeusedasawayofputtingforwardtheactoflistening.Duringthecoursewewilllookatdifferentexamplesofinstructionscoresandgraphicnotationthroughhistory,includingFluxusandthefieldofexperimentalmusic.Therearemanysimilaritiesinhowartistsusewritteninstructionstohowcomposersandmusicianshavelookedatnewwaystowritemusicscores.

ThecoursewilllookatthismainlythroughtheworkofPaulineOliverosandCorneliusCardew.Therehasbeenagrowinginterestinboththesecomposers,seennotleastinthislasteditionofDocumenta.

Theparticipantswilldoclosereadingsofandperformancesofsomeoftheirworks.Itwillbeaverypracticalcourseandmostofitwillbedonewiththewholegroupworkingtogether.Wewillbeusingourbodies,voices,sound-producingobjectsandinstruments.

ThecoursewilltakeplacemainlyinthelargesoundstudioandinSvartaHavet.


Theprogrammeofthecoursewillbebasedonthefollowingaspects:

-Reading,discussingandperformingachosengroupofscores

-DoingSoundWalks

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-Studentsproducingtheirownscoresandperformingthemtogetherwiththegroup

Coursestructureandteachingmethods:

Thecoursewillbestructuredaroundacombinationofworkshops,explorativesessionsandlectures.Theoutlineofthecoursewillbethefollowing:

SCHEDULE

v.43Mon21 Introduction,Lecture,Workshop StudionTue22 WorkshopPaulineOliveros StudionWed23 WorkshopPaulineOliveros StudionThu24 SoundWalkwithPetraBauer TBAFri25 Individualwork

v.44Mon28 WorkshopCorneliusCardewStudioWithRobinMcGinley+othersTue29 IndividualWork/Tutorials StudionWed30 IndividualWork/Tutorials StudionThu31 Rehearsals SvartaHavetFri1 Performance SvartaHavet


Eachparticipantstudentisexpectedtoactivelycontributetoacollectivebodyofscoresdevelopedalongthecourse.Theaimofthisexerciseistoprovideafruitfulframeforexploring,hands-on,someofthequestionsandtoolssharedduringthecourse.Studentsareexpectedtotakeactivepartinthecorrespondinggroupdiscussionsandworkshops,andcontributewithpersonalexplorationsandaudiomaterialstofeedthecollectiveworkingprocess.YourgradeisreportedinLadokthreeweeksaftertheendofthecourse,atthelatest.ShouldyoureceiveanF(fail),youwillbenotifiedinwriting.Thewrittenstatementwillentailanexplanationforthegradingandmakeclearwhatyouneedtodoinorderforyoutoreceiveapass.




-takeactivepartinthegroupdiscussionsandworkshops

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-individuallycontributetotheproductionofscoreswithpersonalexplorationsandaudiomaterialsbasedonsomeofthestrategies,methodsandtoolsprovided.


COURSEEVALUATION




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DEPARTMENTOFFINEART

COURSEDESCRIPTION

COURSENAME:IssuesinLifeandArt:WhyAffectTheory?1,5ECTScredits

Fall/2019Courseperiod:week48Revised2019-03-30

CourseDirector:LisaTan,Professor([email protected])ParticipatingTeachers:

GENERALINFORMATION

WelcometoIssuesinLifeandArtcourseWhyAffectTheory?includedinthecoursesINTRODUKTIONMKO101,FÖRDJUPNING1MKO102,VALBARAKURSER1KOK100,VALBARAKURSER2KOK200ochVALBARAKURSER3KOK300

GeneralInformationIssuesinLifeandArtcoursesbothaddressandworkthroughcurrenttopics,eventsorconcepts,whichholdparticularrelevanceatthismoment.Thecoursesareframedandapproachedspecificallyinrelationtoartisticpracticeandproduction.

Inthiscoursedescriptionyoucanfindinformationonthedesignandimplementationofthecourse.Youwillalsobeabletofindinformationonteachers,expectedlearningoutcomes,judgementcriteria,formsofexaminationandcourseliterature.


We’veallexperiencedthechargedatmosphereofridinginanelevatorwithastranger.Tentimesoutoften,it’sawkward.SaraAhmeddescribeshowuponenteringaroom,wecan“‘feeltheatmosphere’butwhatwemayfeeldependsontheangleofourarrival.”Affectcanbethoughtofasthethingthatinformsthedegreeofanyangleofarrival.Althoughrelatedtofeelingsandemotions,suchasenjoyment,distress,shame—affectsaredifferentinthattheyoccuratapre-linguisticlevel,pre-subjectivelevel.

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InWhyAffectTheory?studentswillgainanunderstandingofwhatthismeans,whataffectsare,whatroletheyplayinindividualexperience,inshapingsociety,andthevariedmannersinwhichaffectsinformtheartwemakeanditswiderreception.Whatdoaffectsthemselves—andourunderstandingofthem—meaninapoliticalsense?Thecoursewillspecificallyfocusonaffectsinrelationtothisuneasymomentintime.Giventhedeepdivisionsinsociety,increasingecologicalcalamityatourdoorstep—feelingsofanxiety,experiencesofexhaustionandprecarityseemtogripalllevelsofexistence.

Affecttheorywasdevelopedinsideofa“turn”inliterarystudiesthatsoughttoconsiderwhatistransmittedtousandbetweenus—feelings,emotions,moods,atmospheres—andwhatrolethesehaveinshapingtheworld.Itcanbeconsideredasasupplementtothelinguistic-centeredperspectivesthatstructuralismandpoststructuralismsetforthtolocatemeaningandtruth.Inthecourse,studentswillbeleadthroughreadings,examplesofspecificartworks,in-classwritingexercises,andatleastoneoff-campusexcursion.Absolutelynopriorknowledgeisnecessary.Studentsworkinginanymediumareencouragedtoattend.Studentsshouldcomewillingtothinkwitheachotherandthroughthesubjectmatterasagroup,drawingfromtheirownlifeexperiencesand/orartmaking.ReadingswillincludetextsbySaraAhmed,HenriBergson,LaurenBerlant,EugenieBrinkema,AnnCvetkovich(nomorethan50pagesofrequiredreading).WewilllookatartistsasvariedasPetraBauer,GustaveCourbet,IsaGenzken,DavidHammons,AdrianPiper,andNicolaPoussin.Adetailedreadinglistandschedulewillbedistributedtostudentstwofullweeksbeforethecoursebegins.

SCHEDULE

YoucanaccessthescheduleforthecourseviatheGooglecalendar.Detailedinformationwillbemadeavailableonemonthbeforethecoursebegins.


Thecourseisexaminedthroughattendanceandparticipation.





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• Attendsallsessions,unlessareasonableexcuseisgiveninadvanceofabsence• Participatesinfurtheringdiscussionintheclass• Participatesinanyassignedandin-classactivities• Engageswiththematerialinacriticalandanalyticalmanner


Thecoursewillincludenomorethan50pagesofcourseliteraturethatwillbeemailedtothegrouptwoweeksinadvancewithinstructionsforreadingandpreparingforthefirstmeeting.Therestofthecourseliteraturewillbedistributedandreadtogetherinclass.Additionalliteraturewillbemadeavailabletostudentsasresources,butwillnotberequiredreading.

COURSEEVALUATION


Thisisthefirsttimethecourseisbeingofferedinthisformandyourevaluationwillbeimportant.



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DEPARTMENTOFFINEART

COURSEDESCRIPTION

COURSENAME:WorkingonBodies-TheSocialReproductionoftheWorkplace

3ECTScredits

Autumn/2019Courseperiod:week49and50Revised2019-09-02

CourseDirector:JennyRichardsParticipatingTeachers:LisaTan,SaraKaamanandTinaCarlsson

GENERALINFORMATION

WelcometoWorkingonBodies-TheSocialReproductionoftheWorkplaceincludedinthecoursesINTRODUCTIONMKO101,INDEPTHSTUDIES1MKO102,ELECTIVECOURSES1KOK100,ELECTIVECOURSES2KOK200andELECTIVECOURSES3KOK300

General

Howdoweputourselvestoworkwithindifferentworkplaces–thestudio,theoffice,athome,atschool?Whatpartsofourbodydoweemployandwhatphysicalandemotionalrelationshipsdowehave,totheworkwecarryouthere?Bywhomandhowistheworkplaceandourpracticesmaintainedandreproduced?

Aninterdisciplinaryandinterdepartmentalcourseopentostaff•andstudentsatKonstfackexploringthe(social)reproductivesystemofanumberofworkplacesinrelationshiptoyourownpracticeandthecontextofKonstfack.Socialreproductionistheworkandprocessesnecessarytocareforandmaintainyourself,andyourpractice;itisthefoundationuponwhichallotherartworkispossible.Howdoyouandotherssupportthemaintenanceofyourartpractice?Whonourishesyourinspiration?Cleansyourcriticalmind?Andcaresforyourexhaustedbody?Whatblockagesorproblemsdoyoufindthere?Thecoursewillreflectonthehealthofourownartisticpracticesandtheirconnectiontowidersocialandeconomicrealities,consideringwhatsystemsofsocialreproductionwewishtodevelop.

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ThecoursebeginswithexploringhowweunderstandtheconceptofsocialreproductionandthenwillexploreanumberofdifferentworkplaceswithdifferentmethodsandworkstructuresincludingABF,ABurnOutClinic,andaHemtjänstcompanytoinvestigatesocialreproductionatwork.Byinvestigatingdifferentcontemporaryworkplaceswewilltrytounderstandhowwork‘works’uponbodiesandwhatstructuresandpracticesareinplaceatworkthatsupportandreproduceitsworkersandtheworkplace.Theconsiderationofothersitesofworkandworkplaceswillhelpustoreflectoncommonalities,andcollectivelydevelopspeculationsonhowthisrelatestoKonstfack,ourownpracticesandcontemporaryconditionsofworkasawhole.


Thecourseconsistsoflectures,seminars(bothreadingandwriting)andworkshopswithinthedifferentworkplaces.JennyRichardswillcarryoutaweekoftutorialstohelpsupporttheirspeculativeresponsesaswellasparticipationintheday’sseminaratresearchweek.

SCHEDULEWeek49

Day1–SocialReproduction,lectureandworkshopledbyJennyRichards.

Day2–TriptoHemtjänstofficesandlecturebystaffontheirworkandworkingconditions.Thiswillbefollowedbyamappingworkshoptrackingartisticpracticesthathaveworkedwithsocialreproduction.

Day3–BurnoutclinicvisitandlecturebyIvankaSavic-BerglundProfessorofNeurologyatKarolinskaInstituteandUCLAfocusedonthegenderedstrugglesofburnoutinrelationtowork.Followedbyatouroftheclinicanddiscussiononthesocialreproductiveworkattheclinicforbothpatientsandstaff.AfternoonseminaronaffectivelabourheldbyLisaTan.Day4–TriptoABFandlecturebyAsrinHaidariandEmilyFahlénonhowthehistoryoftheABFgalleryandtheroleofartistswithinworkersstruggle.Howcanthesehistoricalexamplesinformhowwemighttranslateandinterpretourcollectiveresearch?IncludesaseminarbyTinaCarlssononcollectivepedagogyandmethodsofco-working.Day5–WorkshopatKonstfacktogetherwithSaraKaamanonhowtoworkwithourfindingstospeculateonkonstfack?Howcanwemakepublicourresearch?Divisionsintogroupstorespondtothedifferentsitesanddecisionstakenonhowtomoveforwardinplanningthecollectiveseminarandpresentation.

Week50

Developmentofresearchpresentation.Individualtutorials

Week5(2020)(ResearchWeek)PresentationSeminar

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Thecourseisassessedcontinuouslyinthepartswhenstudentsactivelyparticipateinthetutorialsession,discussion,seminarsandlecturesandthedevelopmentoftheirspeculativeresponses.Therewillbeapublicfinalseminarprogrammedtogetherthatwillreflectonfindings.




Thegradepassisawardedastudentwho:hastakenanactivepartinthedifferentactivitiesinthecourse


Thecourseliteratureisfoundasanattachmenttothiscoursedescription

COURSEEVALUATION




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INSTITUTIONENFÖRKONST

KURSBESKRIVNING

KURSENSNAMN:Sculpturalexploration4,5högskolepoäng

Hösttermin/2019Kursperiod:veckorna48,49och50Uppdaterad2019-09-03

Kursansvariglärare:JohanPaalzowThomasKarlssonMedverkandelärare:

ALLMÄNT

Välkommentillkursen/momentetSculpturalexplorationsomingårikursernaINTRODUKTIONMKO101,FÖRDJUPNING1MKO102,VALBARAKURSER1KOK100,VALBARAKURSER2KOK200ochVALBARAKURSER3KOK300.

Sculpturalexploration,ärenfortsättningskursiskulpturienvidbemärkelse,menfrämstenmöjlighetfördigsomvillläradigmeromskulpturalaprocesserdärmaterialochmaterialitetstårifocus.

KURSENSUPPLÄGGOCHUNDERVISNINGSFORMER

Underkursveckornaläggsstorviktvidexperimentochlaborerande,ochattupptäckanyamaterialochprocesser.Resultatetärunderordnadsjälvaundersökningen.Kursenbedrivsiworkshopformiskulpturstudion,iprojektrumochiskolansverkstäder.Workshopenhartvåmoment:Vecka48,49därkommerviarbetamedenradolikamateriellaprocesser.Vecka50väljernienprocess/materialfråndomtidigareveckornaförettfördjupningsarbete.Omgruppenvillsåavslutarvimedenutställninginågotavskolansutställningsrum,iettutställningsochredovisningsformatsomshowandtell.

Hurkanengenerellkonstnärligprocessseut?

Oftasomettsamspelmellanidé,materialochpraktik,därdenkonstnärligaprocessenkanblienrättsålinjärvägmellanidéochresultat.Därförbehövsunderutbildningstidenperiodermedettmerriktatfokuspåexperimentdärmaterialetgesettstörreutrymme,ochdärmantillåtersigandra/nyaarbetssättförattundersökakonstnärligafrågeställningar.

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Skulpturstudiontarformenavettlabbrum,därviundersökermaterial,fysikaliskaförloppochfenomen.Undervisningenskeristudioochworkshopformmedolikamomentochtopics.Våraförslagkompletterasmedvadduvillutforska/göra.

Platsen/rummen

Kursendrivsiskulpturstudionochiprojektrump0.Studionblirplatsenförlaborationerochprojektrummetp0blirenförlängningavvårlabbstation,därdudirektkanomsättaochprövadinaidéer.

Underkursveckornakommerviattkoka,blanda,gjuta,blåsaupp,svarvagips.

Därförläggsocksåviktviddokumentation,(sådanutrustningkommerfinnastillgänglig).Underkurstidenkommerdetocksågesmöjlighetattmeringåendebesökaskolansolikaverkstäder,meddinaegnaarbeten.

• HurfungerartillexempelettelectrolytbadinnepåÄdellab?• Kanjaganvändamigavdigital-fabrikslabbetiettexperimentelltsyfte?• Kanjag3-dscannaenlerklump,ochvadhänderdå?• Plasmaskära,vadärdet?• Svetsaplast,gårdet?Gästlärareochinspiration Underdomtrekursveckornafårviettveckovisbesökavtvåkonstnärersomvarochenkommerattprataochvisapåhurdomsjälvaarbetarmedspecifikamaterialmetallsamtglas.Deessamomentkommerattskeundervarsinheldag.Därviocksåkommerattarbetameddessamaterial.Gästlärarnaär:EmilleDeBlanche;metallsamtErikaKristofferssonBredberg;glas.Iövrigtfinnstidavsattfördiskussioner,filmerochpresentationersombelyserolikametoderochprocesserinomsamtidskonsten.

SCHEMA

Kursenskeriskulpturstudionmåndag-fredag09:00-16:00vecka48,49samt50

Arbetsmomentpåvårtschemakantänkasvara:

• attgjutaimetall,• attundersökamotsatserellerskenbarasådana,vadhänderomjagskiftarmaterial• attblåsaglas• attsvetsa• attundersökabegreppsomsoftsculptureochinflatablesculpture,• atthittanyabetydelserförmaterialsombetong,gips,latexochsilikon,hurfungerart.ex.vax

sommaterial,mm.

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Överhuvudtagetärhändelsekedjorintressantadärettförloppledstillettannat.Detviktigaärattdufyllerpåmeddinafrågeställningar.

Underkurstidenkommerdetocksågesmöjlighetattmeringåendebesökaskolansolikaverkstäder,meddinaegnaarbeten.

• HurfungerartillexempelettelectrolytbadinnepåÄdellab?• Kanjaganvändamigavdigital-fabrikslabbetiettexperimentelltsyfte?• Kanjag3-dscannaenlerklump,ochvadhänderdå?• Plasmaskära,vadärdet?• Svetsaplast,gårdet?

KURSKRAVOCHEXAMINATION

Ingaförkunskaperkrävs.Kontinuerligexaminationideolikakursmomentenskeriverkstädernadärstudentenanvändersigav,genomförochtillämparkursensteknikeriverkstadsarbetet.Studenternaredogörmuntligtochvisuelltfördenegnaprocesseninfördeandrastudenterna.

BetygrapporterasiniLadokavexaminatorsenasttreveckorefteravslutadkurs.SkulleenstudentfåbetygetUmeddelasstudentenomdettaskriftligendärmotiveringenförunderkännandetframgår.

LÄRANDEMÅLOCHBETYGSKRITERIER

Lärandemålenförkursen/momentethittarduiKursplanernaförkursernaINTRODUKTIONMKO101,FÖRDJUPNING1MKO102,VALBARAKURSER1KOK100,VALBARAKURSER2KOK200ochVALBARAKURSER3KOK300somfinnstillgängligapåIntranätet

Förgodkäntbetygkrävs:

Aktivtdeltagandeiundervisningensamtnärvaroidetmomentsomblirredovisningellerslutpresentation.

KURSLITTERATUROCHÖVRIGALÄROMEDEL

Kurslitteraturochfilmerpresenterasianslutningtillkursstart.

KURSUTVÄRDERING

Islutetavkursengenomförsenkursutvärderingdärduharmöjlighetattanonymtbesvarafrågoromkursen.DetprimärasyftetmedkursvärderingarärattdeskallliggatillgrundförutvecklingavutbildningenpåKonstfack.

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KURSADMINISTRATION

Behöverduhjälppåkursenmedfrågoravadministrativtslag,vänddigtillkursansvarigalternativttillutbildningsadministratörHelenaHöök([email protected]).Hardufrågoromsärskiltstödiundervisningen,såsomexempelvisinläsningavkurslitteratur,höravdigtillAnitaMalmqvist([email protected]).

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DEPARTMENTOFFINEART

COURSEDESCRIPTION

COURSENAME:ObjectsinMirrorareCloserThanTheyAppearcredits

Fall/2019Courseperiod:week49and50Revised2019-09-03

CourseDirector:BehzadKhosraviNooriParticipatingTeachers:

GENERALINFORMATION

WelcometoObjectsinMirrorareCloserThanTheyAppearincludedinthecoursesINTRODUKTIONMKO101,FÖRDJUPNING1MKO102,VALBARAKURSER1KOK100,VALBARAKURSER2KOK200ochVALBARAKURSER3KOK300

General

Thenotionof“I”involvesa“you”hencerepresentationof“theother””they”isasignificantpartofthecreationofself-identity”I”.Thisintuitivepropositionisnotnecessarilyfromtheperspectiveofgeopoliticalperspectiveasaconcreteandfixedplaces,butasanintertwiningandrelationalsubjects.Thisrelationshipbetweeninsideandoutside,them,andus,hereandthereismorecomplexandmultifaceted.Itmightbeginbyregardingmovement,notasanintervalbetweenstaticpointsofdepartureandarrival,butasamodeofbeingidentifiedintheworldwithinthenotionoflocationinregardtocontemporaryartmaking,narrativestrategyandthepoliticofit.

Inthiscontext,therelationbetweentheactorandspectatorcreatesacomplexthatisbothimpalpableanddisturbing.Thisrelationconsistsofwideamplitudeofdifferentaspectsthroughmakingcontemporaryarttotheinstitutionsinvolvedinthenameofpoliticalart.

Thiscourseinvestigateswiththeaspectof“hereandthere”Iandyouandthepoliticsembeddedinconditionsofmakingcontemporaryart.

Pedagogicallybringsforwardmetaloguesasafirststepofself-reflexivityandmethodofinvistigationwithineachindividualpracticeandfollowupbydialogicalmethodologyandgroupdiscussiontochallengetherelationshipbetweentheactorandspectatorwithinthegroup.

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Conductedtheframeworkofartisticpractice-basedresearch,thecoursetakesacriticalinvestigateshowtherelationshipbetweenartandsocietycouldbeunderstood.Thiscourseisplannedforstudentsinterestedinthenotionofrepresentationoftheothers,othering,subalternityandthepoliticalwiththefocusofcontemporaryartandethicalquestionsassociatedwiththem.

Metalogues:(GregoryBateson'stermfor)anexplanatorydialoguewhichinform,structure,ormannerconveyssomethingabouttheproblembeingdiscussed.Hence:anykindofconversationexhibitingthischaracteristic.-OxfordDictionary

.


Thecourseconsistsoflectures,textseminar(bothreadingandwriting)inaformatofworkshop,individualtutorialsregardingtotheirownindividualorcollaborativepractices.

SCHEDULE

Theschedulewillbesentout2weeksbeforethebeginningofthecourse


Thecourseisassessedcontinuouslyinthepartswhenstudentsactivelyparticipateinthetutorialsession,discussion,seminarsandlecturesandthedevelopmentoftheirownindividualpractices.




The grade pass is awarded a student who:

- participatesindifferentactivitiesinthecourse- candescribesthecourseactivitiesinthecurrentorthefutureprojectthatisrelevanttothe

maincontentofthecourse


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COURSEEVALUATION




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DEPARTMENTOFFINEART

COURSEDESCRIPTION

COURSENAME:“BeyondAnthropocenema–AManifesto”1,5ECTScredits

Fall/2019Courseperiod:week2Revised2019-09-03

CourseDirector:AnitaMalmqvistParticipatingTeachers:

GENERALINFORMATION

Welcometo“BeyondAnthropocenema–AManifesto”includedinthecoursesINTRODUCTIONMKO101,INDEPTHSTUDIES1MKO102,ELECTIVECOURSES1KOK100,ELECTIVECOURSES2KOK200andELECTIVECOURSES3KOK300

Filmormovingimagescanbeamediumthatenablesathinking-with.Amediumfromwhichitispossibletotrydifferentpositionstoexploreentangledecosystemsinacriticalenvironmentalsituation.Movingimageshavethecapacitynotonlytomodeltheworld,butalsotoremodelittowardsamorefluid,moreanimate,moreprocess-relationalunderstanding;tomediatetheordinaryandrecognizable,butcrystalizedinanotherwaythathasnotbeenevidentbefore,tofindsomekindofobjectivecorrelativeforfeelingsthatcan’tbeacknowledged.Tounlearninordertolearn.

Camerasarenotpassiveinstrumentsbutrelationalandecologicalforceswithautonomousqualities,entangledwiththeworld.Thisentanglementintheworldalsoleadstothemediumsrelationshiptoitsownmaterialityanditscarbonfootprintandchemicalelements,fromcelluloidtosilicon.

Theworld-makingofmovingimagesconnectsmateriallytotheworldthroughthevectorsofperceptionandtherebybecomesactsofworlding.Allofthesearepartofcinema’sdiverseecologies.Thecinematicexperienceisinescapablyembeddedinecologicalwebs.

Filmmanifestosarealmostasoldasthecinemaitself,aformofutopianandspeculativewriting.Theystrivetobringintobeinganewformofexperienceandaradicallydistinctworldingforthefirsttime.Iftheoriesaregenerallyaimedtoexplainexistingphenomenaandevents,themanifestospecificallyexplainswhathasnotyettakenplace.

TheaimofthecourseistoplayaroundwiththeconceptoftheFilmManifestoinordertoexplore

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differentpossibleandimpossibleartisticpositionsandstrategiesofthecinematocome.Howartandartisticprocessescouldbeactiveagentsinmakingadifferencewhenitcomestohowtomediateaquitenewlyawakenedunderstandingofcomplexinterrelationsandecologiesfromtheinsidenotasabackdroptohumanactivities.


Thecoursehastheformofaworkshopwithjointreadings,analysisanddissectionsoffilmexamplesandin-classwritings.Cinematicexperimentsandexplorationsofremaking,crystallizationsandmagnificationsoftimeandspacewilltakeplaceinordertocreateajoint“Manifesto”forthecinematocome.

SCHEDULE

Yougetadetailedschedule2weeksbeforethestartofthecourse


Thecourseisexaminedthroughactiveattendanceandeachparticipant'scontributiontoajointwork-aManifesto





• hastakenanactivepartinreadings,screeningsanddiscussionsduringthecourse• hasactivelycontributedtoajointwork-aManifestoforthecinematocome


Courseliteraturewillbesentout2weeksbeforethestartofthecourse

COURSEEVALUATION

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Hereyouwriteashortdescriptionofwhatcameoutofthelastevaluationofthecourseand,preferably,somethingaboutanychangesorimprovementsthatweremadeonthebasisofthelastevaluationresult



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DEPARTMENTOFFINEART

COURSEDESCRIPTION

COURSENAME:IssuesinLifeandArt:positionsonracismandcensorship1credit

Fall/2019Courseperiod:week3Revised20XX-XX-XX

CourseDirector:LisaTan,Professor([email protected]:

GENERALINFORMATION

WelcometoIssuesinLifeandArt:positionsonracismandcensorshipincludedinthecoursesINTRODUKTIONMKO101,FÖRDJUPNING1MKO102,VALBARAKURSER1KOK100,VALBARAKURSER2KOK200ochVALBARAKURSER3KOK300

IssuesinLifeandArtcoursesworkthroughcurrenttopics,eventsorconcepts,whichholdparticularrelevanceatthismoment.Thecoursesareframedandapproachedspecificallyinrelationtoartisticpracticeandproduction.

Inthiscoursedescriptionyoucanfindinformationonthedesignandimplementationofthecourse.Youwillalsobeabletofindinformationonteachers,expectedlearningoutcomes,judgementcriteria,formsofexaminationandcourseliterature.


Thiscoursewillexplorestructuralracismandcensorship,specificallythroughthelensofthe2017WhitneyBiennialcontroversy.Thecourse’saimistoprovidestudentswithtoolswithwhichtoengageinconversationsaroundthesecomplexsubjects,andalsotobuildanunderstandingofwhat’satstakeforusasartistsaswenavigatebothartisticpracticeandtheinstitutionsthatexistinourfield.

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The2017WhitneyBiennialincludedapaintingbyDanaSchutztitled,“OpenCasket”whichisbasedonaphotographofthehorrificallybrutalizedbodyofEmmettTill,anAfricanAmerican14yearoldmurderedin1955bytwowhitemen.Unlessyouwerelivingunderarock,you’reprobablyatleastmoderatelyfamiliarwiththegeneraloutlineofwhatbecameacontroversyonamajorscaleinthefieldofart.Protestsandpublicdebateensued;thewriterArunaD’Souzaexplains,“Whatstartedwithquestionsaroundasinglepaintingbyasingleartistinasingleexhibitionturnedintoanationalpublicdebateoverthefundamentalquestionsthatbindcultureandsociety…”TheincidentconnectedtotheBlackLivesMattermovementintheU.S.,ongoingracialinjustice,andtoadebatearoundcensorshipandfreespeechinart,includingthequestion:whoisallowedtomakewhat?Thecontroversyanditsaftermathhighlightsagrowinggenerationaldivide,onethatisbeingnegotiatedacrosssocietyanditsinstitutions.Inourowncontexthere,weneedlooknofurtherthantheworkofBrownIslandtodeducetherelevanceandsenseofurgencythesequestionshaveformany.Inthecourse,studentswillbeleadthroughclosereadingsofartworks,primarytextsandrelatedmaterialsthatcomprise,protest,orrespondtotheincident.Asagroup,wewillattempttodiscussthesubjectasopenlyaspossible.Absolutelynopriorknowledgeisnecessary.Thiscourseismeantforandwelcometoallregardlessofrace,gender,personalpolitics.Participantsneedonlytobeinterestedinthinkingwitheachotherandinengagingwiththecoursematerialandconversationinamature,sensitiveandopenmanner.Studentsworkinginanymediumareencouragedtoattend.ReadingswillincludetextsbyHannahBlack,CocoFusco,ArunaD’Souza.Adetailedreadinglistandschedulewillbedistributedtostudentstwofullweeksbeforethecoursebegins.

SCHEDULE

YoucanaccessthescheduleforthecourseviatheGooglecalendar.Detailedinformationwillbemadeavailableonemonthbeforethecoursebegins.


Thecourseisexaminedthroughattendanceandparticipation.





• Attendsallsessions,unlessareasonableexcuseisgiveninadvanceofabsence

• Participatesinfurtheringdiscussionintheclass

• Participatesinanyassignedandin-classactivities

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• Engageswiththematerialinacriticalandanalyticalmanner

COURSELITERATUREANDOTHERLEARNINGRESOURCESThecoursewillincludenomorethan50pagesofcourseliteraturethatwillbeemailedtothegrouptwoweeksinadvancewithinstructionsforreadingandpreparingforthefirstmeeting.Therestofthecourseliteraturewillbedistributedandreadtogetherinclass.Additionalliteraturewillbemadeavailabletostudentsasresources,butwillnotberequiredreading.

COURSEEVALUATION


Thisisthefirsttimethecourseisbeingofferedinthisformandyourevaluationwillbeimportant.



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KURSBESKRIVNING

KURSENSNAMN:EnBok–Artistbook4,5högskolepoäng

VT/2020Kursperiod:V5,6,7Uppdaterad20XX-XX-XX

Kursansvariglärare:LarsErnholmMedverkandelärare:SvanteLarsson

ALLMÄNT

Välkommentillkursen/momentetEnboksomingårikursernaINTRODUKTIONMKO101,FÖRDJUPNING1MKO102,VALBARAKURSER1KOK100,VALBARAKURSER2KOK200ochVALBARAKURSER3KOK300.

Dethärärenbrettintroducerandekursochsamtidigthands-ongällandepraktiskboktillverkning.Kurseninnehålleralltfrånstudiebesökpåbokbinderi,föreläsningarompapperskunskap,limbindningmedskolansSysform-maskinmedmera(seuppställningavdelmoment).


Delmoment,kursinnehåll:

• Formgivning,textsättning,typsnitt(programvara:InDesign)• Limbindning(medskolansSysform-maskinochförhand)• IntrotillGDI:sRisograph• Digitalbildbehandling,färglära(programvara:Photoshop)• Introkurstillutskriftsverkstaden(Printshop)• Ljussättningifoto-studion(fastLed-ljus)• Papperskunskap(bulk,fiberriktning,ytviktmedmera)• Studiebesökpåbokbinderi• Genomgångavdispositionavtext

Kursenkommerutgåfråndeolikadeltagarnasförkunskapermenkräverintenågraspecifikasådana.Utifråndenindividuellanivånkommerviarbetamedolikatyperavlaborationerideolikaverkstädernaikombinationmedpraktiskaövningar.

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SCHEMA

DetaljschemaförkursenhittarduiGoogle-kalendern


Aktivtdeltagandeiundervisningen,inlämnandeavpraktiskadelexaminationsuppgiftersamtavslutandekursuppgiftsistakursdag.Kursenhållspåsvenska.



Lärandemålenförkursen/momentethittarduiKursplanernaförkursernaINTRODUKTIONMKO101,FÖRDJUPNING1MKO102,VALBARAKURSER1KOK100,VALBARAKURSER2KOK200ochVALBARAKURSER3KOK300somfinnstillgängligapåIntranätet


• Attstudentenharslutförtochredovisatobligatoriskapraktiskaövningsuppgifter.• Inlämningavuppgiftisambandmedavslutandemoment.

Studenternasompgaavbristandedelaktighetikursen/intelämnatinuppgifter,intefåttgodkäntpåkursenbörgåomkursenisinhelhetvidnästamöjligakursstart.Muntligochpraktisktentamenutifrånenuppgifterkaneventuelltersättanyttkursdeltagande.

KURSLITTERATUROCHÖVRIGALÄROMEDEL

Kurslitteraturdelasutianslutningtillkursstart.

KURSUTVÄRDERING

Islutetavkursengenomförsenkursutvärderingdärduharmöjlighetattanonymtbesvarafrågoromkursen.DetprimärasyftetmedkursvärderingarärattdeskallliggatillgrundförutvecklingavutbildningenpåKonstfack.Frånförrakursvärderingframkomingasynpunktersomföranlettförändringaravinnehålldettaläsår.

KURSADMINISTRATION


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KURSBESKRIVNING

KURSENSNAMN:Webbpublicering:Teknik,DesignochKonst.

4,5högskolepoäng

VT/2020Kursperiod:veckorna5,6och7Uppdaterad2019-09-03

Kursansvariglärare:PalleTorsson

ALLMÄNT

VälkommentillkursenWebbpublicering:Teknik,DesignochKonst,somingårIpaketetavKonstfacksvalbarakurserochäröppenförstudenterfrånallaKonstfacksinstitutioner.Kursenintroducerarstudententillwebbutvecklingochwebbpublicering,praktisktochteoretisktmedinriktningpåkonstnärligpraktik.KURSENSUPPLÄGGOCHUNDERVISNINGSFORMERMåletmedkursenärattutvecklastudentensförmågaattskapaenhemsidaochpublicerasigpånätet,atttänkagenomdesign-ochprogramlogik,utvecklaförståelseförhurwebbpubliceringkantillämpaspådenegnapraktikensamtreflekteraöverhurdigitalapubliceringsverktygpåverkarkonstnärsochkreatörersarbeteidag.Studentenförväntasföljauppgenomgångarmedegnaochgemensammalaborationer,reflektioner,undersökningarochexperiment,dialogigruppenochgenomattskapaenegenhemsida.Praktik:Ikursenintroducerasstudententillwebbutvecklinggenomfyraolikaheldagsseminarier,ettiHTML,ettiCSSochettiJavaScriptsamtettiolikaplattformarförwebbpublicering.Kursentarocksåupparbetsflödetfråndokumentation,bearbetningochpublikation.Kursenknyterantillhurviorganiserarochdokumenterarkonstnärligtarbeteidagochhurnågrakonstnäreranvänderwebbensomexponeringsyta.Teori:FörattfördjupasamtaletkringkursenskontextingårettfrivilligtseminariummedHitoSteyerlstexterdärstudentenutmanasiattreflekteraöverhurdetsocialadigitalabildflödetpåverkarsamhälletochvadaktuellamjukvarorochplattformarbetyderförkonstnärsrollenochkreativitetidag.

SCHEMADukankommaåtschematförkursenviaCanvas.

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FörkursenanvändsbetygsskalanUnderkänd,Godkänd.Examinationskergenominlämningsuppgiftersamtettobligatorisktslutprojekt.


Lärandemålenförkursen/momentethittarduiKursplanernaförkursernaINTRODUKTIONMKO101,FÖRDJUPNING1MKO102,VALBARAKURSER1KOK100,VALBARAKURSER2KOK200ochVALBARAKURSER3KOK300somfinnstillgängligapåIntranätetFörkursenanvändsbetygsskalanUnderkänd,Godkänd

Efterkursenförväntasstudentenkunna:●skapaenhemsidaochpublicerasigpånätet●haökadekunskaperiprogramlogikochwebbdesign,●haökadförståelseförhurwebbpubliceringkantillämpaspådenegnapraktiken●ökadförmågatillreflektionkringhurdigitalapubliceringsverktygpåverkarkonstnärligochkreativproduktion.

KURSLITTERATUROCHÖVRIGALÄROMEDEL:Kurslitteraturdelasutianslutningtillkursstart.

KURSUTVÄRDERING

Islutetavkursenkommerdufåettutvärderingsformulärdärdukansvarapåfrågoromkursen.Utvärderingsformuläretäranonymt.DetprimärasyftetmedkursutvärderingenärattutgöragrundenförkvalitetsarbeteochpedagogiskutvecklingpåKonstfack.

KURSADMINISTRATION


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DEPARTMENTOFFINEART

COURSEDESCRIPTION

COURSENAME:Soundininteraction

3creditsSpring/2020Courseperiod:weeks6&7Revised2019-05-13

CourseDirector:RicardoAtienzaParticipatingTeachers:RobinMcGinley,MonicaSand,PhilipArnold

GENERALINFORMATION

Welcometo”SoundinInteraction”,includedinthecoursesINTRODUKTIONMKO101,FÖRDJUPNING1MKO102,VALBARAKURSER1KOK100,VALBARAKURSER2KOK200ochVALBARAKURSER3KOK300

Theaimofthiscourseistoexploreinteractiveandreal-timeprocesseswithinthefieldofsoundandinconnectionwithothersensorialdimensions.Essentiallyorganizedasaworkshop,theparticipantswilldeveloptheirskillsviatherealizationofacollectivesensitiveenvironmenttobeexhibitedattheendofthecourse.

ThecoursewillgiveaccesstotheSoundLabasaworkingstation,asprovidingthenecessaryknowledgeforhandlingitsequipment.


Theprogrammeofthecoursewillbebasedonthefollowingaspects:

-Sonicculturesandtools,

ExploringanddiscussingrelevantinteractivepiecesinthefieldsofArt,DesignandResearch.

Learningtodescribesound:anoverviewofthemainsonicconcepts,methods,andstrategies.

Essentialsaboutsoundgeneration,recording,editing,composingandprocessing.Overviewofthemaineditingandgenerativesoundtools(software/hardware);specialattentionwillbegiventothefreesoftwaredomain,

-Workingwithreal-timeandinteractiveprocesses,

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Sonicflowgenerationandmanipulation,evolvingfromclosetoopengenerativeprocesses.

Formationingraphicalprogrammingenvironmentsforsound;thiscoursewillfocusontheopenandfreesoftwaredomain:Pure-Data,IanniX,etc.(cross-OSplatforms)

Introductiontodataandimage/videointeractivestructuresinPure-Data.

-Practice-basedlearning:aworkshopstructure,

Workingwiththeconcepts,methodsandtoolsexplored,throughtherealizationofacollectivesoundprojecttobeexhibited/performedattheendofthecourse.Eachstudentwillbeinvitedtodevelopitsowntoolstointeractwithinacollectiveandopensonic(sensorial)environment.

Coursestructureandteachingmethods:

Thecoursewillbestructuredaroundacombinationofworkshops,explorativesessionsandlectures.Theoutlineofthecoursewillbethefollowing:

Introductiontothefieldofsound.

-Describingsonicmatter.Sound/audioparameters,concepts,language.

-Soundgenerationandedition:soundrecording,synthesismethodsandtechniques.

-IntroductiontoSoundArt/Design/Research.

-SpaceandSound:simulating,representingandevokingthroughsound.

-Body,MotionandSound:pulse,scaleanditinerary.Embodiedsound,thereferencesystem.

-TimeandSound:thecircle,theline,thepoint.Aboutvariationinsonicdiscourse.

Exploring/acquiringreal-timeworkingprocessesandtools.

-Soundasaflow,soundininteraction,

-Learningfromourphysicalenvironment:symbolic/iconicorcorporeal(enactive)exchanges.

-Mediatedinteractions:technologyasanexchangetool.

-Pure-Data:“learning-by-using”introductiontothesoftware,

-IanniX:samelogicasforPure-Data.

-Communicationinbetweenbothsoftware.

-Introductiontomicrocontrollers,sensorsandhardwareextensions:Raspberry-Pi,Arduino,etc.

-Introductiontolow-techformsofsoundproduction:piezoelectriccomponents,etc.

-Otherformsofinteractioninsound.

Producingtogetherasensorialinteractiveenvironmentbyusingthedifferentconceptualandtechnicaltoolsprovided.

SCHEDULE

Weeks6and7,

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40hoursdistributedalong10half-day(9.00to12.00:Monday/Wednesday/Friday)orfull-daysessions(9.00-12.00and13.00-16.00:Tuesday/Thursday)


Eachparticipantstudentisexpectedtoactivelycontributetoacollectivesoundinteractiveenvironmenttobedevelopedalongthecourse.Theaimofthisexerciseistoprovideafruitfulframeforexploring,hands-on,someofthequestionsandtoolssharedduringthecourse.Studentsareexpectedtotakeactivepartinthecorrespondinggroupdiscussionsandworkshops,andcontributewithpersonalexplorationsandaudiomaterialstofeedthecollectiveworkingprocess.YourgradeisreportedinLadokthreeweeksaftertheendofthecourse,atthelatest.ShouldyoureceiveanF(fail),youwillbenotifiedinwriting.Thewrittenstatementwillentailanexplanationforthegradingandmakeclearwhatyouneedtodoinorderforyoutoreceiveapass.




-takeactivepartinthegroupdiscussionsandworkshopspreparinganddevelopingthesoundinteractiveinstallation,-individuallycontributetothisinstallationwithpersonalexplorationsandaudiomaterialsbasedonsomeofthestrategies,methodsandtoolsprovided.


Generalliterature:

(Noncompulsory,forthosewantingtodeepentheirsonicknowledge)

Augoyard,Jean-François/Torgue,Henry(éds.)(2006):SonicExperience.AGuidetoEverydaySounds.McGill-Queen'sUniversityPress,Montreal,216p.

Cage,John(1961):Silence:LecturesandWritings,WesleyanUniversityPressPaperback

Cardiff,Janet(2005):TheWalkBook,EditedbyThyssen_BornemiszaArtContemporary

Hellstrom,Björn(2003):Noisedesign:architecturalmodellingandaestheticsofurbanacousticspace.BoEjebyForlag,Goteborg

Khan,Douglas(1999):Noise,Water,Meat:AHistoryofSoundintheArts.MITPress

Labelle,Brandon(2010):AcousticTerritories.SoundCultureandEverydayLife.Continuum

Labelle,Brandon(2006):BackgroundNoise.PerspectivesonSoundArt.Continuum

MurraySchafer,Raymond(1977):Thetuningoftheworld.McClellandandSteward,Toronto

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Schaeffer,Pierre(1966):Traitédesobjetsmusicaux.Ed.Seuil,Paris

Truax,Barry(éd.)(1978):HandbookforAcousticEcology.ARCPublications,Vancouver

Truax,Barry(1983):AcousticCommunication.Ed.AblexPublishingCo.,NewJersey

Wishart,Trevor(1990):OnSonicArt,HarwoodAcademicPublishers.

Xenakis,Iannis(1990):FormalisedMusic–ThoughtsandMathematicsinMusic,PendragonPress,Stuyvesant,NY.

Soundandsonicliteratureresources

Someinterestingwebsiteswhereyoucanfindinformationinthefieldaswellasrelevantsoundexamples:

Ubu:http://www.ubu.com/sound/

Monoskop:https://monoskop.org/Sound_art

Opensourcesoftware:

Edition,

Audacity:https://www.audacityteam.org/

Soundsynthesis,

HighC:http://highc.org/

Spectralanalysis,

Sonicvisualiser:http://www.sonicvisualiser.org/

AcousmographebyGRM:https://inagrm.com/en/showcase/news/203/acousmographe

RealtimeandInteractivity,PureData(PD),opensourcevisualprogramminglanguageforsoundandmultimedia:http://puredata.infoIanniX,opensourcegraphicsequencer:https://www.iannix.org/en/

COURSEEVALUATION


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34

DEPARTMENTOFFINEART

COURSEDESCRIPTION

COURSENAME:Further Art Theory, Philosophy and Aesthetics

VT/2020Courseperiod:week6and73ETCcreditsRevised2019-09-03

CourseDirector:MatGregoryParticipatingTeachers:TBC

GENERALINFORMATION

WelcometoFurtherArtTheory,PhilosophyandAestheticssomingårikursernaINTRODUKTIONMKO101,FÖRDJUPNING1MKO102,VALBARAKURSER1KOK100,VALBARAKURSER2KOK200ochVALBARAKURSER3KOK300

FurtherArtTheory,PhilosophyandAestheticsaimstopresentanopportunityforextendedengagementwithcriticaltheory,aestheticsandphilosophy.Inadditiontothemandatorycoursesinarthistoryandtheory,thiscoursepresentsaspecificopportunitytogodeeperintokeytheoreticalwritingsandconceptsrelevanttocontemporaryart.Itwillbeginbyreturningtotheexaminationanddiscussionofkeyconceptswithinthephilosophyofart,includingKant’sconceptofaestheticjudgement;Hegel’stheendofart;Nietzsche’s‘willtopowerasart’;Marxandthefetishismofthecommodity;Benjamin’sauraandreproduction;andHeideggerontheoriginoftheworkofart.Developingfromthis,thecoursewillthenseek–throughathematicapproach-tofacilitatefurthercriticaldiscussionontheworkofphilosophersandtheoristsincludingTheodorAdorno,JacquesRancière,MichelFoucault,PierreBourdieu,GillesDeleuze,FrantzFanon,SimonedeBeauvoir,EdmundHusserl,MauriceMerleau-Ponty,HélèneCixous,MaryMidgley,BrunoLatour,JudithButler,andSaraAhmed.


Thecourseaimstoestablishalearningenvironmentcentredupondiscussionandcriticalreflection.Teachingtakesplacethroughlectures,seminardiscussions,sharedreadingsandtextseminars.Guestteachers(includingPhDcandidates)willbeinvitedtodelivercertainsessions,basedontheirexpertiseinthesubject,andfieldtripstorelevantsitesandinstitutionswillbeincludedwithintheschedule.Readingtimewillbescheduledwithinthecourseactivities.Studentswillalsoplantheirownstudent-ledseminarsessions.

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SCHEDULE

YoucanaccessthescheduleforthecourseviatheGooglecalendar


Thecourseisexaminedthroughparticipationingroupdiscussions,andthroughthewritingandpresentationofashortpaperwhichshouldbepresentedto,anddiscussedby,thegroup.YourgradeisreportedinLadokthreeweeksaftertheendofthecourse,atthelatest.ShouldyoureceiveanF(fail),youwillbenotifiedinwriting.Thewrittenstatementwillentailanexplanationforthegradingandmakeclearwhatyouneedtodoinorderforyoutoreceiveapass.




ThecourseliteratureisfoundontheIntranet

COURSEEVALUATION




36

DEPARTMENTOFFINEART

COURSEDESCRIPTION

COURSENAME:Imprint–Ameetingbetweenthephotographyandsculpturestudios,4,5credits(coursecodewillbefilledinbyadministrator)

VT/2020Courseperiod:Week8,12,13Revised2019-09-01

CourseDirector:CeciliaJärdemar/NinaSvenssonParticipatingTeachers:ThomasColbengtson

GENERALINFORMATION

WelcometoImprint–AmeetingbetweenthephotographyandsculpturestudioswhichispartofthecoursesINTRODUKTIONMKO101,FÖRDJUPNING1MKO102,VALBARAKURSER1KOK100,VALBARAKURSER2KOK200andVALBARAKURSER3KOK300

Thecourseisacontinuationcourseinsculptureandphotography,whereweexperimentallyexplorehowwecancombinesculpturalandphotographicprocesses.Weworkwithprocessesfromboththedarkroomandthesculpturestudio,anddiscussconceptsrelatedtoImprintinrelationtobothphotographyandsculpture.Thecoursewilllinkmaterialsthathistoricallydatebacktothebirthofphotography,suchasglass,metalandphotographicemulsionwithmoremoderntechniquessuchassiliconeandepoxy. Whathappenswhenwemovebetweendifferentmediaandtechniques?Howcanthedifferentworkprocessesbecombinedinnewconfigurations?Thecoursecanopenupnewwaysworkingifyouareusedtoworkingprimarilyinoneworkshop-inthiscoursewemeetandshareourknowledgeoverworkshopboundariesinanaturalway.Themeetingstakeplaceprimarilythroughpracticalsteps,wheredifferenttechniquesandthetwo-dimensionalmeetthethree-dimensional.Weexplorenewmethods,formatsandmateriality.Youdon’tneedtohaveexperienceworkinginthedarkroomnorsculpturestudiobeyondthemandatoryintrocoursestoparticipate.


Thecourseisconductedinworkshopforminthesculpturestudioandthedarkroom/printshop,andonstudyvisitsintheglassworksandintheprintmaking/screenstudio.Thecoursehastwoparts-twoexploratoryweekswhereweworkonavarietyofphotographicandsculpturalprocesses,andone

37

weekforin-depthworkindividualworkthatendswithanexhibition,eitherontheschoolpremisesoratanexternallocation.Examplesoftechniquesandmaterialswewillexploreare:-liquidphotographicemulsions-Printingfromdigitalnegatives-Form-takingandmodellinginplaster,clay,wood-Materialsacrystal,epoxy,plaster,metal,glass,pulp-Woodandclayasnegativeformsforglassblowing-visittometal,glassandprintworkshopsThecoursewillhavetwovisitinglecturers,oneartistworkingwithclaytomakefastshapestoblowglassinto,andoneartistworkingwithexperimentalprocesseswithinphotography.

SCHEDULE

Tuesday–Friday9-16,week8,12and13


Participatingstudentsmusthavetakenintroductorycoursesinsculptureandphotography.Thecourseisopentobothcandidateandmasterofarts.Thecourseisexaminedthroughattendanceatthevariouscourseelements,andparticipationinthecourseexhibitionevaluation.YourgradeisreportedinLadokthreeweeksaftertheendofthecourse,atthelatest.ShouldyoureceiveanF(fail),youwillbenotifiedinwriting.Thewrittenstatementwillentailanexplanationforthegradingandmakeclearwhatyouneedtodoinorderforyoutoreceiveapass.



Thegradepassisawardedastudentwho: - Activelyparticipatesintheworkshopsandhasanattendancerecordofminimum80%

Toparticipateinthecourseexhibitionyouneedtohavepassedthecourse.

COURSE LITERATURE AND OTHER LEARNING RESOURCES

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Thecourseliteraturewillmainlybethematerialsandmethodsweuseinthepracticalparts.

COURSEEVALUATION




39

DEPARTMENTOFFINEART

COURSEDESCRIPTION

COURSENAME:“X–Screen(Helpmyscreenisflat!)”3ECTScredits(coursecodewillbefilledinbyadministrator)

Spring/2020Courseperiod:week12and13Revised20XX-XX-XX

CourseDirector:AnitaMalmqvistParticipatingTeachers:

GENERALINFORMATION

Welcometothecourse“X–Screen(Helpmyscreenisflat!)”includedinthecoursesINTRODUCTIONMKO101,INDEPTHSTUDIES1MKO102,ELECTIVECOURSES1KOK100,ELECTIVECOURSES2KOK200andELECTIVECOURSES3KOK300

Weusetheword"screen"torefertoavarietyoftechnicaldevices:theglasssurfaceofacathoderaytubeTV,aliquidcrystaldisplayinaniPhone,orasurfacethatreflectsthephotonsintheprojector'slightbeam.Despitetheirdifferences,thesescreenshaveacommonfeature.Allarecharacterizedbyaframe.PeterGreenawayalreadyemphasizesin1983thatthereisnoframein"nature",framingisahumanphenomenon.Itisaregulationofourownirregularperceptionoftheworldaroundus.Arenewedinterestinmaterialitytogetherwithtechniquesfor"ProjectionMapping"andARopensupfornewformsofpresentationofmovingimages.Theresultcanbeaprojectionthatgivesthesurfaceofsolidobjectslifeormovingimageactorsbecomingvirtualbutperformativeagentsinthereal.Thecourseaimstodeepenadiscussionof“thescreen",toexplore,investigateandrethinktechniquesforpresentingmovingimages,aswellasdiscussingnarrativestructuresina"post-cinematic"worldwherelinearandnon-linearnarrationhasexpandedtoseveral-linear,multimodalandmulti-layeredstorieswithmulti-accessoversurfaces,objectsandenvironments.Movingthefocusfromfilmasawindowtomovingimagesasabeingintheworld.


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Thefirstweekisdevotedtocontextualizingthesubjectareaincludinglectures,discussionsandplanningone'sownartisticproject.

Thesecondweekconsistsofaworkshopwithpresentationsofdifferenttechniquesandsupervision.

SCHEDULE

Youcanfindadetailedscheduleattachedtothiscoursedescription


Itisdesirablethatallparticipantshaveaccesstotheirownlaptopsduringcourse.

Thecourseisexaminedthroughattendance,participationandpresentationofparticipant'sindividualartisticwork.YourgradeisreportedinLadokthreeweeksaftertheendofthecourse,atthelatest.ShouldyoureceiveanF(fail),youwillbenotifiedinwriting.Thewrittenstatementwillentailanexplanationforthegradingandmakeclearwhatyouneedtodoinorderforyoutoreceiveapass.




• hastakenanactivepartinlectures,discussionsandpracticalworkduringthecourse• hasdevelopedandpresentedtheirownartisticwork/project• hasarticulatedhowtheconceptspresentedanddiscussedinthecourseappliestotheirwork


Thecourseliteratureandotherresourcesisdistributedduringthecourse

COURSEEVALUATION


41

Hereyouwriteashortdescriptionofwhatcameoutofthelastevaluationofthecourseand,preferably,somethingaboutanychangesorimprovementsthatweremadeonthebasisofthelastevaluationresult



42


KURSBESKRIVNING

Målerietsuttrycksmedel3högskolepoängVårtermin/2020Kursperiod:veckorna12-13Uppdaterad20XX-XX-XX

Kursansvariglärare:GunnarLarsson

ALLMÄNT

Välkommentillkursen/momentetMålerietsuttrycksmedelsomingårikursernaINTRODUKTIONMKO101,FÖRDJUPNING1MKO102,VALBARAKURSER1KOK100,VALBARAKURSER2KOK200ochVALBARAKURSER3KOK300.Dennakurshandlarommålerietsuttrycksmedel.Vijobbargemensamtmedövningar,därviärheltkoncentreradepåmålerietsformaspekter.Vijobbarförstochfrämstmedhurviformulerarosssommålare.

Vadviberättar:"innehållet",ärenmycketviktigsakförossatterövra,mendetgörvibästefteregethuvudivårtateljéarbete,inteikursform.

Attappliceramålarfärgpåenytaförattåstadkommaillusionenavrum,volym,ljusochstoffärintressantochutmanande.Närvisamtidigtocksåbejakarmålerietsdekorativaaspekter:färgklang,rytm,ochmålningensegenmaterialitetuppstårdetoftakomplicerademotsättningarsomtvingarossattvarauppfinningsrikaochanalytiska.Kursenvillsynliggöradettaintrikatasamspelochförmedlaenbegreppsapparatsomkanfungerasomettanvändbartanalysverktygivårtarbetemedattutvecklaettmåleri.

Dessutom:målerietsspråkligadimensionärintebaraabstrakttankemässig,denärocksåkonkrethantverksmässig…Valavfärgmaterialochmåleriteknikpåverkarnaturligtvisocksåvårformuleringsförmåga.Underkursenjämförviochpreparerarolikafärgmaterialocholikatyperavunderlagochnjuteravmaterialensstorauttrycksmässigavariationsrikedom.Viprovarattmålapåpapper,pannåer,duk,plåtochglas.Vianvänderfärgmaterialsomkol,tusch,äggoljetempera,akrylfärg,oljefärg,torrpastellkritaochev.akvarellfärgochenkaustik.

Detmestamaterialetfinnsattfå.Tagmedegnapenslarochfulakläder.VihållertilliMåleristudionochateljé5.

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Kursenhållspåsvenska.Undertvåveckorjobbarvitillsammansmedmodellstudierochmaterialexperiment.Viddelredovisningaravdeolikamomentenkoncentrerarviosspåattdiskuterakringdemöjligheterochbegränsningarsomolikamaterialenochtankesättenerbjuder.Viberörocksåöversiktligtolikafärgläror.

SCHEMA

Lärarleddundervisning09.00-16.00varjedag.Detaljschemaförkursenmailasutsenastenveckainnankursstart.


Kursenexaminerasgenompraktisktgenomförandeavkursensolikamoment.Förgodkäntresultatskallduhauppnåttlärandemålen.


LÄRANDEMÅLOCHBETYGSKRITERIERLärandemålenförkursen/momentethittarduiKursplanernaförkursernaINTRODUKTIONMKO101,FÖRDJUPNING1MKO102,VALBARAKURSER1KOK100,VALBARAKURSER2KOK200ochVALBARAKURSER3KOK300somfinnstillgängligapåIntranätet


• Förmågaattförståochanvändabegreppenvolym,rum,ljus,stoff,färgklangochbildrytmochsomanalysverktygienmåleriprocess.

• Kännedomomolikamålerimaterialsegenskaper.

KURSUTVÄRDERING

Islutetavkursengenomförsenkursutvärderingdärduharmöjlighetattanonymtbesvarafrågoromkursen.DetprimärasyftetmedkursvärderingarärattdeskallliggatillgrundförutvecklingavutbildningenpåKonstfack.

KURSADMINISTRATION


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department of fine art - konstfack 1920...department of fine art elective courses 2019/2020 bachelor...

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