Estudia

• B2. Read, understand and comment on scientific texts
• B3. Communicate effectively orally, in writing and audiovisually
• B10. Develop the capacity of analysis, synthesis and critical judgment, identifying and arguing the causes and context
• E4. To situate the contents of one's own field of knowledge in history and to analyze its evolution in relation to other cultural disciplines

1. PART 1: Changes of paradigm: the notion of creativity in current contemporary frames. Conditions of production, reception and consumption

          1.1. Modernity, Postmodernity; Avantgardes

          1.2. Structuralism, Poststructuralism

          1.3. Representation crisis

2. PART 2: Multiple identities, artistic, cultural and aesthetic of the self

          2.1. The relationship with machines (art and robotics; new interfaces; communities of expression; simulations; creative explorations of the body; cyborgs).

          2.2. Net art (web 2.0; social media and 'social capital'; amateur creativity; intimacy crisis; biopolitics; affective economies).

          2.3. Pràctiques i tecnologies de la dissensió (performance-performativitat; poder i sistema-red; la multitud interconnectada; guerrilla de la comunicació i hacktivisme).

          2.4. Blog art (egologies; novel·les gràfiques; storytelling)

          2.5. Interactivity (electronics) and social interaction (reception and co-creation; aesthetic reception and interactivity; participation; prosumers; art gamers; alternative forms of community relationship).

3. PART 3: Archival pain: ephemeral information and intangible data

          3.1. Internet art and the logics of property (web art; pro-communal activisms).

          3.2. New poetics of the register and the database (digital files; memory and digital register; database ...).

          3.3. Aesthetics of data and connectivity (data visualizations and relationships; big data; relatograms ...).

4. PART 4: Virtual topographies: Expanded spaces and times.

          4.1. Aesthetics of spatiality (drift; mapping and cartography; surveillance and location; geonavigators ...).

• Morley, David (1996). Postmodernism: a guide. Dins (Ed.), Cultural Studies and Communication (, p. 85-108). Bloomsbury Academic.
• MANOVICH, Lev. (2002). The Language of New Media. Cambridge: The MIT Press.
• BOLTER, J. D.; GRUSIN, R. A. (2000). Remediation: Understanding new media. Cambridge: The MIT Press.
• Latour, Bruno. (1993). We have never been modern. Hertfordshire: Prentice Hall/Harvester Wheatsheaf. Catàleg
• Agamben, Giorgio (2009). What is an apparatus? : and other essays. Stanford: Stanford University Press. Catàleg
• Krenak, Ailton (2020). Ideas to Postpone the End of the World. Toronto: House of Anansi Press Inc.
• Prada, Juan Martín (2020). Network culture and the aesthetics of dissension. Escritura e imagen, 16(), . Recuperat , a https://omnia.udg.edu/permalink/34CSUC_UDG/movre2/cdi_crossref_primary_10_5209_esim_73038
• Epstein, Ziv ; Hertzmann, Aaron ; Akten, Memo ; Farid, Hany ; Fjeld, Jessica ; Frank, Morgan R. ; Groh, Matthew ; Herman, Laura ; Leach, Neil ; Mahari, Robert ; Pentland, Alex “Sandy” ; Russakovsky, O (2023). Art and the science of generative AI. American Association for the Advancement of Science, 380(), . Recuperat , a https://omnia.udg.edu/permalink/34CSUC_UDG/movre2/cdi_proquest_miscellaneous_2827256700

Assessment activities:

D- It is spoken from personal opinions, without any other argument / The course information is not used / The articles read are copied indiscriminately / The work does not meet the minimum requirements required in a university work (arrangement, coherence in the argument, bibliography, presentation ...) / It does not do what is asked. Poorly presented aesthetic presentation, significant misspellings ... INSUFFICIENT (3 - 4).
C- The information of the course is used in order to address the proposed topic: the most obvious topics and positions are indicated without going into depth. The work presents the minimum aesthetic standards. APPROVED (5 - 6).
B- An effort is made to work from the perspective of the course and to use the basic bibliography correctly when delving into the proposals. The positions and conceptions underlying the materials worked on are properly positioned and contextualized. The balance between information and aesthetic presentation has not yet been achieved. NOTABLE (7 - 8).
A- The proposed topics serve as a reference to address new problems and relationships between the issues addressed in the course. Other perspectives relevant to the topic are considered. The ideological and political implications and consequences of the identified positions are considered. The student is able to position and argue solidly in their own position. Good aesthetic resolution. EXCELLENT (9 - 10)

Specific criteria for the "No show" grade:
To pass this assignment, the attendance of 70% of the classes is essential.
Given that it is an ongoing evaluation, it is essential that the various works be submitted within the established deadline. If this is not the case and there is no greater justification for not submitting the partial papers, they will automatically be counted as a 0.
Therefore it is considered a Not Presented only in the case that the exercise is not presented for justified major causes (accident, illness ...).

Single Assessment:
Due to the characteristics of this subject, and the continuous evaluation, the single assessment option is not considered. The knowledge, learning strategies and competencies that this subject conveys involve a continuous work of maturation in which, progressively, the students obtain feedbacks of the various achievements thanks to the continuous evaluation. The various assessment tasks that are contemplated are designed from a progression in their complexity so that the students consolidate and reinforce the learning and competencies to be achieved.

Minimum requirements to pass:
To be considered to have passed the subject, it will be necessary to obtain a minimum grade of 5.0 after having taken the average with the various submissions.

As long as they can be done in person, they will do so, and the way to request them will be either via email to the teacher or via intereram in the tutorial application section.

The channels of communication and interaction with students will be the usual ones: in class, by email and by moodle.

The course will focus on artistic movements and contemporary audiovisual languages from the 1960s onwards, and on all the facts and debates related to audiovisual and multimedia practice that characterize contemporary culture.