To analyse these artistic manifestations (architecture, photography, advertising, body art, kitsch, wabi sabi, etc.), place them in their socio-cultural and spiritual context, compare them with works of art of yesteryear and approach the metatext.
Topic 1: The language of stones. Art and poetry.
Topic 2: The golden ratio and nature. Antoni Gaudí.
Topic 3: Perspective in the East and the West. The role of the artist.
Topic 4: Architecture and philosophy The work of art as a treatise.
Topic 5: Art and silence. From desert to neo-monarchism.
Topic 6: From mysticism to surrealism. Miniatures.
Topic 7: Revivals, kitsch and deconstructivism. Derrida.
Topic 8: Art and advertising. From the sublime to the subliminal.
Topic 9: Artistic routes and the inner pilgrimage.
In-person methodology
The teaching methodology to be used in the teaching of the subject is as follows:
Classroom work:
1. Lectures. Lectures refer to a presentation by the lecturer of the theoretical contents of the subject, orientation of the students on basic and advanced readings, as well as complementary sources of information and the establishment of guidelines and keys for carrying out the theoretical-practical tasks.
2. Continuous assessment Assessment is an integrated part of the teaching-learning process. In this subject there will be continuous assessment that will combine the submission and presentation of assignments with the development of objective (written) tests throughout the semester. At the same time, the teacher will give feedback on the students progress.
Work or activities outside the classroom:
3. Autonomous work by students. The autonomous work of students consists, on the one hand, of reading selected texts and preparing outlines, summaries, concept maps, etc. based on them; and on the other hand, of preparing individual work , especially essays and oral presentations.
4. Tutorial sessions. All students will have the possibility of requesting individual or group tutorials, by appointment, from the teaching staff. These tutorials may be aimed at resolving doubts regarding both the content and the preparation of the assignments.
Class attendance and participation. Ability to formulate questions. Answering questions. 50%
Written work. On the basis of the recommended readings, compare two works from different artistic currents. 25%
Oral presentation in class. State of the art, clarity and ability to synthesise. 25%
EXTRAORDINARY EXAM SESSION:
The assessment criteria are the same as in the ordinary exam, so all the assessment activities considered in the course must be provided. Marks will be kept for all the activities carried out, pending the completion of any pending activities. The same weighting criteria will be applied in this assessment as in the ordinary assessment.
BRUNETTE, P-WILLS, D [ed.] Deconstruction and the Visual Arts. Art, Media, Architecture, Cambridge University Press, 1994.
BOZAL, V, El tiempo del estupor. Siruela, 2003
FLORENSKY, P. La perspectiva invertida. Madrid, Siruela, 2005.
HEMENWAY, P. El código secreto. La misteriosa fórmula que rige el arte, la naturalesa y la ciencia. Köln, 2008.
CIRLOT, V. La visión abierta. Del mito del grial al surrealismo. Siruela, 2010.
AYMAR, J, et alia, Simbologia religiosa en lart occidental. Edimurtra, 2006.
BESANÇON, Alain, La imagen prohibida.Una historia intelectual de la iconoclasia. Madrid, Siruela, 2003.
KANDINSKY, W. De lo espiritual en el arte [1911], Ed. Paidós. Versió pdf.
PAROMA, ML-ALSINA, J, Bellesa i pensament. Crisolart galleries, 2010.