1. Descriptor

The operational scope of this subject is images understood as cultural constructions and as articulations of experiential impressions of the subject, in which transformations will be promoted that will affect their meaning and their potential constitution as works. Operations that will demonstrate the material and structural condition of every image and that begin with the verification of the image condition as a perceptual and meaning structure. It will include experiences related to Drawing, Painting, Photography, Design, Sculpture, Audiovisual, Network,. . .



2. Contextualization (importance of the subject in the curriculum):

Compulsory subject of first year. Linked to the subject Materials Laboratory of the 1st year.

Continuity in laboratories of 2nd and 3rd year as well as in the final project of 4th year.The subject introduces the student and equips them with tools to start experimenting in the development of personal artistic practice.

The professional profile of the graduate in Fine Arts requires the knowledge of methodologies, strategies, languages and techniques that allow him to develop a work process that leads to artistic projects of different kinds. This subject, together with the Materials Laboratory, introduces the student to both individual and collective practice.

3. 1 Specific competences:

E1. To address the notion of image as a structure and a provisional inventory of forms that articulate the individual and the social.

E2. To have a knowledge about the image that generates an operative capacity both in reading images and in their subsequent manipulation or creation.

E3. To be familiar with those resources of the image that allow it to generate narrative strategies.

E4. Be aware of the relationships that occur between the elements that make up the device-image and the spectator.



3. 2 Cross-cutting competences:

G1. Beginning in the recognition of the knowledge of Art as technical knowledge with possibilities of application in different fields.

G2. Begin to know how to take responsibility for the act of creation and for what is done in relation to what is socially demanded of the contemporary artist. Ability to compromise.

G4. Integrate knowledge and skills to design and develop artistic projectsG5. Begin the use of resources for inquiry and critical questioning and creative and/or scientific methodologies, demonstrating initiative and capacity in decision-making, both at the individual and collective levels.

3. 3 Competences of the course being worked on:

C1o. C1. To discover in the observation of reality, the possibility of rethinking it through visual and plastic creations (referring to the general competence (s) G5, G6) (*)

C1o. C2. To distinguish between the observation of reality, the structural and the anecdotal and to detect different modes of relationship between parties based on different perceptible aspects involved in the artistic configurations (referring to the general competence (s) G1) (*)

C1o. C3. Detect and review preconceived ideas about the subject, the image and the meaning of art (referring to the general competence (s) G1, G5, G8) (*)C1o. C5. To be able to experiment in the realm of the material and the image producing new sensitive and intellective articulations, taking into account the interdisciplinary nature of contemporary art practice (referring to the general competence (s) G5)

C1o. C8. Recognising the status and the anthropological and social value of artistic activity and achievements (referring to the general competence (s) G8) (*)



3. 4 Learning outcomes:

- The student will be able to work autonomously in tasks related to visual and plastic creations.

- The student will be able to detect and revise preconceived ideas around the subject, the image and the meaning of art.

- The student will be able to produce incipiently new sensitive and intellective articulations, taking into account the interdisciplinarity of contemporary art practice in the field of material and image.

1. Image: perception and projection.

1. 1 World and subject. Perception.

1. 2 Recognition and identification: the visible.

1. 3 Perception and affection. Modeling and feedback of reality.



2. Image: Functions and uses

2. 1 The image as singularity and difference: significant images.

2. 2 Mimesis and representation. The present and the represented.

2. 3 Reality and fiction (truth and plausibility).

2. 4 Representation and the sensible (the intransitive, the poetic function).



3. Image and narrative.

3. 1 Subject, space, time.

3. 2. The fictional device of the staging; the image in relation to the space and to the spectator.

3. 3. Construction of the subject; image and subjectivation.

Based on the name of Laboratory, the subject proposes, from the primacy of the student’s action, a teaching methodology based on the practices of the art workshop, to a lesser extent on theoretical classes and seminars, and on the study and analysis of cases.



There will also be visits to art and design spaces (either as a group activity or as part of the student’s non-face-to-face schedule) and the obligatory or recommended readings that the student must perform.

The tutorials of the teacher will serve to answer any questions that arise during the exercise and the tasks that make up the course.

• Continuous Assessment System
• Final Assessment System
• Tools and qualification percentages:
  • Realization of Practical Work (exercises, cases or problems) (%): 100

The contents of the course will be evaluated through the monitoring of the work in the classroom, the correction of exercises and, if necessary, written tests.

The final grade will be the result of the competencies acquired and, as regular attendance and responsible attitude are fundamental, it will only be possible to obtain a minimum attendance of 80%.

The assessment method used in the subject is continuous assessment. The grade obtained in this assessment is the grade of the subject.

Pupils shall have the right to be assessed through the final assessment system. In order to do so, they must submit in writing their waiver from the continuous assessment system and have a deadline of 9 weeks for the four-month courses and 18 weeks for the yearly courses, starting from the beginning of the four-month course or course respectively.

The assessment using the final assessment system will consist of the presentation of all the exercises that are carried out in the subject and, according to the teacher’s discretion, a final test.

Students with intermittent attendance or clearly insufficient work during the course process will be graded only with the grade obtained in the continuous assessment.

If necessary, the student may submit his or her resignation from the call for assessment. To withdraw from the exam, students must submit their written resignation to the teacher in charge of the subject one month before the official exam date of the subject.

In the special call, the assessment will require the completion of all the exercises that are carried out in the subject and, if so required, also an exam. For all this, attendance at tutorials during the weeks between the publication of the notes of the regular call and the examination of the special call will be required.

Aquellos que se detallen en los ejercicios y prácticas de clase, así como las referencias bibliográficas básicas, que serán asimismo especificadas en el desarrollo del propio curso.

Basic bibliography

AUMON, Jacques (1997), The Image, British Film Institute

BERGER, J. (2008). Ways of seeing. Penguin Classics.

GOMBRICH, E. H.(1994) Meditations On a Hobby Horse and Other Essays. Phaidon Press

Leonardo, da Vinci, 1452-1519. (1970). The notebooks of Leonardo da Vinci. New York :Dover Publications

GARCÍA LORCA, Federico (1972). Imaginación, inspiración, evasión. en Prosa. Alianza Editorial. Madrid. pp. 129-140.

VIRILIO, Paul (1994). The Vision Machine, Indiana University Press

FOSTER et al., Art Since 1900. Modernism, Antimodernism, Postmodernism (2016), Thames & Hudson

In-depth bibliography

ARNHEIM, Rudolf. Arte y percepción visual. Ed. Alianza Editorial, S.A. Madrid, 1983.
ARNHEIM, Rudolf. El Guernica de Picasso, génesis de una pintura. Ed. G. Gili, S.A. Barcelona, 1981.
ARNHEIM, Rudolf. El cine como arte. Ed. Paidós Ibércia. 2008.
BARTHES, Roland. La cámara lúcida. (Nota sobre la Fotografía). Ed. G. Gili, S.A. Barcelona, 1981.
CRARY, Jonathan. Las técnicas del oberservador. Visión y modernidad en el siglo XIX.CENDEAC, 2008.
DAUCHER, Hans, Visión artística y visión racionalizada. Ed. G. Gili, Barcelona, 1978.
DARLEY, Andrew. Cultura visual digital. Espectáculo y nuevos géneros en los medios de comunicación. Ed. Paidos comunicación, 2003.
FONTCUBERTA, Joan,El beso de Judas. Fotografía y verdad. Edi. G. Gili. Barcelona, 1997.
El programa con la bibliografía completa estará depositado en el Servicio de Reprografía de la Facultad.

Journals

Las estrictamente relacionadas con la asignatura y que se encuentran en la bibliotea de la facultad.
Lápiz.
Zehar.
Arte y Parte.
Tema celeste.
Parkett.

Web addresses

http://www.interzona. org/
http://arteleku.gisa-elkartea.org/zehar/
http://www.exitmedia.net/
http://salonkritik.net/index_artes.php
http://aleph-arts.org/
http://www.arteyparte.com
http://www.youtube.com
http://www.marklewisstudio.com
http://www.artcyclopedia.com