Hybrid Arts Practices
Teaching Staff: Tsiridou Tania, Honorato Dalila
Course Code: THE848
Course Type: Elective
Course Level: Undergraduate
Course Language: Greek
Teaching Units: 3
Teaching Hours: 3
|Practice and Preparation||30|
|Course Total (ECTS: 5)||125|
Recquired / Recommended : THE104, THE302, THE400
Size: 194.23 KB :: Type: PDF document
The synergy of art with science is a practice that is gaining more and more ground due to technological and social developments. The primary goal of the course is to enhance and broaden the understanding of the hybridization of this synergy, focusing on different methods but also re-examining the traditional relationship between artistic practice and scientific research.
The subject of study is the texts of international literature and the analysis of examples of works of art that are the result of the collaboration of art with various scientific fields. Ethical and methodological issues of artworks as a result of development in the fields of biotechnology, medicine, robotics, nanotechnology, ecology, particle physics and others are examined. Finally, the object of analysis is the use of scientific tools and laboratory facilities in the creation of hybrid artworks.
Objectives - Learning Outcomes:
Students will have an understanding of the relationships between art, scientific research and technological innovation and how each sector informs and promotes the other.
Students should have acquired knowledge about the strategies of artists in the context of techno-scientific research and implementation of works of art characterized by the strong element of hybridization. Finally objective is to strengthen the ability of students to research, design and implement their personal works of art that are characterized by a strong element of hybridization.
Week # 1: Introduction, overview of the course's structure and definitions (science, art, techno-romance - technophobia, hybridization, originality among others).
2. Week # 2: The Scientific Method: Knowledge - Truth - Rationality. Inductive method. Deduction. Falsification - Verification.
Week # 3: Art - Science: A Historical Review of their Relationship. Methodological differences and similarities. Artists and works influenced by science and vice versa.
Week # 4: Natural materials and natural phenomena. Non-linear dynamic systems. Meteorology, solar energy, geology and mechanical motion.
Week # 5: Space: Space Exploration. Gravity. Macrocosm.
Week # 6: Biology. Microbiology. Medicine. Genetic. Industrial. Ecology, Microorganisms, plants, animals, insects.
Week # 7: The human body and body imaging. Extreme performance. Prosthetics. Body manipulation and modification. Destruction. Bodily fluids.
Week # 8: Kinetics. Electronics. Robotics. Artificial Intelligence.
Week # 9: Alternative interfaces: (gesture, touch, facial expression, speech). Algorithms and software art. Information Systems: databases, monitoring, RFID / barcode, synthetic cinema, information visualization.
Week # 10: Particle Physics, Geology, Physics, Chemistry, Geology, Physics, Chemistry, Nanotechnology, Materials Science. Electromagnetic. Materials Science.
Week # 11: Telecommunications: telephone, radio, telepresence, internet, mobile.
Week # 12: Political action and art. Technopolitical and regular means.
Week # 13: Ethical issues arising from the synergy between art - science and technology. Exhibitions and festivals; educational programs, art and research collaborations, reservoirs of thought and internet resources.
Week # 14: Presentation of work progress.
* Use of Information and Communication Technologies
The OpenEclass platform is being used for the exchange of files related to the course as well as the communication between the instructors and the participating students.
Ascott, Roy, ed. Engineering Nature: Art & Consciousness in the Post-Biological Era. Bristol ; Portland, OR: Intellect, 2006.
Coyne, Richard D, and MIT Press. Designing Information Technology in the Postmodern Age: From Method to Metaphor. Cambridge; London: The MIT Press, 2005.
Davis, James W. Hybrid Culture: Mix-Art. Dubuque, Iowa: Kendall/Hunt Pub. Co, 2007.
Dutton, Denis, and Michael Krausz. The Concept Of Creativity Science Art, 1981. https://doi.org/10.1007/978-94-009-8230-7.
Against Method. 3rd ed. London ; New York: Verso, 1993.
Feyerabend, Paul. Ιστορία της φιλοσοφίας της επιστήμης (λήμμα στο λεξικό Oxford Companion to Philosophy)
Gilbert, Tamsyn. “Looking at Digital Art: Towards a Visual Methodology for Digital Sociology.” The American Sociologist 49, no. 4 (December 2018): 569–79. https://doi.org/10.1007/s12108-018-9384-2.
Hauser, A. The Sociology of Art (Routledge Revivals). Routledge Revivals. Taylor & Francis, 2012. https://books.google.gr/books?id=2dm9eUVGRFIC.
Kim, Jihoon. Between Film, Video, and the Digital: Hybrid Moving Images in the Post-Media Age. International Texts in Critical Media Aesthetics, v. 10. New York: Bloomsbury Academic, 2016.
Kuhn, Thomas S., and Ian Hacking. The Structure of Scientific Revolutions. Fourth edition. Chicago ; London: The University of Chicago Press, 2012.
Popper, Frank. From Technological to Virtual Art. Leonardo. Cambridge, Mass: MIT Press, 2007.
Shirley, John William, F. David Hoeniger, Folger Institute of Renaissance and Eighteenth-Century Studies, and National Museum of American History (U.S.), eds. Science and the Arts in the Renaissance. Washington, D.C. : London: Folger Shakespeare Library ; Associated University Presses, 1985.
Skorucak, Anton. Science and the Arts Foreword. https://www.physlink.com/education/essay_love.cfm
Thomas, Paul. Nanoart: The Immateriality of Art. Bristol: Intellect, 2013.
Ursyn, Anna, ed. Biologically-Inspired Computing for the Arts: Scientific Data through Graphics. Hershey, PA: Information Science Reference, 2012.
Wilson, Stephen. Information Arts: Intersections of Art, Science and Technology. The MIT Press Cambridge, Massachusetts London, England, 2002.
The evaluation will be carried out through the delivery of individual or group assignment.