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Lecturer(s)
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Course content
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1. Introduction 2. - 4. A brief history of computer art from the beginnings of the computer system to mathematicians and cryptanalysts Alan Turing and Claud Shannon 5. - 7. Development of the phenomenon of artificial computer interaction from the 50s of the 20th century to the present 8. - 10. Preparation of a student project, moderated discussions 11. - 12. Presentation of group seminar work 13. Final evaluation of the course
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Learning activities and teaching methods
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E-learning, Discussion, Multimedia supported teaching, Students' self-study, Self-study of literature, Lecture, Lecture with visual aids
- Presentation preparation (report) (1-10)
- 10 hours per semester
- Contact hours
- 26 hours per semester
- Preparation for an examination (30-60)
- 60 hours per semester
- Preparation for formative assessments (2-20)
- 10 hours per semester
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| prerequisite |
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| Knowledge |
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| recall the basic concepts of both general and field art history to repeat basic linguistic or expressive mimetic techniques, formulate and write down your thoughts in a coherent language unit independently search for theoretical support resources |
| Skills |
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| interpret with the help of technical terms reproduced or otherwise presented examples of works of art, analyze the text and context of a work of art and art, to realize the values shaping one's own opinions in the field of artistic-aesthetic judgments, articulate, sophisticated and argued these courts to present to the partners in discussion reflect different opinions, critically consider them and confront them with their own opinions seek verified, systematic and respected sources of knowledge in the professional community and use them to enrich the personal and professional competence portfolio |
| Competences |
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| N/A |
| N/A |
| learning outcomes |
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| Knowledge |
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| facts from the history of computer art, contemporary and social context of the beginnings of the computer system, relevant information on mathematicians and cryptanalysts Alan Turing and Claud Shannon, the beginnings of the use of computers in artistic creation in the 1950s and the facts about the development of this phenomenon of artist-computer interaction to the present |
| Skills |
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| views and reflects on artistic practice in the historical context of the artist-computer fanome, is able to discuss his thoughts in moderated dialogues, is able to cultivate self-presentation, self-expression, analysis and critical reflection on the topics discussed |
| Competences |
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| N/A |
| N/A |
| teaching methods |
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| Knowledge |
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| Lecture |
| Self-study of literature |
| Skills |
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| Individual study |
| One-to-One tutorial |
| Collaborative instruction |
| Cooperative instruction |
| Competences |
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| Discussion |
| Project-based instruction |
| assessment methods |
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| Knowledge |
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| Individual presentation at a seminar |
| Continuous assessment |
| Skills |
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| Seminar work |
| Kolokvium |
| Competences |
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| Individual presentation at a seminar |
| Kolokvium |
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Recommended literature
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Francesco Ferrando. Philosophical Posthumanism. London, UK. Bloomsbury Publishing PLC, 2020. ISBN 1350186015.
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Christiane Paul. Histories of the Digital Now. New York, U.S.A. Whitney Museum of American Art, 2020.
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Jasia Reichardt. Cybernetic Serendipity; The Computer and the Arts. London, UK; New York, U.S.A. Studio International, 1968. ISBN 9781948764001.
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Melissa Gronlund. Contemporary Art and Digital Culture. London, UK. Taylor & Francis Ltd, 2016. ISBN 1138936448.
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Michael Schwab. Transpositions: Aesthetico-Epistemic Operators in Artistic Research. Leuven, Belgium. Leuven University Press, 2018. ISBN 978-94-6166-253-8.
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Rosi Braidotti. The Posthuman. Oxford, UK. Polity Press, 2013. ISBN 074564158X.
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