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Lecturer(s)
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Course content
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1. Introduction 2. Brief excursion to the issue of art work 3. Looking back at the historical forms of art presentation 4. Artistic or expressive interpretation 5. Artistic interpretation 6. Gallery animation 7. Work as a stimulus to meeting (R. Ingarden's phenomenological approach) 8. Between Meaning and Association (R. Scruton) 9. Conceptuality of the work 10. Work as an incentive to game activity 11. Types of concepts 12. How to interpret a work 13. How to install and convey a work
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Learning activities and teaching methods
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Internship
- Practical training (number of hours)
- 30 hours per semester
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| prerequisite |
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| Knowledge |
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| recall basic artistic - aesthetic concepts used to evaluate art and design, recall information about wider socio-cultural context of history and the art-historical development of art and design, take a critical stance on the chosen work of art and justify its attitude, apply the rules of interpretation of the cultural experiment to the work of art under consideration and to the dialogue conducted during the seminars |
| Skills |
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| to write a brief essay on author's intent distinguish between the creator and the viewer and identify the possible cause of their socio-cognitive conflict to realize and reflect on the institutional context of the work describe the quality of exposure, to place the work under consideration in a stylish, artistic-historical interpretation framework to formulate judgments about the quality of a work and its effect on the viewer |
| Competences |
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| N/A |
| N/A |
| learning outcomes |
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| Knowledge |
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| explain the general development of the institutional framework of art, he recalls the principles of a magical, mythical, universalist, reflexive, modernist and postmodernist model of art and applies them to a particular example of a work distinguishes between expressive, art, and animation interpretations of a work; understands the principle of aesthetic experience, cleft self and movement to aesthetic distance, applies information on the thematic, conceptual, empathic and experiential layers of experience to the interpretation of the chosen work |
| Skills |
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| reflects and interprets a particular work of art with regard to its formal, psychological, social and cultural relations and interactions, distinguishes the text and context of the work and considers its expressive effects, compares and discusses the differences between author's intentions and audience interpretation suggests and critically evaluates the ways of presenting the work and its presentation to the wider and professional public, generalizes acquired knowledge towards own creation and its presentation |
| Competences |
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| N/A |
| N/A |
| teaching methods |
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| Knowledge |
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| Lecture supplemented with a discussion |
| Skills |
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| Individual study |
| Students' portfolio |
| Competences |
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| Discussion |
| assessment methods |
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| Knowledge |
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| Individual presentation at a seminar |
| Skills |
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| Portfolio |
| Competences |
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| Continuous assessment |
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Recommended literature
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BOURRIAUD, Nicolas. Postprodukce: kultura jako scénář: jak umění nově programuje současný svět.. Praha: Tranzit, 2004. ISBN 80-903452-0-4.
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Eco, Umberto. Meze interpretace. Praha : Karolinum, 2004. ISBN 80-246-0740-9.
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Horáček, Radek. Galerijní animace a zprostředkování umění : poslání, možnosti a podoby seznamování veřejnosti se soudobým výtvarným uměním prostřednictvím aktivizujících programů na výstavách. [Brno] : CERM, 1998. ISBN 80-7204-084-7.
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Kesner, L., ml. Muzeum umění v digitální době. Argo, Praha, 2000. ISBN 80-7023-252-6.
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Kratochvíl, Zdeněk; Bouzek, Jan. Proměny interpretací. Praha : Herrmann & synové, 1996.
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Liessmann, Konrad Paul. Filozofie moderního umění. Olomouc : Votobia, 2000. ISBN 80-7198-444-2.
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Zuska, Vlastimil. Umění, krása, šeredno : texty z estetiky 20. století. Praha : Karolinum, 2003. ISBN 80-246-0540-6.
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