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221143a Creativity and Media

Zuletzt geändert:16.03.2024 / Schmid
Studiengänge: Audiovisuelle Medien (Bachelor, 7 Semester), Prüfungsleistung im Modul Creativity and Media in Semester 3 4
Häufigkeit: S24; S25; S26
Studienübergreifendes Angebot - Minors, Prüfungsleistung im Modul Creativity and Media in Semester 1
Häufigkeit: nur SS
Dozent: Prof. Katja Schmid
Link zur Veranstaltung / zum E-Learning-Kurs: https://e-learning.hdm-stuttgart.de/moodle/course/view.php?id=3621
Sprache: Deutsch und Englisch
Art: -
Umfang: 6 SWS
ECTS-Punkte: 8
Workload: 90 hours teaching time including seminars, workshops, coaching and excursions
+ research and seminar presentations 30 hours
+ preparation and preproduction 30 hours
+ production of media content 30 hours
+ postproduction of media content 30 hours
+ internal review, presentation, feedback and evaluation 30 hours
=90+150 hours=240 hours
Inhaltliche Verbindung zu anderen Lehrveranstaltungen im Modul: 221144 Contemporary Media and Art
721195 Visual Literacy
Bemerkung zur Veranstaltung: Deutsch und Englisch ÜGR: Studierende, die 221140 erbracht haben, dürfen 221143 nicht erbringen.
Beschreibung: Kick off Monday, March 11, 2024, 18:00, online, Join Zoom Meeting
Meeting ID: 870 151 1962
Passcode: 3yvQ8t

WP .1 Excursion to Nonnenhorn from March 14-17 2024 (participation is compulsory, excursion costs will be only partly reimbursed), kick off lectures and workshops 1. Joint research
WP 2. Concept and layout (pre-production) The students will make detailed individual project plans based on the approved topics supervised by the professor. The period of concept and layout will be supported by design thinking tanks, common concepts of coaching and teaching, and the introduction to innovative contemporary design and media art forms.
WP 3. Production and Post production of audiovisual content and artwork. All teams will present their concepts and layouts to all participants and give an outlook on how they plan to realise the production of their project. An in depth consultation on the production process for each team is part of the teaching sessions. The creation of audiovisual content and media artwork and the documentation of the production process takes place in small groups of 3-5 students. The production is designed to be prototypical, experimental and low-tech.
WP 4. Evaluation and intellectual outputs Evaluation takes places on various levels and platforms, e.g. within the team of students and academics, in interaction with the public and critics, and in review processes of the written publications.
English Title: Creativity and Media
English Abstract: 221143a Creativity and Media
“The ability to both read and write visual information, the ability to learn visually, to think and solve problems in the visual domain - will, as the information revolution evolves, become a requirement for success in business and in life,” says Dave Gray. Visual fluency is now as vital as verbal fluency for succeeding in studies and in life. We communicate through visual media, and often this is visual digital media like video art, games, environments, immersive spaces, and installations in museums and public spaces. This course introduces principles of visual narratives, media history, communication, media theory, and design thinking. Thus, by practicing and learning from experimental practice students will gain a deeper understanding of how meaning is created and sensation is evoked through visuals. The course Creativity and Media is part of the minor program Media Arts. It consists of interactive seminars, lectures, workshops, and excursions. The main emphasis of all courses is on developing a good understanding of visual concepts and contemporary media art work, as well as designing and creating visuals responding to the individual media reception experience. The course focuses on teamwork, constant feedback and reflection, professional case studies, and creative experiments. Please note: You should have experience in media design and production. Please also bring your own laptop with you. During the semester we do excursions in Germany. Only a part of your travel expenses will be reimbursed.
Literatur: Bill Nichols; Representing Reality
Ib Bondebjerg; Engaging with reality
Gabriele Voss; Schnitte in Raum und Zeit
Friedemann Schulz von Thun; Miteinander reden
Matthew Johnstone; Resilienz
John Ironmonger; Der Wal und das Ende der Welt
Richard Rickitt, Special Effects: The History and Technique, 2000
Ken Dancyger, The Technique of Film and Video Editing
Karel Reisz, Gavin Millar; Film Editing, 2003
Peter Ward, Picture Composition for Film and Television, 2003
Ken Goldberg, The Robot in the Garden, 2000
Kassia St Clair; The Secret Lives of Colour
Chris Meigh-Andrews; A History of Video Art, 1992
Edward A. Shanken; Art and Electronic Media, 2001
Eric Kandel; The Age of Insight-The Quest to understand the unconscious in art, mind, and brain, 2012
Walter Benjamin; Art in the age of mechanical reproduction, 1935
Neil Postman; Amusing Ourselves to Death: Public Discourse in the Age of Show Business, 2005
Marschall McLuhan, Understanding Media: The Extensions of Man, 1964
David Bordwell; On the History of Film Style, 1997
David Bordwell; Poetics of Cinema, 2007
Flusser, Vilém: Into the Universe of Technical Images; University of Minnesota Press, Minneapolis, 2011.
Film History: An Introduction, Kristin Thompson and David Bordwell, 2009
Erik Barnouw; Documentary: A History of the Non-Fiction Film, 1993
E.H.Gombrich; The Story of Art, 1995
Fernande Saint-Martin; Semiotics of Visual Language, 1990
Hans Belting; An Anthropology of Images: Picture, Medium, Body, 2014
Hans Belting; Face and Mask: A Double History, 2017
Hans Belting; Likeness and Presence: A History of the Image before the Era of Art, 1994
Susan Sontag; On Photography, 2001
Susan Sontag; Regarding the Pain of Others; 2004

Weitere Literatur finden Sie in der HdM-Bibliothek.
Internet: https://ars.electronica.art/keplersgardens/theme/