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-Comprehension of the relationship between iconographic systems and the social and cultural contexts in which they are created and in which they are perceived.
-Properly identify the meaning of signs in relation to the media and systems in which they are inserted.
-Understanding of the role and effects of patterns and models in iconographic methodologies.
-Understanding the genealogy and development of the symbolic worlds of the image through time and space.
-Ability to construct the most appropriate messages and strategies when communicating both the ideas and formalization of a project.
-Awareness of the influence of stereotypes in contemporary communication and proposal of possible alternatives.
-Understanding and exploring the specificity of the technical media in shaping and transmitting images and the messages they convey.
-Understanding, shape and explore databases and visual archives.
-Research and perform with coherence and consistency the tasks of collective project management (art direction).
-Ability to interpret, present and transmit with clarity and synthesis the objectives, procedures and results of a communication project.
1- GENERAL INTRODUCTION TO THE NOTION OF IMAGE
-Introduction to the history of the image interpretation.
-Introduction to a science of images, beyond the History of Art.
-Image categories
-Map of classical iconographic sources: History of Art, church, state institutions, communication and mass entertainment media, advertising.
-Alternative and circumstantial iconographic sources: social, cultural and political environments. Counter-iconographies.
2- ICONOGRAPHY
-Historical genealogy of iconographic paradigms. Creation and maintenance of iconographic systems.
-Image patterning techniques. Case studies
-Technologies of iconographic analysis
-Sciences and their institutionalized typologies.
-Iconographic consensus and dissension.
3- ICONOLOGY
-Foundations of the iconological sciences. Visual philology
-Relations between iconology and other human and social sciences.
-Aby Warburg and the pathology of images.
-Cultural Analytics and iconological formations
4- REPRESENTATION and MEANING
-Semiotics: procedures, sources and schools.
-Sign, symbol, metaphor, allegory. Linguistic tropes.
-Stereotype and communication.
-The reception of images. From idolatry to iconoclasm.
-The image as text.
-Pre and post-digital visual identity.
-Editing, photomontage, videographic and filmic editing.
-Image, certainty and falsehood. Image and verisimilitude.
-The affective image: causes and effects. Hot images versus cold images.
-Signals, information, the interface image.
5- ICONOGRAPHIC DIRECTION
-Research and creation of documentary sources.
-Media, formats and audiences in the direction of projects.
-Elaboration and communication of visual projects.
-Informative iconography.
-Iconographic consistency in artistic direction.
-Iconographic translation in literature and vice versa.
6- COMMUNICATION
-Basic elements of human communication.
-Basic theories of communication.
-Causes and effects between the communicational technique and the social space.
-Reality and sign: re-presentation.
-Communication policies: problem analysis.
Evaluation activities
-3 evaluable exercises:
• Individual exposures on pattern analysis.
• Genealogy of images (iconological foundation)
• Golden Record (iconographic creation)
– Observation of the participation and follow-up of the work performed
– Open presentation of the exercises
Specific criteria
-3 evaluable exercises:
• Individual exposures on pattern analysis (30% of the final grade).
• Genealogy of images (iconological foundation) (30% of the final grade)
• Golden Record (iconographic creation) (40% of the final grade)
Evaluation criteria
– Works presentation: punctuality and oral exposition.
-Reports and exhibitions:
• Reflect the research and criteria used
• Singularity in the literary perspective and quality.
• Correct citation of sources and references
• Good layout and editing
– Willingness for teamwork and the search for synergies
El caso de una situación de emergencia sanitaria que implique nuevo confinamiento, la docencia se trasladará a la virtualidad en su totalidad y se adecuará la metodología a este nuevo contexto.
Teaching methodologies
Educational activities
BASICS
BELTING, H., 2007. Antropología de la imagen. Madrid: Katz.
BREDEKAMP, H., 2017. Teoría del acto icónico. Madrid: Akal.
BRIGGS, Asa Briggs; BURKE, Peter, 2002. De Gutenberg a Internet. Una historia social de los medios de comunicación. Madrid: Taurus.
DIDI-HUBERMAN, Georges. 2009. La imagen superviviente. Madrid: Adaba
FAROCKI, H., 2013. Desconfiar de las imágenes. Buenos Aires: Caja Negra.
FREEDBERG, David, 2009. El poder de las imágenes. Madrid: Cátedra.
GLEICK, James, 2012. La información. Historia y realidad. Barcelona: Crítica.
GOMBRICH, Ernst, 2011. Los usos de las imágenes. Madrid: Phaidon.
GOODMAN, N., 1976. Los lenguajes del arte. Una aproximación a la teoría de los signos. Barcelona: Seix Barral.
GREIMAS, A. J., 1989 (1983). Del sentido II. Ensayos semióticos. Madrid: Gredos.
JUNG, Carl G., 1995 (1961). El hombre y sus símbolos. Barcelona: Paidós.
MARZO, J.L., 2019. Iconografía post-millennial. Barcelona: Morsa.
MARZO, J.L., 2021. Las videntes. Imágenes en la era de la predicción. Barcelona: Arcàdia.
MITCHELL, W.J.T., 2019. La ciencia de la imagen. Iconología, cultura visual y estética de los medios. Madrid: Akal.
PANOFSKY, E., 2001. Estudios sobre iconología. Madrid: Alianza.
RIPA, Cesare, 2007 (1593). Iconología. Madrid: Akal.
ROBERTS, Helene. 1998. Encyclopedia of Comparative Iconography. London: Fitzroy Dearborn Publishers.
SCHOR, Gabriele, 2016. Feminist Avant-Garde Art from the 1970s SAMMLUNG VERBUND Collection. Vienna: Prestel.
STRATEN, Rudolf van. 2000. An introduction to Iconography. London: Taylor& Francis.
WARBURG, A., 2010. Atlas Mnemosyne. Madrid: Akal.
YATES, Frances, 2011 (1966). El arte de la memoria. Madrid: Siruela.
COMPLEMENTARY
AGAMBEN, Giorgio, 2008 (2003). Què vol dir ser contemporani?. Barcelona: Arcàdia.
BERGER, John, 2011 (1980). Mirar. Barcelona: Gustavo Gili.
DIDI-HUBERMAN, Georges, 2008 (2000). Ante el tiempo. Historia del arte y anacronismo de las imágenes. Buenos Aires: Adriana Hidalgo.
FONTCUBERTA, Joan, 2011. Indiferencias fotográficas y ética de la imagen periodística. Gustavo Gili: Barcelona.
HARAWAY, Donna, 2019. Seguir con el problema. Generar parentesco en el Chthuluceno. Bilbao: Consonni.
MARZO, J.L., 2003. Me, Mycell and I. Tecnología, movilidad y vida social. Barcelona: Fundació Antoni Tàpies.
MARZO, J.L., 2017. Espectres. Barcelona: ICUB.
MARZO, J.L., 2018. La competencia de lo falso. Una historia del fake. Madrid: Cátedra.
PAPINI, Giovanni, 2012 (1931). Gog. Barcelona: DeBolsillo.
RANCIÈRE, Jacques, 2010 (2008). El espectador emancipado. Castellón: Ellago.
Differentiates between the different communicational fields and takes a critical position.
Analyzes and identifies the historical, social, cultural and technical contexts of communication systems.
Understands and applies the principles of semiotics in the construction and interpretation of the communicational language.
Communicates to all types of audiences, specialized or not (clients, manufacturers, suppliers), in a clear and precise way, knowledge, methodologies, ideas, problems and solutions.
Shows respect for linguistic, social and cultural diversity.
Shows skills for critical reflection in the processes linked to the exercise of the profession.
Analyzes ethically situations of injustice and inequality and proposes compensation measures.
Uses the audiovisual language and the different resources to express and present continguts related to the specific knowledge of the field.
Shows skills for analysis from a global and integral perspective, relating social, cultural, economic and political elements as appropriate.
Uses language that respects the issue of gender, both in oral and written productions