Mediert Evidentia

Studienivå (studiesyklus)

Bachelor.

Fulltid/deltid

Full time.

Undervisningssemester

Autumn.

Undervisningsstad

Campus Møllendal at UiB.

Mål og innhald

This is a project-based module with a focus on how various forms of evidence can be collected, investigated, unsettled, and meditated through artistic operations.

Students develop an individual or group project within the module and are introduced to relevant techniques and approaches through lectures, readings, presentations, tutorials, and/or workshops.

IMPORTANT: Semester-specific details can be found at the bottom of this page under `Other Information¿.

Læringsutbyte

Kunnskap

• Få innsikt i aktuelle fagområde(r)

Ferdigheter

• Få erfaring med relevante formater og prosesser

Generell kompetanse

• Oversett egne ideer og arbeidsmetoder til formater som trekker på innholdet i modulen

Krav til forkunnskapar

None.

Tilrådde forkunnskapar

None.

Krav til studierett

This module requires admission to the Bachelor's Programme in Fine Art.

Arbeids- og undervisningsformer

Projekt arbeide,

Og/eller

individuel research,

Og/eller

forelesninger,

Og/eller

presentationer,

Og/eller

gruppe diskussioner,

Og/eller

tekst-lesning.

Vurderingsformer

Individuell- eller gruppeinnlevering av kunstnerisk verk.

Karakterskala

Passed / Not passed.

Bestått / ikkje bestått.

Vurderingssemester

Autumn.

Emneevaluering

The module is evaluated every third year in accordance with UiB's Quality System.

Programansvarleg

Programstyret har ansvar for fagleg innhald og oppbygging av studiet og for kvaliteten på studieprogrammet med emner.

Administrativt ansvarleg

Faculty of Fine Art, Music and Design holds the administrative responsibility for the module and studyprogram.

Utfyllande semesteromtale

The potential of the mediums of Photography and Film to create ¿evidence¿ has been deployed from the first years of photography¿s introduction. Often this ¿evidence¿ was and is still produced to maintain traditional power dynamics. The widespread availability of mobile phones and other user-friendly devices in the 21st century and the resulting mass production and circulation of still and moving images have opened up new possibilities and challenges in the construction of ¿truth.¿ Although the manipulation of images and their dissemination were also long practiced and the questions about the truth-bearing capacity of the media were constant companion in the discourses, AI has brought once more to the fore the status of the referent and the relation of Photography to the notion of reality. Can documentary-based media studies/practices still be relevant in times of deep fakes when there is not even any original anymore for purposes of comparison? Can images still be used in protest?

In the theory parts of the course, we will look at selected examples of how artists in the past and presence have produced visual ¿evidence¿ or/and used third-party visual ¿evidence¿ in their practice.

Module responisble and teacher: Ina Steiner