FFD 651 | Course Introduction and Application Information

Course Name
Narratives in Art and Design
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
FFD 651
Fall/Spring
3
0
3
7.5

Prerequisites
None
Course Language
English
Course Type
Elective
Course Level
Third Cycle
Course Coordinator
Course Lecturer(s)
Assistant(s) -
Course Objectives The course which aims to interpret and semantify artifacts, design objects and experiences, focuses on the acts of reading and writing within the context of art and design. By deciphering different mediums of art and design in an interdisciplinary frame, the course involves the analysis of narratives and cross narratives related to artifacts, design objects and experiences.
Course Description The students who succeeded in this course;
  • compare and contrast the literary sources of some visual concepts of art and design,
  • decipher the artifacts, design objects and experiences in an interdisciplinary frame,
  • compare and contrast the acts of reading , writing and creating of artifacts, design objects and experiences in regards to their interpretation
  • comprehend the affects of the concepts of language, rhetorics and discourse in the interpretation and semantification of artifacts, design objects and experiences
  • analyze the roots or fruits of pivotal concepts of 20th century art and design concepts
  • make critical readings by consulting to contemporary theories of art and design
Course Content The course involves theoritical and critical analysis which leads particularly modern and post-structural view within the frame of narrative and cross-narratives of artifacts, designb objects and experiences.

 



Course Category

Core Courses
Major Area Courses
X
Supportive Courses
Media and Management Skills Courses
Transferable Skill Courses

 

WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES

Week Subjects Related Preparation
1 Introduction to the Course None
2 Memorialism and Transitivity/ intro to assign.1 Baudelaire, Charles . “The Painter of Modern Life : Contanstin Guys “. The Painter of Victorian Life. Ed.Holme, Geoffrey.The Studio Ltd.London,1930
3 Aura and Reproduction Benjamin, Walter. “The Work of Art in the Age of Its Mechanical Reproducibility”.Ed: Jennings, Micheal., Doherty, B.,Levin, Thomas
4 Memory and Identity/ intro to assignment 2 Berger, John. “ The Suit and the Photograph” .Uses of Photography: About Looking.s.27-47.Pantheon books, New York , Film screening: Notebook On Cities and Clothes, Wim Wenders/ hand in assign 1: response paper
5 Hermeneutics Heidegger, Martin. “ The Origin of Work of Art”. Off the Beaten Track, Ed.Çeviri: Young, Julian., Haynes , Kennith.Cambridge University Press,2002
6 Discourse &Spatial Continuity / intro to assign 3 Foucault, Michel. “Las Meninas.” In The Order of Things, pp. 1-18. London, New York: Routledge, 2002./ hand in assign 2: response paper
7 Institutional Art and Critical Discourse Bourdieu, Henry. “ Manet and the Institutionalization of Anomie”.The Field of Cultural Production.Polity Press,Cambridge, s.238-251, 1993
8 Student presentations/ intro to Project Seminar / Interpretation of the Readings
9 Image and the Representation (Cross narratives)/ intro to assignment 4 Lombardo, Patrizia. “The Image Versus the Visible : From Baudelaire to Painter of Modern Life to David Lynch’s Lost Highway” Cities , Words and Images. s.174-186, Palgrave McMillan , New York , 2003. Film screening : David Lynch. The Lost Highway/ hand in assign 3
10 Digital Visionaries(Cross narratives) Krauss, R. “Sculpture in the Expanded Field”. October, Vol. 8. (Spring, 1979), pp. 30-44.
11 Deconstruction and Memory/ intro to assignment 5 Evans, Caroline. “ The Golden Dustman: A critical Evaluation of Martin Margiela and the review of Martin Margiela Exhibition(9/4/1615) Fashion Theory 2/1 Mart 1998/ hand in assignment 4
12 Intersections: Subject-Object / intro to assignment 6 Ayers, Robert “Serene and Happy and Distant: Interview with Orlan. Body and Society.Special Issue on: Body Modification. 5/2-3 .1999 .Ed: Mike Featherstone, Sage
13 Guest speaker & Field trip On the relation Contemporary Art and Design / hand in assignment 5
14 Students’ Presentations Related preperation
15 Feedback to project preparation Project Concept and Realization Discussions/ hand in assignment 6
16 Project Presentation Open jury and presentation

 

Course Notes/Textbooks Given above
Suggested Readings/Materials Eisenman, Peter. Written into the Void: Selected Writings 1990-2004. China: World Print, 2007.\nEverett, Sally. Art, Theory and Criticism: An Anthology of Formalist, Avant-Garde, Contextualist and Post-Modernist Thought. North Carolina: McFarland, 1991.\nKrauss, Rosalind, Optical Unconscious. Cambridge, Mass: MIT, 1994.\n: Oxford University Press, 1998.\nPinto, Roberto., Bourraid, Nicolas Lucy Orta .Phaidon 1998\nRendell, Jane. Art and Architecture: A Place between.Tauris, London,2010\nPaulicelli, Eugenia.,Clark, Hazel .The Fabric of Cultures .Routledge.London.2009\nMargolin, Victor. Design Discourse. The University of Chicago Press.London.1989\nFausch, Deborah., Singley, Paulette. Architecture in fashion.Princeton Architectural Press.1994\nHughes, Clair.Dressed in Fiction.Berg, Oxford.2006\nLehman , Ulrich. Tigersprung: Fashion in Modernity, MIT press.2000\nBarthes, Roland .Camera Lucida.1980\nHiddleston, J.A. Baudelaire and the Art of the Memory.Clarendon Press, Oxford.1999\nBloom, Harold .Marcel Proust.Chalsea House publishers.2004\nDebord, Guy.Society of the Spectacle.Zone Books.1994\nHeidegger, Martin. “ The Origin of Work of Art”. Off the Beaten Track,2002\nBourdieu, Henry. The Field of Cultural Production.Polity Press,Cambridge, , 1993\nFoucault, Michel. ,The Order of Things, London, New York: Routledge, 2002.\n\n

 

EVALUATION SYSTEM

Semester Activities Number Weigthing
Participation
16
10
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Homework / Assignments
6
40
Presentation / Jury
1
15
Project
1
35
Seminar / Workshop
Oral Exams
Midterm
Final Exam
Total

Weighting of Semester Activities on the Final Grade
100
Weighting of End-of-Semester Activities on the Final Grade
Total

ECTS / WORKLOAD TABLE

Semester Activities Number Duration (Hours) Workload
Theoretical Course Hours
(Including exam week: 16 x total hours)
16
3
48
Laboratory / Application Hours
(Including exam week: 16 x total hours)
16
Study Hours Out of Class
Field Work
Quizzes / Studio Critiques
Homework / Assignments
6
20
Presentation / Jury
1
15
Project
1
42
Seminar / Workshop
Oral Exam
Midterms
Final Exam
    Total
225

 

COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP

#
Program Competencies/Outcomes
* Contribution Level
1
2
3
4
5
1

to be able to develop scientific expertise and capabilities in the field of design studies by using creative and critical thinking as well as research skills; innovatively contributing to the discipline through new ideas, 

X
2

to be able to comprehend the interaction across various disciplines related to the field of design reaching at original conclusions via using new and complex analysis, synthesis and evaluation skills,

X
3

to be able to develop new strategic approaches to solve unforeseen complex issues in design practice through integrative and creative elaboration,

X
4

to be able to conduct independent research, analyze scientific phenomena through a broad, deep and critical perspective, arrive at new syntheses and evaluations in design discipline,

X
5

to be able to publish scientific articles in reputable refereed journals, present papers in scientific conferences in the field of design and its sub-disciplines,

X
6

to be able to develop effective communication skills to scientifically present and defend original ideas to an expert audience,

X
7

to be able to conduct affective team work in the field of design,

X
8

to be able to use the English language fluently for both comprehending scientific publications and developing proper communication with foreign colleagues,

9

to be able to contribute to the process of transforming into an " information society", by following the technological, social and cultural developments on both academic and professional grounds continuously,

10

to be able to develop skills of designing and producing unique models and products that will be certificated as registered design, trade mark and patents.

*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest