Students analyze, compare, and discuss the artistic activities of historical periods, life styles and thinking habits in the frame of aesthetic teachings while setting relations between them. Students are also expected to gain knowledge and analytical thoughts around the notions of art movements and changes upon aesthetics over time.
|Learning Outcomes||Program Learning Outcomes||Teaching Methods||Assessment Methods|
|1) Constructs links between art and aesthetics.||7, 9||1, 2||C|
|2) Gains the ability to build an efficient art view.||1, 3, 6||1, 2||C|
|3) Links artistic and cultural knowledge and values, and builds an analytic approach accordingly.||1, 7, 8||1, 2||C|
|4) Learns methods of research, reading, and presenting in order to analyze the works of art; its elements, application fields, rules, principles, foundational notions, and historical context.||1, 8, 9||1, 2||C|
|6) Applies the gathered scientific knowledge regarding cultural assets upon contemporary issues when necessary.||3, 4, 8, 9||1, 2||C|
|1||Acquainting with the students / Knowledge upon the class schedule / Requesting class materials|
|2||Art and Aesthetics||İsmail Tunalı, Greek Aesthetics: Part 2 Art Philosophy, P.69-129|
|3||Ancient Art and Aesthetics / Early Christian and Byzantine Art / Islamic Art||Platon, Sokrates, Aristoteles, Platinos|
|4||Medieval European Art and Aesthetics The Pre-Renaissance period||
Aesthetics in the Middle Ages, Augustinus, Thomas Aquinas
E.H. Gombrich, The Story of Art, Chapter 1, Chapter 2
15th and 16th century: Discovery of Reality /
Modern Age (Renaissance) Art (1453-1789) and Aesthetics
|6||16th-18th century: Some Art Movements After Renaissance and After / Mannerism, Baroque, Rococo||Aesthetic understanding of Baumgarten Chapter 12-20|
|7||Late 18th century: Break with Tradition / Neo-Classicism, Romance||
Empirism / British experientialism (Hutcheson, Hume) and German idealism (Kant, Fichte, Schelling, and Hegel) and Friedrich Schiller, Nietzsche's aesthetic approaches
Modernism, 19th Century Art Movements and Aesthetics / Society, Art and Aesthetics
|According to the 17-19th century Leibniz, Baumgarten and British experimenters, aesthetics, the influence of Hegel in the 19th century, the aesthetic aestheticists who emerged in the second half of the 19th century (spiritual and social scientific research)|
|10||19th Century Art Movements / Realism, Barbizon school, Impressionism, Art Nouveau, Art and Craft||Chapter 24-27|
|11||Postmodernism, Art and Aesthetics: The 1930s Accepted of the Peak of Art / 1960s from Modernism to Postmodernism / Computer Technologies and 1990s.||Postmodern aesthetics / Feminist Aesthetic Theory|
|12||20th Century Art Movements / Basic Concepts of Today's Art Concept: Minimal Art, Conceptual Art, Fluxus, Earth Art, Performance art, Happenning, Video Art||Avangard aesthetics / Machine aesthetics / Meta aesthetics|
|13||Media Art / New Media Art / Effects of Technological Transformations on Aesthetic Conception||Digital Aesthetics / Lev Manovich, Christiane Paul, Bruce Wands|
|14||Forms and Classes of Digital Art / Digital Art: Digital Sculpture, Digital Installation and Virtual Reality, Performance Music and Sound Art, Digital Animation and Video, Software, Database and Game Art, Net Art||Digital Aesthetics / Relational / Experiential Aesthetic Theory / Emotion Aesthetics / Political Aesthetic Theory|
|15||New Media Art in Turkey||Ali Mihrabi, BagerAkbay, CandaşŞişman, GencoGülan, Osman Koç, SelçukArtutsanatçılarıve Today’s Art festival kurucusuOlof Van Winden|
E.H. Gombrich, The Story of Art,
İsmail Tunalı, Estetik, İsmail Tunalı, Grek Estetik’i
Norbert Lynton, The Story of Modern Art, 1980,1989 Phaidon Press Limited ,
Çeviri: Norbert Lynton, Modern Sanatın Öyküsü, Remzi Kitapevi, 2004, 3. baskı
Michael Kelly, Estetik Ansiklopedisi, 2014
Stanford Encyclopedia of Philosophy
Look at student website about Guillaume Appolinaire and Surrealism http://pages. emerson.edu/courses/fall99/ma547
Simon Penny, "Consumer Culture and the Technological Imperative: The Artist in Dataspace' Pierre Levy, "The Art of Cyberspace"
Anne Balsamo, "On the Cutting Edge"
John G. Hanhardt: "De-Collage/Collage: Notes Toward a Reeaxamination of the Origins of Video Art"
Heiner Stachelhaus: 'The Expanded Concept of Art"
Don Slater, "Domestic Photography and Digital Culture"
Estetik, Avner Ziss, Avangard Kuramı, Peter Bürger
1940’tan Günümüze Sanat - Varlık Stratejileri, Jonathan Fineberg.
Adnan Turani, Çağdaş Sanat Felsefesi
G. Skirberkk&N.Gilje, Antik Yunan’dan Modern Döneme Felsefe Tarihi
İsmail Tunalı, Felsefenin Işığında Modern Resim/Modern Resimden Avangard Resme
John Perry Barlow "Censorship 2000"
Serpil KAPAR, Günümüz Görsel Sanatında Çağdaşlık Analizleri ve Estetik Teoriler/Analysıs Of Contemporaneıty And Theorıes Of Aesthetıcs In Today’s Vısual Arts
Aysun Cançat, Yeni Medya Sanatı Üzerine, Atatürk Üniversitesi Güzel Sanatlar Enstitüsü Dergisi
Journal of the Fine Arts Institute, (GSED), Sayı/Number 40, ERZURUM 2018, 165-178
Orhan Cebrailoğlu, Modern/Postmodern Sürecinde Plastik Sanatlarda Estetik Arayışlar ve Sanatçının Avangard Tutumu Esthetic Reseraches At Plastic Arts And The Avangarde Manner Of The Artists On modern/Postmodern Period, GÜ, Gazi Eğitim Fakültesi Dergisi, Cilt 29, Sayı 1 (2009) 127-139
W. F. Haug, Küreselleşmenin Motoru Olarak Meta Estetiği, , Çeviri: Emir H. Ülger, Dört Öge-Yıl 4-Sayı 9-Nisan 2016, http://static.dergipark.org.tr/article-download/45cf/48c8/6b6f/imp-JA27R...?
Ebru WINEGARD, Dijital Medya Teknolojilerinin Sanatın Ve Tasarımın Yaygınlaşmasındaki Yeri Ve Önemi, http://nek.istanbul.edu.tr:4444/ekos/TEZ/ET000489.pdf
|Contribution of Final Examination to Overall Grade||60|
|Contribution of In-Term Studies to Overall Grade||40|
|COURSE CONTRIBUTION TO PROGRAM|
|No||Program Learning Outcomes||Contribution|
|1||To be able to define basic concepts, theories, methods and domains of study specific to radio, television and cinema by associating them with the findings and theories of humanities and social sciences.||X|
|2||To demonstrate the responsibilities, effective participation, coordination and planning skills essential for harmonious and efficient team work in the production process in the radio, television and cinema fields.|
|3||To be able to create media products in accordance with professional standards in various narrative forms and genres specific to the field by synthesizing current knowledge and skills for expertise acquired through applied and theoretical courses.||X|
|4||Manifesting professional knowledge and skills in different fields of radio, television and cinema fields such as copywriting, image management, editing, sound design, producing and directing, media management locally and globally.||X|
|5||To develop an understanding of responsible broadcasting by integrating national and international rules of law that media professionals should pursue with professional ethical principles.|
|6||To be able to use the knowledge and skills related to institutional operation and management in the production and broadcasting processes of radio, television and cinema for the common interest.||X|
|7||To evaluate radio, television and cinema fields in a wide range of cultural, economic and social relations from an institutional structuring to their products with an analytical and critical approach.||X|
|8||To have the ability to collect visual, audio and written data, conduct research, evaluate, report and offer creative solutions in the fields of radio, television and cinema.||X|
|9||To be able to design original projects in radio, television and cinema by following new technologies, developments and ideas in the fields of art, culture and media at national and global levels.||X|
|ECTS ALLOCATED BASED ON STUDENT WORKLOAD BY THE COURSE DESCRIPTION|
|Hours for off-the-classroom study (Pre-study, practice)||14||3||42|
|Total Work Load||118|
|Total Work Load / 25 (h)||4,7|
|ECTS Credit of the Course||5|