UNIVERSITY OF ZIELONA GÓRA FACULTY OF ARTS INSTITUTE OF ARTS. Education of Art Fine Art Second Degree Course (Master of Art degree) PROGRAMS OF STUDY

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1 UNIVERSITY OF ZIELONA GÓRA FACULTY OF ARTS INSTITUTE OF ARTS Education of Art Fine Art Second Degree Course (Master of Art degree) PROGRAMS OF STUDY Academic year 2009/2010

2 Department of Art Faculty: Education of Art / Fine Art Level: Second Degree Course (Master of Art degree) Module: History of Idea and Aesthetical Doctrines Module Code: 08.1-WA-EASP-HIDE Module Type: Core module Introductory requirements: Basic knowledge of philosophy, history, and history of art Language of Delivery/Instruction: Polish Module supervisor: Artur Pastuszek, PhD Principal lecturer: Artur Pastuszek, PhD Mode of Delivery: Classes Number of Hours: 60 Number of Hours per week: 2 Term: 1, 2 Pass/Exam Points ECTS: 10 Module Aims: Classical expression of art: Artistic doctrines of the Ancient times-heraklit, Demokryt, Pythagoreans, Sophists, Socrates, Plato, Arystothele, Plotinus. Controversies concerning the problem of beauty: a classical definition of beauty (harmony, symmetry) and its relativism. Beauty as a quality and Plato s essential justification.mimesis and Catharsis as artistic criteria (Aristothele). Problem of the relation: arttruth, cognitive value of art. Early Christian and Medieval artistic doctrines. Medieval expression of art and beauty. The views of theologists and philosophers on the significance of art. Beauty as an objective peculiarity. Perfection, completeness, glamour of form, sacrum. Classification of art and the problem of copying. Art as biblia pauperum. Claritas aesthetics: Basil of Caesarea, Clement of Alexandria, Bonaventure, Albertus Magnus, Thomas Aquinas. Boethius, Witelo, Nicholas of Kues. The concepts of contemporary art. Renaissance poetics and essays. Classisism and anthropocentrism, humanism, form, imitatio. The relation between art and science. Anthropocentrism and humanism. Ancient roots of Renaissance. Ficino, Rafael Santi, Leon Battista Alberti, Leonardo da Vinci, Michael Angelo. German Aesthetics of the Age of Enlightenment and Early Romanicism: Lessing, Winckelmann, Herder, Goethe,Schlegel. Immanuel Kant. Impartiality and subjective character of judging tastes in art. Transcendental concept of beauty and sublimity. Independence and iniqueness of aesthetic objects. English and French aesthetics of the XVIII century. Burke, Addison, shaftesbury, Dubos, diderot. Aesthetical and anthropological view of tragedy. Appolinian and Dionisean element. Art in the eyes of Friedrich Nietzche. Aesthetics by G.W.F.Hegel. The problem of interpretation of the work of art: Social status of art and its role within contemporary culture (culture of masses, distance, dehumanisation of art). The problem of continuity (avant-garde). Aesthetical and anthropological essence of tragedy: Apollonius and Dionysus elements. Art by Friedrich Nitzche. The aesthetics of the XXth century in Poland: Formism and catastrophism. The theory of Pure Form by Stanislaw Ignacy Witkiewicz. Metaphysical experience as a rule of the theory of art. Multiplicity of realities in art by Leon Chwistek. Phenomenological idea by Roman Ingarden. The problem of interpretation of the work of art. Artistic and aesthetical values. Schematisation and multilayering of the work art. Ontology of the work of art. Modern attempts of methodological reflection on art: Psychoanalytical concept. Sigmund Freud and Carl Gustaw Jung. Contemprorary solutions. Sociological idea by Jose Ortega Y Gasset. The Problem of perception of the work of art. Institutional theory of art by George Dickie. Contemporary discussions on the status of the work of art and its author: Problems concerning history, style, uniqueness, and language of art. Symbol, allegory, metaphor. An argument over the values and criteria of evaluating the work of art beyond aesthetics. The problem of original and fake Work of art, masterpiece and daub. The death of the author by Roland Barthes. Postmodernist inspirations in the theory of art: The attempts to overcome a crisis in contemporary aesthetics. Nietzche s basics of contemporary aesthetic criticism. Modernism as a forecast of postmodernist problems in the eyes of Zygmunt Bauman. Deconstruction of modernism-jaques Derrida, Jonathan Culler, Paul De Man. Sublimity in the concept by Jean-Francois Lyotard. Establishing a new field of interaction between philosophy and art. A proposal by Wolfgang Welsch. Module Outcomes:

3 The students should acquire the ability to interpret traditional and contemporary work of art. They are supposed to familiarise with the history of aesthetics and philosophy of art. Recognition of essential motives and the most crucial matters of western aesthetics and aesthetic and artistic concepts in their historical perspective. Lecture attendance Final exam (1) W. Tatarkiewicz, Historia estetyki, (T. 1: Estetyka starożytna, T. 2: Estetyka średniowieczna, T. 3: Estetyka nowożytna), Wyd. Arkady, Warszawa (2) K. Wilkoszewska, Estetyki filozoficzne XX w., Wyd. TAiWPN Universitas, Kraków (3) M. Gołaszewska, Estetyka i antyestetyka, Wyd. Wiedza Powszechna, Warszawa (4) S. Morawski, Na zakręcie: od sztuki do posztuki, Wydawnictwo Literackie, Kraków (5) Postmodernizm: antologia przekładów, wyb. R. Nycz, Wydaw. Baran i Suszczyński, Kraków ) W. Welsch, Estetyka poza estetyką. O nową postać estetyki, Wyd. TAiWPN Universitas, Kraków (2) I. Lorenc, Logos i mit estetyczności, Uniwersytet Warszawski Instytut Filozofii, Warszawa (3) M. Bachtin, Estetyka twórczości słownej, Państwowy Instytut Wydawniczy, Warszawa (4) J. Margolis, Czym, w gruncie rzeczy, jest dzieło sztuki?, Wyd. TAiWPN Universitas, Kraków (5) H. Read, Sens sztuki, Wyd. PWN, Warszawa (6) Myśliciele kronikarze i artyści o sztuce. Od starożytności do 1500 roku, wyb. i oprac. J. Białostocki, Wyd. Słowo/Obraz Terytoria, Gdańsk (7) Teoretycy, pisarze i artyści o sztuce , wyb. i oprac. J. Białostocki, Wyd. PWN, Warszawa (8) Teoretycy, artyści i krytycy o sztuce , wyb. E. Grabska i M. Poprzęcka, Wyd. PWN, Warszawa (9) F. Nietzsche, Narodziny tragedii czyli hellenizm i pesymizm, Wyd. Zielona Sowa, Kraków (10) J. Baudrillard, Spisek sztuki. Iluzje i deziluzje estetyczne z dodatkiem wywiadów o Spisku sztuki, Wyd. Sic!, Warszawa 2006.

4 Department of Art Faculty: Education of Art / Fine Art Level: Second Degree Course (Master of Art degree) Module: Psychophysiological basis of art Module Code: 03.9-WA-EASP-PPSZ Module Type: Core module Introductory requirements: Language of Delivery/Instruction: Polish Module supervisor: Janina Fyk, Prof. Principal lecturer: Janina Fyk, Prof. Mode of Delivery: Classes Number of Hours: 30 Number of Hours per week: 1 Term: 1-2 Pass/Exam Points ECTS: 6 Module Aims: Biofunctional basis of the perception of art- artistic genes. Selected issues on the development of the brain in the pre-natal and early post-natal stages. A map of the brain and the functions of brain hemispheres. Different kinds of intelligence-kinds of activities and the methods of learning. Canons of music and fine art. Number, harmony and proportion-the basis of Pythagorean philosophy and the theorem of the spheres. Pythagoras and the Pythagoreans and their contribution to art and science. A Great Theory of Beauty and its reflection in art and science. The basis of audiometry. The threshold of pain and the limits of hearing. Psychophysical and psychological basis of the perception of visual colour. Sensual dimensions in music and fine art-sensitivity and differential thresholds. Hoilstic and analytical perception. The psychology of the figure in art-the basic theories of the psychology of the figure. Synesthesia and chromestesia-extraordinary abilities savant -their functions in music, fine art and art therapy. States of consciousness-the frequency and characteristics of brain waves. Creation and the Creative Moment by Tadeusz Wroński. The basic principles of the Methods by Alfred Tomatis. Suggestion-suggestopedia-superlearning-the role of music and art. Basic rules of suggestopedic teaching. The activation of brain hemispheres-breathing and music..the Effect of Mozart in Music and Fine Art.The use of Mozart Effect in science, medicine and for individual needs. Musical and Artsitic brain in light of scientific research. A therapeutic effect of art as shown in music and fine art-therapeutic effect of sound and colour. Neurophysiology,biomusicology,and psychology in music, art and education. The students will broaden their knowledge on psychophysiological and neurobiological conditions of the development of the artistic and musical talents in human beings. They will also acquire the ability to use the knowledge on physiological and neurobiological conditions of art teaching and enriching aesthetic experience. Attendance. Exam. Basic Literature: Konieczna, E. Arteterapia w teorii i praktyce, Oficyna Wydawnicza Impuls, Kraków, Kataryńczuk-Mania, L., Karcz, J. (red.) Sztuka w kontekście oddziaływań na człowieka, Uniwersytet Zielonogórski, Szulc, W. Sztuka w służbie medycyny, Akademia Medyczna im. Karola Marcinkowskiego w Poznaniu, Poznań, Tomaszewski, T., Główne idee współczesnej psychologii, Wiedza Powszechna, Warszawa, 1984, wyd. I. Tatarkiewicz Campbell, D. The Mozart Effect, Quill, Lewandowska, K. Muzykoterapia dziecięca, Studio NORMA, Gdańsk, Tomatis, A.A. Ucho i śpiew, Wydawnictwo UMCS, Lublin Zeugner, G. Barwa i człowiek, Wydawnictwo Arkady, Warszawa 1965, Wyd. I.

5 Supplementary Literature: Metera, A. Muzykoterapia. Muzyka w medycynie i edukacji. Wydawnictwo Centrum Techniki Nauki Metronom, Leszno, Oster, G., Gould, P. Rysunek w psychoterapii, Gdańskie Wydawnictwo Psychologiczne, Gdańsk, Anisimowicz, B. Alternatywne nauczanie języków obcych w XX wieku. Lecourt, E. Muzykoterapia czyli jak wykorzystać siłę dźwięków, Videograf II, Katowice, Utwory muzyczne okresu baroku wybór. Wierszyłowski, J. Psychologia muzyki, PWN, Warszawa, 1970.; Czasopisma: Arteterapia, Exit.

6 Department of Art Faculty: Education of Art / Fine Art Level: Second Degree Course (Master of Art degree) Module: Art-musical workshops Module Code: 03.9-WA-EASP-WPLM Module Type: Core module Introductory requirements: Language of Delivery/Instruction: Polish Module supervisor: Janina Fyk, Prof. Principal lecturer: Janina Fyk, Prof.; Agnieszka Graczew-Czarkowska, MA Mode of Delivery: Workshops Number of Hours: 60 Number of Hours per week: 2 Term: 3, 4 A pass grade Points ECTS: 8 Module Aims: Point, line and plane as in a therapeutic aspect. Sound, cluster, melodic contour, melodic line-autocharacteristics; Timbre, colour tint and the colour of emotions in the context of therapeutic interactions; Music and colour associations in the context of musical and compositional styles; Statement and the real value of art-knowledge and the perception of art, role and competence of an artist; Self-correlation in the creative process (building creative identity); Statement-selection of a leading topic of an artistic and musical statement and its message; The usefulness of the artistic medium in therapy; Emotions and intellectual and aesthetical experience-subject and the message, empathy-articulation-part of an experience, the dynamics of a message and the dynamics of reception (alea). Creator-work-receiver: From an initiative to culmination, organisation of work, ways and attractiveness of the presentation of work, author s responsibility and control, work and the credibility of the author/creator. Music, emotional mood and a conscious selection of visual colours; Communicative activity: art as a tool, the art of a dialogue and dialogicality; Interdisciplinary attitude (sense of montage); artistic influence of a piece of music; musical influence of an artistic work; Creative perception of artistic and musical work; Exhibition/performance. The students should be able to analyse the progress of the workshops and their forms; they should master the skill of organising work, they should also be able to search for an impulse and artistic inspiration. The students should be able to match a musical background with a piece of art and to match a piece of art with a musical background with regard to the therapeutic effects. Artistic interpretation of musical vision, musical interpretation of an artistic vision including a written elaboration and a recording (CD). Marvin Carlson, Performans, PWN, Warszawa, Mieczysław Porębski, Sztuka a informacja, Wyd. Literackie, Kraków, Marek Wasilewski, czy sztuka jest wściekłym psem?, Stowarzyszenie Czasu Kultury, Poznań, Supplementary Literature: Leszek Polony, W kręgu muzycznej wyobraźni, PWM, Witold Rudziński, Dźwięki i rozdźwięki, Wydawnictwa Radia i Telewizji, Warszawa Utwory muzyczne od baroku do muzyki współczesnej oraz utwory muzyki rozrywkowej wybór Czasopisma: Arteterapia, Exit, Arteon

7 Department of Art Faculty: Education of Art / Fine Art Level: Second Degree Course (Master of Art degree) Module: Relaxation Techniques Module Code: 16.9-WA-EASP-TREL Module Type: Core module Introductory requirements: Language of Delivery/Instruction: Polish Module supervisor: Maria Jałocha, PhD Principal lecturer: Maria Jałocha, PhD Mode of Delivery: Classes Number of Hours: 30 Number of Hours per week: 2 Term: 3 A pass grade Points ECTS: 2 Module Aims: Humanistic basis of relaxation techniques (support and stimulation of the development). Stress-symptoms and techniques used to reduce it. Autogenic training by Schultz. Progressive training by Jacobson Visualisation as a process of creativity and expression. Relaxation massage (Alexander s technique, reflexotherapy). Conscious breathing. Yoga and oriental relaxation techniques(tai-chi, zen-shiatzu). Other relaxation techniques using work with the body and breath-meditation techniques (Benson s exercises), hypnotic trance, NLP, Denison s exercises, the method of Developmental Movement by Veronica Sherborne, relaxation by Wintrebert, relaxation fairy tales. The use of colour therapy and aromatherapy in relaxation. Music therapy. The students should know relaxation methods and techniques and should be able to use them in practice. They become able to calm down and relax, get rid of stress and thus reach a state of relaxation. They also learn how to run classes with the use of relaxation techniques. They should be able to use and create their own texts for visualisation and invent their own relaxation fairy tales. Assessments requirements: Attendance, practical skills, and the knowledge of the issues are the conditions for a pass. ALBISETTI Valerio - Trening autogeniczny. Kielce : Wydawnictwo Jedność, 2005 BAILEY Roy - Zarządzanie stresem : 50 ćwiczeń. - Warszawa : Wydaw. ARTE, cop CRAZE R., tł. Ciepłowska A.: Relaksacja ciała i umysłu - Warszawa 2007 DIEKEMPER Elisa - Więcej niż wyciszenie : znaczenie i przebieg podróży w krainę fantazji oraz ich praktyczne wykorzystanie : poradnik dla rodziców i wychowawców. - Kielce : Wydawnictwo "Jedność", 2005 KULMATYCKI Lesław - Lekcja relaksacji. - Wyd Wrocław : Wydaw. Akademii Wychowania Fizycznego, 2002 SCHENK Christoph, tł. Hanna Borowiec.: Relaksacja: sposób na stres. Warszawa JBF,1996 CHOROŚ Jadwiga - W pułapce stresu, w: Lider 2006, nr 1, s DUDA Dorota - Oddech - pigułka na stres. Cz.1, w: Ekoświat , nr 9, s , Regeneracja organizm: oddech - pigułka na stres. Cz. 2 w: Ekoświat , nr 10, s. 46 GIMNASTYKA mózgu, w: Gazeta Szkolna 2003, nr 1, s. 11,15 MARCHWICKA M. - Bajki - jako elementy treningu autogennego dla dzieci, w: Szkoła Specjalna 1990, nr 5, s

8 Department of Art Faculty: Education of Art / Fine Art Level: Second Degree Course (Master of Art degree) Module: Methods of popularising the Art Culture and Artistic Criticism Module Code: 03.9-WA-EASP-MEKA Module Type: Core module Introductory requirements: Language of Delivery/Instruction: Polish Module supervisor: Mirosława Vierstra, MA Principal lecturer: Mirosława Vierstra, MA Mode of Delivery: Classes Number of Hours: 60 Number of Hours per week: 2 Term: 1, 2 A pass grade Points ECTS: 10 Module Aims: The aim of the classes is to: develop students abilities to present their own world-views on art in different possible ways further develop the awareness of the criteria used when judging the artistic work developing different ways and strategies used to popularise the art By the end of the course, the students should acquire the skill to: comment on current artistic events express their views on contemporary art popularise the art and artistic activities by using different forms and strategies of promotion Exhibition reviews, participation in discussions, presenting students own projects (catalogue lay-out, scenario of the exhibition). Galinowska, S., (red), (1992), Komercjalizacja w kulturze, Warszawa Estetyka i krytyka, (2003), nr. 5, Kraków: Uniwersytet Jagielloński Dziemidok, B., (2002), Główne kontrowersje estetyki współczesnej, Warszawa: PWN Ruskin, J., (1977), Sztuka, społeczeństwo, wychowanie, Wrocław: Ossolineum Matuchniak-Krasuska, A., (1988), Gust i kompetencja, Łódź: Wydawnictwo Uniwersytetu Łódzkiego Selected articles on the artistic work.

9 Department of Art Faculty: Education of Art / Fine Art Level: Second Degree Course (Master of Art degree) Module: Optional Workshop Module Code: 03.0-WA-EASP-PWW Module Type: Core module Introductory requirements: Language of Delivery/Instruction: Polish Principal lecturer: Ryszard Woźniak, Prof.UZ; Magdalena Gryska, PhD; ad. Zenon Polus; Radosław Czarkowski, PhD; Alicja Lewicka-Szczegóła, PhD; kw. art. I st. Piotr Czech; Jarosław Dzięcielewski, PhD; kw. art. I st. Helena Kardasz; Wiesław Hudon, Prof.; Wojciech Müller, Prof. Mode of Delivery: Classes, Classes Number of Hours: 150, 150 Number of Hours per week: 5, 5 Term: 1, 2; 1, 2 A pass grade Points ECTS: 5, 5 Painting / Unconventional forms in painting Language of Delivery: Polish Module supervisor: Ryszard Woźniak, Prof.UZ Principal lecturer: Ryszard Woźniak, Prof.UZ Module Aims: Closed form. Open form. The work of art as a thing, as a process and as a recording. The scheme of work assumes students individual artistic search. The whole term is devoted to complete one self-prepared project or to complete the programme that meets students individual needs. Classes on selfpresentation. The students should be able to create original work in painting based on individually elaborated expressive idioms and the individual techniques of working. The ability to present and defend an individual concept in art. Revision of the portfolio. One of the conditions for a pass is to elaborate a selected topic in the form of a series of works. Magazines Artforum, Art Review, Flash Art., Parkett, Obieg, Art&Business, Sztuka.pl, Piktogram, Notes.na.6.tygodni, Muzeum, Arteon, Exit

10 Painting / Unconventional forms in painting Language of Delivery: Polish Module supervisor: Magdalena Gryska, PhD Principal lecturer: Magdalena Gryska, PhD The main aim is to understand and master the main techniques connected with painting, get familiarised with the structure of a painting, painting materials, texture, light and colour and also approach painting as a discipline that enables to reach all the contemporary ways of expression leading to the final outcome, which is painting. The scheme of work of the Workshop is included in the topics that are based on the study of nature and the use of multiple interpretation means. One of the aims is also to develop students skills to make their own decisions in painting. The students will get familiarised with the basic elements of painting. They will also get to know basic techniques in painting such as: oil painting, acrylic painting, mix media, drills with different kinds of support in painting. Attendance, participation in the term exhibitions, completion of the scheme of work. Wassily Kandinsky, O duchowości w sztuce, przeł. Stanisław Fijałkowski, wyd. PGS, Łódź Władysław Strzemiński, Teoria widzenia, Wyd. Literackie, Kraków Kazimierz Malewicz, Świat bezprzedmiotowy, Wydawnictwo Słowo/Obraz/Terytoria, Heinrich Wolfflin, Podstawowe pojęcia historii sztuki, Wydawnictwo Słowo/Obraz/ Terytoria, Gdańsk Magazines: Arteon, Exit, Artluk, Format, Obieg itp. Other sources: internet, World museums, Galleries of Modern Art, artists authorised articles Drawing / intermedia drawing operations Module supervisor: ad. Zenon Polus Principal lecturer: ad. Zenon Polus One of the main aims is to develop the acquired skills (during the License course) in drawing through the expression of the observed and analysed reality, its interpretation and creative processing. The students have to acquire the skill to join traditions with the modern artistic thought and improving the present and searching for the new methods of teaching the art of drawing. The scheme of work includes the skills of drawing notations of both our reality as well as everything that is connected with our sensitivity and spirituality. The main aim of this work is to prepare the students to complete a drawing as an individual form of expression. The students will be able to make their own artistic decisions which reflect the way they perceive the world and show their own sensitivity and fulfil them in drawing. Attendance, completion of the scheme of work.

11 Dick Higgins, Intermedia, Akademia Ruchu, Warszawa Performance, wybór tekstów, MAW, Warszawa E.H. Gombrich, O sztuce, Rebis, Marcin Czerwiński, Samotność sztuki, Warszawa A. Rottenberg, Sztuka w Polsce , Warszawa K. Wilkoszewska, Wariacje na postmodernizm, wyd. Universitas, Kraków B. Reeves, C. Nass, Media i ludzie, Wyd. PIW Any books, magazines or catalogues concerning the problems of contemporary art. Drawing / intermedia drawing operations Module supervisor: Radosław Czarkowski, PhD Principal lecturer: Radosław Czarkowski, PhD The teaching methods include: individual discussions, monitoring the development of workshop and artistic awareness, joint analysis of ideological qualities, organisation of exhibitions, supervision of the exhibitions, open air exhibitions, public discussions. The topics of the workshops are elaborated according to individual requirements of the students with particular attention to the needs of the Diploma artistic workshops. The main aim of the workshop is permanent development of the artistic workshop, enriching the artistic awareness, developing the skills to express the creative ideas, developing autonomous values, free discussions including openness and flexibility in reflections and alternative ideas, developing the skills to observe a broad spectrum of phenomena within the students interests, developing the artistic sensitivity, strengthening individual attitudes. The students have to complete all the required end of term and mid-term projects. The course ends with a pass grade. Drawing / intermedia drawing operations Module supervisor: Alicja Lewicka-Szczegóła, PhD Principal lecturer: Alicja Lewicka-Szczegóła, PhD The main aim of the workshop is to develop students artistic sensitivity and awareness, perfect the artistic skills, as well as to familiarise the students with the problems of contemporary art. The main form of teaching consists of an individual work with a student and it is based on their own sensitivity and predispositions. The students are allowed to use both classical and unconventional drawing techniques within the workshop. The scheme of work includes the problems of interactive drawing, installations, dimensional drawing, etc. The scheme of work is completed through suggested topics that are then carried out in drawing, object, photography, sound and video. The students start an individual scheme of work or completes the topics offered by the scheme of work of the workshop. In both cases, the students have to consult the workshop supervisor during their work-from the very beginning to the final outcome. Examples of the tasks: 1. Pleasant-awful-moving 2. Places-maps-histories.

12 Students should be to complete the selected topic. They should feel quite confident within various cultural contexts. They should be able to express the phenomena, emotions, and attitudes towards different situations of everyday life as well as different social behaviours by means of intermedia visualisations. Revision of works (participation), regular consultations. To get a pass, the students have to complete the selected project in a form of a series f works or one individual artistic work (installation, drawing operation, etc.) M. Archer, N. de Oliveira, N. Oxley, M. Petry, Installation Art, Smithsonian Institution Press J. Brach-Czaina, Szczeliny istnienia, PIW, Warszawa 1992 U. Czartoryska, Fotografia mowa ludzka. Perspektywy teoretyczne, Wyd. słowo/obraz terytoria, Gdańsk 2005 M. Eliade, Mity, sny i misteria, Wyd. KR, Warszawa 1999 M. Głowiński (red.), Symbole i symbolika, Czytelnik, Warszawa1990 A. Jakubowska, Na marginesach lustra, Universitas, Kraków 2004 C.G.Jung, Archetypy i symbole. Pisma wybrane, Czytelnik, Warszawa 1975 A. Żmijewski, Drżące ciała, rozmowy z artystami, seria Krytyki Politycznej, t.2, Bytom-Kraków, A. Mencwel [red.], Antropologia kultury. Zagadnienia i wybór tekstów, Wyd. Uniwersytetu Warszawskiego, Warszawa L. Kolankiewicz [red.], Antropologia widowisk. Zagadnienia i wybór tekstów, Wyd. Uniwersytetu Warszawskiego, Warszawa Paper and network magazines Circulation Exit ARTeon Art and Philosophy Oronsko Exhibition catalogues Graphic Designs Introductory requirements: advanced knowledge of the computer and computer graphics packages. Module supervisor: kw. art. I st. Piotr Czech Principal Lecturer: kw. art. I st. Piotr Czech Development of skills in: use of typography, poster design, character design, publishing and editorial graphics, visual communication. Developing computer techniques in graphic design, skilful and conscious choice of tools to the ways of completing the project. Preparing the materials for digital print. The students should also develop their skills to think creatively and solve the problems in individual design work and look for individual designs solutions taking into consideration aesthetic and usable functions of the objects. During the education process, the scheme of work is individualised depending on creative possibilities of the students that lead to final professional and conscious artistic outcome. The students should acquire a practical knowledge in: graphic design, and they should further develop the skills they acquired during the License course.they should also be able to achieve a conscious and individual expression through graphic design and acquire an artistc maturity leading to the Dipolma. The students should acquire a professional attitude towards the use of both traditional media as well as the latest digital technologies. Using graphics applications: CorelDraw, Adobe Photoshop and their derivatives (at an advanced level) in completing the projects. Active participation in the classes,completion of the scheme of work, a pass grade.

13 Stefan Bernaciński, Liternictwo, WSiP, Warszawa 1990 Robert Chwałowski, Typografia typowej książki, Gliwice, Helion 2002 Adrian Frutiger, Człowiek i jego znaki, Do/Optima, Warszawa 2003 Robert Bringhurst, Elementarz stylu w typografii, Design Plus, Kraków 2007 Friedrich Forssman, Hans Peter Willberg, Pierwsza pomoc w typografii, Słowo-Obraz Terytoria, Warszawa 2008 James Felici, Kompletny przewodnik po typografii. Zasady doskonałego składania tekstu, Słowo Obraz Terytoria, Warszawa 2007 Tibor Szántó, Pismo i styl, Wrocław, Zakład Narodowy Imienia Ossolińskich Wydawnictwo 1986 Krzysztof Tyczkowski, Lettera Magica, Polski Drukarz, Łódź 2005 Jacek Mrowczyk, Niewielki słownik typograficzny, Słowo-Obraz Terytoria, Warszawa 2008 Gavin Ambrose, Paul Harris, Typografia, Wydawnictwo Naukowe PWN SA, Warszawa 2008 Piotr Rypson, Książki i strony. Polska książka awangardowa i artysytczna w XX wieku, Piotr Rypson: Obraz Słowa, Wydawnictwo AR, Warszawa 1989 Centrum Sztuki Współczesnej Zamek Ujazdowski w Warszawie, Warszawa 2000 S.G Wheeler, G.S. Wheeler, Typografia komputerowa, Exit, Warszawa Janina Wiercińska, Sztuka i książka, PWN, Warszawa 1986 Frantz Herman Wills, Grafika reklamowa, WNT, Warszawa 1972 L. Manovich, Język nowych mediów, Warszawa 2006 Czasopisma: O ile to możliwe stała lektura periodyków: Tekst oraz 2+3D (krajowe), Graphis, Print, Typography, Computer Arts Inne źródła: strony WWW (podawane sukcesywnie) związane z tematyką projektowania. Sculpture Introductory requirements: - Module supervisor: Jarosław Dzięcielewski, PhD Principal Lecturer: Jarosław Dzięcielewski, PhD This workshop is for the full time students-(master Of Arts course). I particularly focus on students autonomy, ability to make their own, artistic decisions, to express their ideas, judgments, remarks. The workshop is supposed to help the students to complete their Diploma in Sculpture. Teaching Methods: Through individual conversations and consultations concerning the selected projects-authorised programmes-i aim at developing students personalities and their artistic qualities. During our discussions, I try to listen, observe, suggest, justify my own doubts. I show them all the possibilities and the limits concerning some projects and problems. I expect the same from my students. Any project which includes four main topics that is elaborated by them may be accepted by me or rejected. I have the duty to justify my choice. Through individual discussions with my students I care about the development of their artistic personalities. I also help them to make their own artistic decisions concerning the diplomas. The students should be able to make judgments and express their ideas connected with their creative work. Attendance and completion of the project.

14 Photography / intermedia photography Introductory requirements: knowledge on photography (techniques and technology-advanced level), theory and aesthetics in photography Module supervisor: kw. art. I st. Helena Kardasz Principal Lecturer: kw. art. I st. Helena Kardasz The main aims are to develop the students artistic self-awareness expressed through photography. The students are able to interpret the programme through digital or analogue recording, video, object, installation. Photography areas suggested for interpretation: Staging, experiment: postmedia photography (rejecting the conventional rules of optics resulting in the correctness of a photographic picture), pinhole photography (camera obscura, darkroom); digital recording; montage; virtual photography (consultations with the use of Adobe Photoshop). The students should develop their artistic awareness and acquire the knowledge on contemporary photography. individual consultations (project, assumptions concerning the topic) participation in workshop discussions; self-presentation of individual stages of project completion participation in the open air Photography Workshop( broadening the scheme of work with an experiment and cognitive qualities by observing the reality) Barthes Roland, Światło obrazu, Wyd. KR, Warszawa 1999 Benjamin Walter, Twórca jako wytwórca, Wyd. Poznańskie, Poznań 1975 Benjamin Walter, Dzieło sztuki w dobie reprodukcji technicznej, w: Anioł historii, red. H. Orłowski, Wyd. Poznańskie, Poznań 1996 Brauchitsch Boris von, Mała historia fotografii, Cyklady, Warszawa 2004 Przestrzenie fotografii. Antologia tekstów, praca zbiorowa pod red. T. Ferenca, K. Makowskiego, Galeria f5, Łódź 2005 Rosenblum Naomi, Historia fotografii światowej, Wyd. Baturo i Grafis Projekt, Bielsko Biała 2005 Rouillé André, Fotografia. Między dokumentem a sztuką współczesną, Universitas, Kraków 2007 Sontag Susan, O fotografii, Wyd. Artystyczne i Filmowe, Warszawa 1989 Tomaszczuk Zbigniew, Łowcy obrazów. Szkice o fotografii, CAK, Warszawa 1998 Berger John, O patrzeniu, Fundacja Aletheia, Warszawa 1999 Berger John, Nasze twarze, moje serce, zwięzłe jak fotografie, Czuły Barbarzyńca Pies, Warszawa 2006 Co widać?, praca zbiorowa pod red. J. Kaczmarka, M. Krajewskiego, Wyd. Naukowe UAM, Poznań 2006 Czartoryska Urszula, Fotografia mowa ludzka. Perspektywy historyczne. Tom 2, słowo/obraz/terytoria, Gdańsk 2006 Flusser Vilém, Ku filozofii fotografii, folia academiae, Katowice 2004 Fotografia: realność medium, praca zbiorowa pod red. G. Dziamskiego, A. Kępińskiej, S. Wojneckiego, ASP Poznań, Poznań 2000 Michałowska Marianna, Niepewność przedstawienia. Od kamery obskury do współczesnej fotografii, Rabid, Kraków 2004 Michałowska Marianna, Obraz utajony. Szkice o fotografii i pamięci, Galeria f5, Kraków 2007 Słowo o fotografii, Krzysztof Jurecki, Krzysztof Makowski, ACGM Lodart S.A., Łódź 2003 Segal Hanna, Marzenie senne. Fantazja i sztuka, Universitas, Kraków 2003 Sobota Adam, Szlachetność techniki, Wyd. Naukowe Scholar, Warszawa 2001 Tomaszczuk Zbigniew, Odwzajemnione spojrzenie, Typoscript, Wrocław 2004 Wokół dekady. Fotografia polska lat 90, praca zbiorowa pod red. M. Bauera, K. Jureckiego, A. Soboty, Muzeum Sztuki, Galeria FF, Łódź 2002 Exit Fotografia Fototapeta Obieg

15 Department of Art Faculty: Education of Art / Fine Art Level: Second Degree Course (Master of Art degree) Module: Creative Education Studio Module Code: 03.9-WA-EASP-PTWR Module Type: Core module Introductory requirements: Language of Delivery/Instruction: Polish Module supervisor: Katarzyna Podgórska-Glonti, PhD Principal lecturer: Katarzyna Podgórska-Glonti, PhD Mode of Delivery: Classes Number of Hours: 90 Number of Hours per week: 3 Term: 1, 2 A pass grade Points ECTS: 10 Module Aims: Designing and completion of educational-artistic activities understood as an area of art and education. By the end of the course the students should be able to: write a scheme of work for different age groups and on various topics define clearly the main aims of the workshop, artistic and educational activities activate the participants carry out the workshops use various techniques including digital recording A pass grade. E. Olinkiewicz i E. Repach, Warsztaty edukacji twórczej, wyd. Europa, Wrocław 2001, W. Karolak, Warsztaty twórcze, wyd. Jedność, Kielce 2002; E. Goffman, Człowiek w teatrze życia codziennego, wyd. KR, Kraków 1998; E. Hall, Ukryty wymiar, wyd. Muza, Warszawa ) W. Welsch, Estetyka poza estetyką. O nową postać estetyki, Wyd. TAiWPN Universitas, Kraków (2) I. Lorenc, Logos i mit estetyczności, Uniwersytet Warszawski Instytut Filozofii, Warszawa (3) M. Bachtin, Estetyka twórczości słownej, Państwowy Instytut Wydawniczy, Warszawa (4) J. Margolis, Czym, w gruncie rzeczy, jest dzieło sztuki?, Wyd. TAiWPN Universitas, Kraków (5) H. Read, Sens sztuki, Wyd. PWN, Warszawa (6) Myśliciele kronikarze i artyści o sztuce. Od starożytności do 1500 roku, wyb. i oprac. J. Białostocki, Wyd. Słowo/Obraz Terytoria, Gdańsk (7) Teoretycy, pisarze i artyści o sztuce , wyb. i oprac. J. Białostocki, Wyd. PWN, Warszawa (8) Teoretycy, artyści i krytycy o sztuce , wyb. E. Grabska i M. Poprzęcka, Wyd. PWN, Warszawa (9) F. Nietzsche, Narodziny tragedii czyli hellenizm i pesymizm, Wyd. Zielona Sowa, Kraków (10) J. Baudrillard, Spisek sztuki. Iluzje i deziluzje estetyczne z dodatkiem wywiadów o Spisku sztuki, Wyd. Sic!, Warszawa 2006.

16 Department of Art Faculty: Education of Art / Fine Art Level: Second Degree Course (Master of Art degree) Module: Proseminar Module Code: 03.9-WA-EASP-PSEM Module Type: Core module, optional Module supervisor: Artur Pastuszek, PhD Principal lecturer: Artur Pastuszek, PhD; Roman Sapeńko, PhD Mode of Delivery: Classes Number of Hours: 60 Number of Hours per week: 2 Term: 1, 2 A pass grade Points ECTS: 10 Introductory requirements: Basic knowledge on cultural, historical, artistic and linguistic. A pass in at least two modules on intellectual and aesthetical culture (philosophy, aesthetics, history of art, sociology of art, anthropology of culture) Language of Delivery/Instruction: Polish Principal lecturer: Artur Pastuszek, PhD Module Aims: Establishing the borderlines in scientific search (aesthetics, philosophy of art, sociology of art, philosophy of culture)and presenting the ideas and topics of research. Selecting the problems of the thesis and attempts to establish its range. The ability to choose the method of research. Formulating the topic of Master of Art thesis. Library query. Looking for the materials suitable for the thesis. Studies on the state of research. Preparation of a conspectus and elaboration of the plan of work. The problem of copyright and plagiarism. The first attempts to formulate an argument of the thesis and its public presentation, discussion. Terminological precision, defining the ideas, supplementary literature, (varia).criteria of the assessment: methodological cohesion, logic of argument, transparency, substantial quality. The students should acquire the ability to solve any problems in their research independently and also to present the results of their research in public. They should also acquire the ability to express their criticism and judge the effectiveness of certain research techniques and tools.they should be able to present the topic of their thesis, its structure and the selected methodology. The students should be familiarised with the rules of preparing and editing the university theses. The students should present the conspectus of the thesis and the results of the query. They should also hand in the first chapter of the thesis and give a presentation on the arguments put forward in their thesis. Eco U., Jak napisać pracę dyplomową, Warszawa Oliver P., Jak pisać prace uniwersyteckie?, Kraków Urban S., Ładoński W., Jak napisać dobrą pracę magisterską, Wrocław Zenderowski R., Praca magisterska. Jak pisać i obronić. Wskazówki metodologiczne, Warszawa Lindsay D., Dobre rady dla piszących teksty naukowe, Wrocław Maćkiewicz J., Jak pisać teksty naukowe, Gdańsk Woźniak K., O pisaniu pracy magisterskiej na studiach humanistycznych. Przewodnik praktyczny, Warszawa-Łódź Zenderowski R., Technika pisania prac magisterskich, Warszawa 2005.

17 Department of Art Faculty: Education of Art / Fine Art Level: Second Degree Course (Master of Art degree) Module: Diploma Seminar Module Code: 03.9-WA-EASP-SEMM Module Type: Core module, optional Module supervisor: Artur Pastuszek, PhD Principal lecturer: Artur Pastuszek, PhD, Roman Sapeńko, PhD Mode of Delivery: Conversations Number of Hours: 90 Number of Hours per week: 3 Term: 3, 4 A pass Points ECTS: 20 Introductory requirements: A grade achieved at M.A proseminar of similar profile. Basic knowledge on the selected cultural, artistic, historical and linguistic problems. Module supervisor: Artur Pastuszek, PhD Module Aims: Presentation of the topic of research and critical discussion on it. Attempts to make the thesis issues concise and compact. Evaluation of the availability of the means to carry out the research. Introductory notes-possible modification of the topic. Establishing the final version of the thesis topic (criteria: -transparency, objectivity, linguistic correctness). Analysis of the contents of the thesis, its range and suitability of the selected tools and techniques. Evaluation of the outcome of the selected aims. Selectivity- pointing at the questions that were omitted in the thesis. Presentation of the first version of the M.A thesis. Tutor s pre-view. Proofreading. Final conclusions. Preparation of the thesis for print. Students should master the technique to write a thesis-structure of the text (introduction, layout of the thesis, arguments, conclusions), ways of presenting the sources (quotation, discussion, paraphrase, remarks, language, references, reference marks,appendix). Students should acquire the ability to understand and interpret the collected research material. They should also acquire the skill to properly use the methodology, terminology and the techniques of writing an M.A thesis. They should be able to solve any research problems and to present the results of the research in public. The students should know the rules of preparing and editing a university thesis. The students should hand in the next chapter of the M.A thesis and give at least one presentation of the arguments put forward in their thesis. Final editing and submission of the M.A thesis. Eco U., Jak napisać pracę dyplomową, Warszawa Oliver P., Jak pisać prace uniwersyteckie?, Kraków Urban S., Ładoński W., Jak napisać dobrą pracę magisterską, Wrocław Zenderowski R., Praca magisterska. Jak pisać i obronić. Wskazówki metodologiczne, Warszawa Lindsay D., Dobre rady dla piszących teksty naukowe, Wrocław Maćkiewicz J., Jak pisać teksty naukowe, Gdańsk Woźniak K., O pisaniu pracy magisterskiej na studiach humanistycznych. Przewodnik praktyczny, Warszawa-Łódź Zenderowski R., Technika pisania prac magisterskich, Warszawa 2005.

18 Introductory requirements: - Module supervisor: Roman Sapeńko, Ph.D The main aim is to prepare the students for individual preparation of the M.A thesis. The thesis should be a proof of students ability to use literature, empirical materials, and to solve basic empirical problems. The classes should result in students ability to write individual assignments, papers, articles, and other scientific theses. The students should also be able to master the technique of public presentation of the achieved results. The seminar gives the students an opportunity to practise their skills in studying, group work, to make decisions and to writ synthetic reports. Teaching methods: Reporting on the elaborated material. Conceptual and problematic work. Definitions of notions. Creative problem solution. Activating methods (brainstorm, projects, discussions) Lecture. Scheme of Work. Structure of the diploma thesis. Selection of the topic of the license thesis and formulation of the topic. Methodology of conceptual work (diagnosis, research, completion). Literature study and library query. Use of empirical materials (interpretation,exemplification, generalisation). Preparation of the plan of work and its approval. Techniques of writing a thesis (introduction, development of the topic, conclusions, research methods, footnotes,graphic, list of sources, literature). Scientific properties of diploma theses and criteria of evaluation: correctness, methodology, structure of the contents, terminological precision, transparency of the structure of the thesis, delivery of the first version of the manuscript, corrections, discussion on the style and transparency. Preparation of the thesis for print. Preparing the students to defend the problems raised in the thesis during the license exam. The exam procedure (plagiarism, university rules). Basic Literature: Pułło Andrzej. Prace magisterskie i licencjackie. Wskazówki dla studentów. Warszawa Oliver Paul. Jak pisać prace uniwersyteckie? Kraków Weiner Janusz. Technika pisania i prezentowania przyrodniczych prac naukowych. Warszawa Urban Stanisław. Jak napisać dobrą pracę magisterską? Wrocław 1997.

19 Department of Art Faculty: Education of Art / Fine Art Level: Second Degree Course (Master of Art degree) Module: Diploma Art Studio Module Code: 03.0-WA-EASP-DPAM Module Type: Core module,optional Module supervisor: Ryszard Woźniak, Prof.UZ; Magdalena Gryska, PhD; ad. Zenon Polus; Radosław Czarkowski, PhD; Alicja Lewicka-Szczegóła, PhD; kw. art. I st. Piotr Czech; Jarosław Dzięcielewski, PhD; kw. art. I st. Helena Kardasz; Wiesław Hudon, Prof.; Wojciech Müller, Prof. Mode of Delivery: Classes Number of Hours: 135 Number of Hours per week: 5, 4 Term: 3, 4 Pass Points ECTS: 20 Painting / unconventional forms of painting Module supervisor: Ryszard Woźniak, Prof.of Zielona Góra University Module Aims: Individual formulation of a topic based on the acquired experience or a new topic, which represents students present interests. Making concept sketches. Planning and completion of individual compositions as part of the whole series. The students should be able to: visualise the reflections connected with the topic to choose adequate means of expression, tools, materials to make a coherent and complex statement in the form of an exhibition. The students should consult on all the key stages during the completion of the diploma complete all the parts of the whole project. The literature is selected according to the students topic of the thesis and their own interests. Czasopisma: Artforum, Art Review, Flash Art., Parkett, Obieg, Art&Business, Sztuka.pl, Piktogram, Notes.na.6.tygodni, Muzeum, Arteon, Exit Other sources web pages, up-to-date exhibition catalogues.

20 Painting / unconventional forms of painting Introductory requirements: Drawing and painting skills. and English Module supervisor: Magdalena Gryska, PhD Principal Lecturer: Magdalena Gryska, PhD Developing students skills to make decisions in painting. The students have already acquired the skills connected with the so called classical drawing and painting and they know the properties of different techniques and painting materials. They further develop the painting skills they acquired during the License course. The students should develop their artistic awareness in the process of searching for their individual ways and forms of expression. They should prepare an individual series of works in painting by using any technique. By the end of the course the students should: become aware of their predispositions, tool, materials, etc. know the reagents have drawing skills be aware of colour, temperature, quality, facture be able to formulate an artistic concept It is, however, the students mental processes and their personal engagement, hard work and consistency that play a crucial role in their artistic work. Consultations, review of works. Krystyna Bartnik, Zbigniew Makowski, Muzeum Narodowe, Wrocław, Umberto Eco, Historia piękna, Rebis, Poznań Władysław Strzemiński, W setną rocznicę urodzin, Muzeum Sztuki, Łódź Marek Wasilewski, Sztuka nieobecna, Wydawnictwo Obserwator, Poznań Ludwiński Jerzy, Epoka błękitu, Wydawnictwo Stowarzyszenie Artystyczne Otwarta Pracownia, Kraków 2003 Marek Sobczyk; Kurs abstrakcji, Wyd. Galerii Zderzak, Kraków 1996 Bieńczyk Marek, Melancholia, czyli o tych, co nigdy nie odnajdą straty, Wydawnictwo Sic!, Warszawa Anda Rottenberg, Sztuka w Polsce , Wyd. Stentor, Warszawa Grzegorz Sztabiński, Dlaczego geometria? Problemy współczesnej sztuki geometrycznej, Wydawnictwo Uniwersytetu Łódzkiego, Łódź Baus Wojciech, Mundus melancholicus. Melancholiczny świat w zwierciadle sztuki, Wydawnictwo Universitas, Kraków Adorno Theodor W., Sztuka i sztuki, Wybór esejów, przeł. Krystyna Krzemień-Ojak, PIW, Warszawa Czasopisma: Arteon, Exit, Artluk, Format, Obieg itp. Inne źródła: Strony internetowe; Muzea świata, Galerie Sztuki Współczesnej, autorskie strony artystów. Drawing / intermedia drawing activities Module supervisor: ad. Zenon Polus Principal Lecturer: ad. Zenon Polus Through practising the technique of drawing and its constant attempt to get to know, define, and describe the reality, we are open to a discourse about the culture of artistic message and its meaning. The students task is to prepare an individual, authorised concept of a diploma using the individually

21 selected technique of an artistic expression. The students should develop their creative skills and the abilities to use drawing techniques. The students should be prepared to construct various forms of collective activities of artistic character. Attendance, completion of the scheme of work. Alicja Kępińska, Energie sztuki, PWN Warszawa 1990 Edward Nęcka, Psychologia twórczości, GWP Gdańsk 2005 Zbigniew Herbert, Znaki na papierze. Cyprian Norwid, Wyd, Bosz, 2008 A. Gwóźdź, Widzieć, myśleć, być. Technologie mediów, Wyd. Universitas, Kraków, 2001 Postmodernizm - antologia przekladów, Poznań1997 Alicja Kępińska, Energie sztuki, PWN Warszawa 1990 Edward Nęcka, Psychologia twórczości, GWP Gdańsk 2005 Zbigniew Herbert, Znaki na papierze. Cyprian Norwid, Wyd, Bosz, 2008 A. Gwóźdź, Widzieć, myśleć, być. Technologie mediów, Wyd. Universitas, Kraków, 2001 Postmodernizm - antologia przekladów, Poznań1997 Matilde Battistini, Symbole i alegorie, wyd. Arkady S. Sontag, O fotografii, wyd. Warszawa Leszek Brogowski, Powidoki i po... Unizm i "Teoria widzenia" Władysława Strzemińskiego, Wyd. Słowo/Obraz/ Terytoria, Gdańsk 200 Jean Baudrillard, Spisek sztuki, Wyd. Sic, Warszawa Drawing / intermedia drawing activities Module supervisor: Radosław Czarkowski, PhD Principal lecturer: Radosław Czarkowski, PhD The main aim of the module is to supervise the students diploma preparation. The whole course ends with the students defence of a Diploma-a thoroughly individual artistic output. The whole work should be logical and thus coherent, and all the techniques used should not raise any doubts whatsoever. The idea should be clear and should not raise any doubts as for the intentions of the artistic message. Teaching methods are adapted according to students individual requirements. The students acquired qualities should express their permanent search, and should guarantee the ability to advance arguments, ask questions, analyse the reality and to evaluate various phenomena. It is important to be able to avoid extreme, destructive, incoherent attitudes. Therefore, it is quite crucial to construct flexible attitudes in an artistic discourse and be flexible in the way they perceive and evaluate the reality. Review of work in med-term and at the end of the term. A pass. Adapted according to students topic of the M.A thesis.