Round Table on Arts and Artificial Intelligence. GUNi International Conference at Cosmocaixa Museum

This GUNi International Conference aims to be an international meeting to debate on the role of the humanities, and the interrelation between humanities, science and technology in the 21st Century with a special focus on Higher Education. The main objective of the Conference is to open a worldwide debate on the current role of humanities in the social, academic and scientific areas and on their importance to boost a more equitable, more responsible and more democratic society. The event has gathered 160 attendees from 22 countries and from diverse areas of knowledge and fields (education, research, public institutions, organizations) in order to debate on the role of the humanities in the world. The Conference was held on the 19th to 20th November 2018 at the CosmoCaixa Museum in Barcelona.

 

Pau Alsina at the Round Table. More photos here.

Poster about the UOC’s Arts Degree

Laia Blasco-Soplon makes one of the posters of the GUNi International Conference.

This GUNi International Conference aims to be an international meeting to debate on the role of the humanities, and the interrelation between humanities, science and technology in the 21st Century with a special focus on Higher Education. The main objective of the Conference is to open a worldwide debate on the current role of humanities in the social, academic and scientific areas and on their importance to boost a more equitable, more responsible and more democratic society. The event has gathered 160 attendees from 22 countries and from diverse areas of knowledge and fields (education, research, public institutions, organizations) in order to debate on the role of the humanities in the world. The Conference was held on the 19th to 20th November 2018 at the CosmoCaixa Museum in Barcelona.

Desafíos de la virtualización de la enseñanza de las Artes: el Grado en Artes de la UOC

Laia Blasco-Soplon and Aida Sánchez de Serdio make this presentation in the framework of the international seminar “Arte, educación y virtualidad” at the Museo Nacional de Colombia, Universidad Santo Tomás (Bogotá)

In this presentation we propose a reflection on the teachings of arts at a higher level and, more specifically, on what its virtualization supposes, taken as a case the Arts Degree of the Open University of Catalonia (UOC). In the first place, the challenges and possibilities of the virtualization of artistic education in general are pointed out, such as the difficulty of virtually conveying the material and copresential nature of teaching in arts, the need to maintain a relationship that is both individualized and relational. in an environment that tends towards massification, and the opportunity that this environment offers to develop a contemporary and reflective approach to media and artistic languages. Secondly, we focus on some aspects and characteristics of both the UOC and the Degree in Arts, showing its curricular mesh and some of its virtual classrooms, and highlighting some of the challenges that its implementation has involved, such as the need for a greater visual dimension of the teaching environments, of overcoming the analog-digital dichotomy, or of generating multidirectional communications, among others. Finally, we share some reflections and questions about which we want to continue working in the future.

 

“A Companion to the Gangster Film” (Wiley-Blackwell, 2018).

 

Ana Rodríguez-Granell participates in this book with the chapter When Criticism Meets Gangster Films: The Spiv Cycle as Oppositional Aesthetics in Postwar Britain

 

This paper focuses on an overlooked period of film history between the brilliant 1930s and the film modernism to come in the late 1950s, a time when critical and militant manifestations in British cinema were co-opted into the institutional narrative of quality film. Following World War II and the rise of Labour’s social democracy, realism became the bedrock of British national cinema as part of the country’s cultural rebuilding. In this context, and given the efforts invested in the war and the institutionalisation of realism exemplified by Millions Like Us (Sidney Gilliat & Frank Launder, 1943), what had been a period of political exaltation gave way to a dismembering of the avant-garde practices and the critical militant documentalism that had represented the working class. Faced with official cinematographic discourses that tried to temper the radical spirit of the pre-war years, calls came for narratives that expressed civil responsibility, civic sense, compassion and rectitude, or ‘hopeful and clear-eyed’ narratives. This paper seeks to examine how gangster and spiv films provide a subaltern representation of the British working class. It will analyse the political economy of post-war British gangster films, popular cinema and certain sectors of the industry as a forum for challenging institutional aesthetics. The influences from the 1930s, oppositional discourse and the sparks of modernity in gangster films such as Waterloo Road (Sidney Gilliat, 1944), They Made Me a Fugitive (Alberto Cavalcanti, 1947), and It Always Rains on Sunday (Robert Hamer, 1947) will be examined. This will be done to determine if this kind of film, which led to sub-genres of social criticism, may be deemed a vehicle for vernacular modernism.

“The artwork is a digital file, yes”

Pau Waelder publishes “The artwork is a digital file, yes” (Daata Editions).

I have been invited by David Gryn, director of Daata Editions, to write a text for the Foreword section on the platform. The text addresses the preconceptions related to collecting digital art and it particular the type of artworks sold by Daata, which are digital files that the buyer can download with a certificate of authenticity. Below is an excerpt:

When considering how to collect digital art, we come across two preconceptions: what an artwork must be and what digital files are worth. First, it is commonly assumed that an artwork is an object with unique attributes, original, and irreplaceable. The object routinely goes from the artist’s studio to the gallery, where it is acquired by a collector. There is no doubt that it is always the same object that trades hands, and it is finally the collector who decides where the artwork is placed and who has access to it. Conceptual and performance art has challenged this notion again and again, but the artwork always finds its way into the market and the collector’s home in the form of a more or less stable object. Thus, if an artwork (a) is not an object, (b) can be copied, (c) can be accessed or experienced beyond the control of its owner(s), and/or (c) requires a computer, software and display to be at all perceivable, some may find it “difficult,” “challenging,” or even not worth collecting. This relates to the second preconception.

 

 

Quelic Berga participates in the course: “Big Data: visualización de datos”

Quelic Berga participates in the course: “Big Data: visualización de datos”

Data visualization” is the fourth course of the specialization “Big Data – Practical use of massive data”. Organized in four weeks, it aims to motivate and introduce the key concepts of data visualization as well as show examples in different contexts. In addition, criteria are provided to formulate the problem and choose the most appropriate tools to obtain a correct visualization. This should be an introductory, motivating and inspiring course for storytelling through the visualization of your data. The four modules in which the course is structured are the following:

MODULE 1: Context for data visualization today

MODULE 2: Data analysis and visualization tools

MODULE 3: The process of creating a data visualization

MODULE 4: Other aspects of data visualization

The assistant professor at Universitat Oberta de Catalunya and DARTS member Quelic Berga has participated in the creation of modules 1 and 3 of the course in collaboration with UAB and UOC.

“Hacia una formación de artistas expandida: instituciones desbordadas, responsabilidades compartidas”

Aida Sánchez de Serdio participates with “Hacia una formación de artistas expandida: instituciones desbordadas, responsabilidades compartidas” as an invited lecturer at the II Encuentro arte, educación, interculturalidad in the Pontificia Universidad Católica del Ecuador (Quito), between 24-26 October, 2018.

 

Poster presentation at Research Workshop EDEN 2018 – NETWORK LEARNING ENVIRONMENTS: INTEGRATING AN ONLINE LEARNING MODEL WITH THE WORDPRESS PUBLISHING MODEL FOR THE TEACHING-LEARNING OF GRAPHIC DESIGN AND ARTS

Quelic Berga (Berga, Quelic, Universitat Oberta de Catalunya (UOC), Blasco, Laia, UOC, Melenchón, Javier, UOC, Spain) presents a poster at Research Workshop EDEN 2018.

With the creation of the Grado de Diseño y Creación Digital and the Grado de Artes, the Universidad Oberta de Catalunya (UOC) has started to implement improvements in its virtual campus to allow students to work with visual elements. Several surveys and pilot tests have been carried out over the last four years with the aim of solving the need for students to show their visual creations online. We have developed a system that bridges student’s classroom with their own university e-portfolio, allowing accompaniment and continuous evaluation and at the same time following the professional standards to allow an easy migration towards a professional e-portfolio. We show an efficient way to integrate the online learning environment of the UOC with the open source culture of WordPress respecting its values, methods and standards.