Class Culture and digital context

Cultural institutions are changing with the digital age. Digital arts are forcing a reformulation of the concept of "work of art," becoming participatory and interactive, and leading to the emergence of an artist-curator and a spectator who is a decision-maker and co-producer, altering the relationships between work, artist, spectator, curator, and museum. The technical, material, and spatial demands of new media also require new exhibition frameworks and reject previous ones, notably the white cube model, postulated since Modernism. I tis thus necessary to question and investigate what kind of museum can emerge from now on, and what its reconfiguration will be, both as a cultural institution and as an exhibition space. From here, UC proposes an analysis of the potential of digital and online media - which constantly register new transformative advances - envisioning their potential in the qualitative development of the mission and objectives of each institution.

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- Analysis of the institution's digital presence: purpose, objectives, communication channels used - Analysis of the institution's interaction potential - Art, Technique and Technology: trajectory and progress, from technical reproduction of photography to digital - How does digital technology transform the relationship established with the arts and cultural institutions? What are the impacts? What are the audiences' expectations? - New media and new materialities: immaterialities, digital and virtual works. - From Contemplation to Immersion: Relational Aesthetics, participatory arts, from performance and happenings to digital interaction. - The Curatorship of Digital: the exhibition, from the white cube to the black box, the curatorship of new media in the museum, the online - A new Museum: the museum and the digital, from Malraux's imaginary museum to the technological museum. - AI in artistic creation and cultural organizations.

  The teaching methodologies and analytical elements are transdisciplinary, drawing on written, visual, and oral resources. Most classes will be divided between the presentation of course content and the analysis of texts and discussion of readings, incorporating visual content and case studies.

Bounia, A., Eleni, M. (2015). Beyond the 'Virtual': Intangible Museographies and Collaborative Museum Experiences. In Barranha H., S.Martins, S. (Eds.), Uncertain Spaces. Virtual configurations in contemporary art and museum. (pp. 15-32). Instituto de História da Arte, Faculdade de Ciências Sociais e Humanas - Nova Bourriaud, N. (1998). Relational Aesthetics. Les presses du reel, 2002. Bishop, C. (2012). Artificial Hells, Participatory Art and the Politics of Spectatorship. Benjamin, W. (1935). A Obra de Arte na Época da Sua Possibilidade de Reprodução Técnica. Malraux, A. (1965). Le Musée Imaginaire. Manovich, L. (2001). The Language of New Media. The MIT Press. O'Doherty, B. (1976). Inside the White Cube. The ideology of the Gallery Space. Paul, C. (2008). Challenges for a Ubiquitous Museum. From the White Cube to the Black Box and Beyond.