The Seventies compose a panorama of great richness and complexity in which artistic experiences appear to have a problematic and expressive force that makes them resolutely relevant. The artists' activity was very frank in the face of the social and political contradictions of the time, investigating the mechanisms of mass consensus or personal identity in its sexual and relational articulations, or even the use of space and natural resources, the organization of political and economic life, violence, war, all themes that keep visibly intact, and indeed have increased their problematic and conflictual charge in our globalized world.

The common element of all the artistic experiences of the decade is undoubtedly the awareness that art is a code, a collective construction, that its realizations, the spaces it occupies (the "white cube"), the judgments and reactions it provokes in the public, have certain possibilities and belong to a fully historical and cultural order. The art of this period tries to "escape" from its specialized field, to abandon traditional techniques, to invest the real space, both that of the city and the natural one, to deconstruct the mechanisms of social and political consensus, to question the conscious and unconscious mechanisms that contribute to form the personality and identity.

All this concerns both artists directly involved in the conceptual current (which preferably uses verbal language as a means of expression), such as Joseph Kosuth or Lawrence Weiner, but also those, such as Bruce Nauman, Daniel Buren, Dennis Oppenheim, Douglas Huebler and Franco Vaccari, use other media, and finally touch what has been defined as the "expanded field" of art, that is, the set of experiences that acts outside the limits of the gallery and museum and the same tradition of "anthropocentric", in particular of sculpture. Emblematic figures of this trend are Joseph Beuys, Gordon Matta-Clark and Robert Smithson, authors of some of the most memorable works of those years, with their characteristic mixture of poetic visionaryness and philosophical reflexive, or even Hans Haacke, with his "investigations" of an explicitly political slant, and Christo, with his (anti)monumental interventions. In Italy, artists close to Arte Povera, such as Merz, Kounellis, Penone, Fabro and Boetti, reflect on time, cosmic and psychic energy in original forms and materials; others, such as Fabio Mauri, investigate historical memory and the political dimension; others, such as Gino De Dominicis and Vettor Pisani, explore allegory and tableau vivant.

In the 1970s, the body was the other epicentre of artistic research, thanks to the work of performers who staged, like Marina Abramović and Ulay, their psychological and erotic interaction, or the dangerous condition in force in a social space dominated by violence, as in the case of Californian Chris Burden, or who linked themselves to the positions of the feminist liberation movement, questioning, as in the cases of Gina Pane, Valie Export, Ketty La Rocca and Hannah Wilke, the stereotypes of female identity. All these examples in which the restlessness, mobility and unconventional inventiveness that make up the unmistakable figure of an extraordinarily vital decade are fully manifested.

Hal Foster et al., Art since 1900, Thames & Hudson (1945-1980)
annisettanta, Skira, Milano 2007 [PDF]
Anne Rorimer, New art in the 60 and 70s, Thames and Hudson 2001, pp. 194-274: https://www.dropbox.com/s/zivvzz76w32cu75/New%20Art%20in%20the%2060%27s%20and%2070%27s.pdf?dl=0

The course presents different aspects of historical research methodology, meant both as a set of operational tools and techniques, and as an historical theory. The concept of the Global History will be examined.
The first part of the course (12 hours) introduces the main elements of the history of historiography starting from the birth of the discipline during the nineteenth century. The second part of the course (12 hours) addresses the theoretical and methodological aspects of the use of historical sources with particular attention to "new sources" and dynamic use. The third and final part of the course (12 hours) focuses on the monographic theme of Global History.

G. De Luna, La Passione e la ragione. Il mestiere dello storico contemporaneo, Milano, Bruno Mondadori, 2004 (pp. 259, € 20,00)

A book to be chosen from:
- E. Vanhaute, Introduzione alla World History, Bologna, il Mulino, 2015 (pp. 272, € 25,00)
- S. Conrad, Storia globale. Un’introduzione, Roma, Carocci, 2015 (pp. 212, € 19,00)

Reading it is suggested:
- S. Gruzinski, Abbiamo ancora bisogno della storia? Il senso del passato nel mondo globalizzato, Milano, Raffaello Cortina, 2016 (pp. 166, € 18,00)

The course will mainly tackle the following topics: the origins of local diplomatic representation; Italian models; social careers and roles of ambassadors and apostolic nuncios; treaties on the diplomatic profession; critical investigation of diplomatic sources; duties and regulations of the diplomatic profession; the actual practices of diplomacy at work in modern-era historical contexts.

Exam texts
1) S. ANDRETTA, L’arte della prudenza. Teorie e prassi della diplomazia nell’Italia del XVI e XVII secolo, Biblink, Roma 2006.
2)G. ALONGE, Ambasciatori. Diplomazia e politica nella Venezia del Rinascimento, Donzelli, Roma 2019
oppure, E. PLEBANI, E.VALERI, P.VOLPINI, Diplomazie. Linguaggi, negoziati e ambasciatori far XV e XVI secolo, ( a cura di), Franco Angeli, Milano 2017

Non-attending students must study in addition to the texts indicated above:

1) R. SABBATINI, P. VOLPINI ( a cura di), Sulla diplomazia in età moderna. Politica, economia, religione, Franco Angeli, Milano 2011;


Or as an alternative choice of 4 essays taken from the books:

a) S. ANDRETTA, S. PÉQUIGNOT, J.-C.WAQUET ( a cura di), De l’ambassadeur. Les écrits relatifs à l’ambassadeur et à l’art de négocier du Moyen Âge au début du XIXe siècle (L’ambasciatore. Scritti relativi all’ambasciatore e all’arte della negoziazione dal Medioevo all’inizio del XIX secolo), EFR, Roma 2015.
b) S.ANDRETTA, S. PÉQUIGNOT, M.K.SCHAUB,J.-C.WAQUET, C. WINDLER ( a cura di), Paroles de négociateurs. L’entretien dans la pratique diplomatique de la fin du Moyen Ȃge à la fin du XIXe siècle (Parole di negoziatori. Pratiche dell’incontro diplomatico dalla fine del Medioevo alla fine del XIX secolo),EFR, Roma 2010

The course intends to retrace the art from the Sixties to the present day through the analysis of some exhibitions that have marked crucial moments of renewal, both from the viewpoint of the elaboration of the exhibition formats, and with regard to the critical debate.
The first part of the course will be devoted to an in-depth examination of exhibitions held internationally between 1968 and the early 1970s, with the focus on the renewal of artistic practices (between process, performativity and dematerialization) and the role and methodologies of the critics (from the crisis of interpretation to the emergence of the figure of the curator, with the progressive affirmation of a new dimension of “exhibition writing”).
Subject of reflection will also be the reenactment of the exhibitions, i.e. the revival of historical exhibitions as a curatorial practice at the center of the current debate and curatorial practices.
The second part of the course will focus on the analysis of exhibitions reflecting the social, economic, political and ecological changes of the global era. It will analyze curatorial events and strategies, as well as their contribution in defining new artistic geographies and in decolonizing narratives, with a strong impact on the sociocultural imagery of the contemporary world - starting with "Le magiciens de la terre", to get to curatorial projects of the current artistic scene.

1) B. O’Doherty, Inside the White Cube. L’ideologia dello spazio espositivo, Johan & Levy, Milano 2000

2) R. Pinto, Nuove geografie artistiche. Le mostre al tempo della globalizzazione, Postmedia, Milano 2012

3) S. Zuliani, Esposizioni. Emergenze della critica d’arte contemporanea, Bruno Mondadori, Milano 2012

Not attending
They will integrate with a text or more texts indicated in the bibliography. The texts must be agreed with the Professor.

The Seventies compose a panorama of great richness and complexity in which artistic experiences appear to have a problematic and expressive force that makes them resolutely relevant. The artists' activity was very frank in the face of the social and political contradictions of the time, investigating the mechanisms of mass consensus or personal identity in its sexual and relational articulations, or even the use of space and natural resources, the organization of political and economic life, violence, war, all themes that keep visibly intact, and indeed have increased their problematic and conflictual charge in our globalized world.

The common element of all the artistic experiences of the decade is undoubtedly the awareness that art is a code, a collective construction, that its realizations, the spaces it occupies (the "white cube"), the judgments and reactions it provokes in the public, have certain possibilities and belong to a fully historical and cultural order. The art of this period tries to "escape" from its specialized field, to abandon traditional techniques, to invest the real space, both that of the city and the natural one, to deconstruct the mechanisms of social and political consensus, to question the conscious and unconscious mechanisms that contribute to form the personality and identity.

All this concerns both artists directly involved in the conceptual current (which preferably uses verbal language as a means of expression), such as Joseph Kosuth or Lawrence Weiner, but also those, such as Bruce Nauman, Daniel Buren, Dennis Oppenheim, Douglas Huebler and Franco Vaccari, use other media, and finally touch what has been defined as the "expanded field" of art, that is, the set of experiences that acts outside the limits of the gallery and museum and the same tradition of "anthropocentric", in particular of sculpture. Emblematic figures of this trend are Joseph Beuys, Gordon Matta-Clark and Robert Smithson, authors of some of the most memorable works of those years, with their characteristic mixture of poetic visionaryness and philosophical reflexive, or even Hans Haacke, with his "investigations" of an explicitly political slant, and Christo, with his (anti)monumental interventions. In Italy, artists close to Arte Povera, such as Merz, Kounellis, Penone, Fabro and Boetti, reflect on time, cosmic and psychic energy in original forms and materials; others, such as Fabio Mauri, investigate historical memory and the political dimension; others, such as Gino De Dominicis and Vettor Pisani, explore allegory and tableau vivant.

In the 1970s, the body was the other epicentre of artistic research, thanks to the work of performers who staged, like Marina Abramović and Ulay, their psychological and erotic interaction, or the dangerous condition in force in a social space dominated by violence, as in the case of Californian Chris Burden, or who linked themselves to the positions of the feminist liberation movement, questioning, as in the cases of Gina Pane, Valie Export, Ketty La Rocca and Hannah Wilke, the stereotypes of female identity. All these examples in which the restlessness, mobility and unconventional inventiveness that make up the unmistakable figure of an extraordinarily vital decade are fully manifested.

Hal Foster et al., Art since 1900, Thames & Hudson (1945-1980)
annisettanta, Skira, Milano 2007 [PDF]
Anne Rorimer, New art in the 60 and 70s, Thames and Hudson 2001, pp. 194-274: https://www.dropbox.com/s/zivvzz76w32cu75/New%20Art%20in%20the%2060%27s%20and%2070%27s.pdf?dl=0

Re-Animation: contemporary animation as new dominant logic of moving images.

Paying particular attention to the conjunction between theories and practices, the course will focus on styles of the new animation products looking firstly at the dialectic between innovation and tradition, but also between aesthetic and narrative forms coming from different cultural paradigms. Without forgetting the way in which animation software is also used in live action cinema, the course will highlight how the concept of "re-animation" should also be understood as revitalization and problematization, carried out by animation itself, of historical, political and cultural issues involving new moving images.

C. Uva, P. Wells (a cura di), Re-Animation.L’animazione contemporanea tra cinema, televisione, videoarte e nuovi media, «Imago. Studi di cinema e media», n. 16, 2017.

C. Uva, Il sistema Pixar, Il Mulino, Bologna 2017.

Handout.

The course aims to problematize the teaching of cinema and audiovisual disciplines in the broader context of media education, both from a theoretical and methodological point of view and from a pragmatic point of view.
Starting from the redefinition of teaching strategies resulting from the increasingly frequent use of digital technologies in education, the first part of the course will focus on the presence and function of media in pedagogical practices, both as an object of study (media education and cinematographic language) as a support for teaching in many different disciplines (education through the media), paying specific attention to audiovisual media.
In the second part of the course, media education will be put in dialogue with the most recent theories developed in the field of visual culture studies, to assess the effectiveness of some teaching strategies in the area of image education.

- Pier Cesare Rivoltella, Media Education. Idea, metodo, ricerca, ELS La Scuola, Brescia 2017
- Lecture notes edited by the teacher

Employing the methodologies of contemporary visual studies, the course recomposes late-nineteenth and twentieth-century aesthetic theories and orientations with current reflections, focusing attention on the urban forms of artistic experimentation: from avant-garde cinema to the underground, from electronic and digital arts to the web, from the commercial to the music video, up to Vj'ing. The course wants to relate the changes of the urban habitat with those of the contemporary media landscape, investigating the hybridization territories between cinema, video, architecture and visual arts, considering the new perceptive and cognitive, aesthetic and technological forms that have emerged in the current audiovisual system.

G. Ravesi, La città delle immagini, Rubbettino, Soveria Mannelli 2011.
A selection of texts edited by the teacher, available at the beginning of the course at the photocopy shop of via G. Rocco 11.

FILMOGRAPHY
SINGLE-CHANNEL MOVIES AND VIDEOS
The Corridor (Norman McLaren, anni '50); Blinkity Blank (Norman McLaren, 1955); N.Y., N.Y. – A Day in New York (Francis Thompson, 1957); Bridges-Go-Round (Shirley Clarke, 1958); Broadway by Light (William Klein, 1958); New York Lightboard (Norman McLaren, 1961); Sulle scale mobili (Bruno Munari e Marcello Piccardo, 1964); Empire (Andy Warhol, 1964); Lights (Marie Menken, 1964-1966);Tre e basta (Luca Maria Patella, 1965); (Back and Forth, 1968) di Michael Snow (1968); Necrology (Roll Call Of The Dead) di Standish D. Lawder (1969); Serene Velocity (Ernie Gehr, 1970); Broadwalk (William Raban, 1971); Synchromy (Norman McLaren, 1971); Shift (Ernie Gehr, 1972-1974); Park Film (Chris Welsby, 1973); Eureka (Ernie Gehr,1974); Nuovo libro (Nowa ksiazka, Zbigniew Rybczynski, 1975); Analogies: Studies in the Movement of Time (Peter Rose, 1977); Mein Fenster (La mia finestra, Zbigniew Rybczynski, 1979); Media (Zbigniew Rybczynski, 1980); Tango (Zbigniew Rybczynski, 1980); Mistaken Memories of Mediaeval Manhattan (Brian Eno, 1981-1982); Koyaanisqatsi (Godfrey Reggio, 1983); Two Times in One Space (Ivan Ladislav Galeta, 1976-1984); Signal – Germany on the Air (Ernie Gehr, 1985); Steel Cathedrals (Yasuyuki Yamaguchi, David Sylvian, 1985); Le deuxième jour (Robert Cahen, 1988); Hong Kong Song (Robert Cahen, 1989); Appunti di viaggio su moda e città (Wim Wenders, 1989); Surveillance (Jem Cohen, 1995); X-Rays (Jem Cohen, 1995); Lost Book Found (Jem Cohen, 1996); Lucy et le fantôme de Marcushelmons (Valérie Pavia, 1996); Monocodes (Alexander Rutterford, 2000); Naqoyqatsi (Godfrey Reggio, 2002); Crossings (H.C. Gilje, 2002); Panorama_Roma (ZimmerFrei, 2004); Crossings (Marina Chernikova, 2004); Exchangeable Cities (Kentaro Taki, 2004); Site specific_Roma 04 (Olivo Barbieri, 2004); Site specific_Las Vegas 05 (Olivo Barbieri, 2005); Tournis (François Vogel, 2006); Reflect (spot Motorola, François Vogel, 2007); Fell It (spot ATP, Luis Nieto, 2007); Empire II (Amos Poe, 2007).

INSTALLATIONS, VIDEOINSTALLATIONS, INTERACTIVE ART
Intervento per lo Scalone, IX Triennale di Milano (Lucio Fontana, 1951); Italia 61 (Soffitto Padiglione, Torino, Lucio Fontana, 1961); Ambienti stroboscopici (Davide Boriani, 1965-1967); Live-taped Video Corridor (Bruce Nauman, 1970); Present Continuous Past (Dan Graham, 1974);
Video Piece for Showcase Windows In Shopping Arcade (Dan Graham, 1976);Video Piece for Two Glass Office Buildings (Dan Graham, 1976); Alteration to a Suburban House (Dan Graham, 1978);
Video Projection Outside Home (Dan Graham, 1978); Titled Arc (Federal Plaza, New York, Richard Serra, 1981);Vedute – quel tale non sta mai fermo (Studio Azzurro, 1985); The Legible City (Jeffrey Shaw, 1988-1991); The Stairs I – Geneva (Peter Greenaway, 1994); The Georgetown Loop (Ken Jacobs, 1996); Périphérie (Miguel Chevalier, 1998);On View (Antoni Muntadas, 1999); Megalopoli (Studio Azzurro, 2000); Naples (piazza Plebiscito, Napoli, Richard Serra, 2000); Exercising Nowheres (1), (2) e (3) (Hans op de Beeck, 2000); CECUT Projection (Omnimax Theater, Centro Cultural Tijuana, Mexico, Krzysztof Wodiczko, 2000); Macchina dell’arcobaleno (Alberto Biasi, 2000); Location (2) (Hans op de Beeck, 2001); WalkAround (Patrick Tuttofuoco , 2002); Metapolis (Miguel Chevalier, 2002); Y (Patrick Tuttofuoco, 2004); T-Mart (Hans op de Beeck, 2004); Location (5) (Hans op de Beeck, 2004); Celestial Subway Lines/ Salvaging Noise (Ken Jacobs, 2004); Revolving Landscape (Patrick Tuttofuoco, 2006); Sleepwalkers (Doug Aitken, 2007); Crossborders (Miguel Chevalier, 2007); Location (6) (Hans op de Beeck, 2008).

MUSIC VIDEO, VISUAL, VJ’ING
Se telefonando (spot Barilla, Piero Gherardi, 1966); Under pressure (music video Queen feat. David Bowie) di David Mallet e Andy Morahan (1982); Imagine (music video John Lennon) di Zbig Rybczynski (1987); La tour de Pisa (music video Jean François Cohen) di Michel Gondry (1992); Big Time Sensuality (music video Björk) di Stéphane Sednaoui (1992); Love is Strong (music video Rolling Stones) di David Fincher (1995); Children (music video Robert Miles) di Elizabeth Bailey (1996); Ray of Light (music video Madonna) di Jonas Âkerlund (1997); Non è mai stato subito (music video Biagio Antonacci) di Stefano Salvati (1998); Brown Paper Bag (music video Roni Size/Reprazent, 1998); The Child (music video dj Alex Gopher) di Antoine Bardou-Jacquet (1999); Strong Enough (music video Cher) di Nigel Dick (1999); Freestyler (music video Bomfunk MC’S, 2000); This strange effect (music video Hooverphonic, 2000); Analyse (music video Cranberries) di Keir McFarlane (2001); Star Guitar (music video The Chemical Brothers) di Michel Gondry (2002); Come Into My World (music video Kylie Minogue) di Michel Gondry (2002); Growing Up (music video Peter Gabriel) di François Vogel (2002); Sit Down. Stand Up (music video Radiohead) di Ed Holdsworth (2003); Woodsroads (Saul Saguatti , 2003-2004); Tension (visual Orbital) di Giles Thacker (2004); I Citizen The Loathsome (visual Plaid) di Bob Jaroc (2006); Colombo (music video Baustelle) di Stefano Poletti (2007); Presunti Accenni (music video IG) di Fabio Massimo Iaquone, Luca Attilii (2007); Se vuoi (music video IG) di Fabio Massimo Iaquone, Luca Attilii (2007); Transit City #2 RomAstratta (Saul Saguatti, 2008)

NET AND SOFTWARE ART
Blinkenlights (2001) Chaos Computer Club; Arcade (2002) Chaos Computer Club; Avatar's Portraits (2006) Eva e Franco Mattes; Stereoscope (2008) Chaos Computer Club.
Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139 together with a lecture note with the audiovisual materials of the lessons (for internal use only).

The course is divided into two parts.
The first part describes the main developments in the social, political, cultural, economic and technological environment, with particular attention to the urban dimension and territories, placing the performing arts in the perimeter of the tangible and intangible cultural resources, in order to provide, using multiple reading keys, a critical knowledge of the scenarios and fields of action and interaction.
In the second part, starting from the cultural planning approaches and from measurement legacy (outcomes, impacts), are investigated the various design platforms and opportunities with which the theatrical and performing arts organization can contribute to urban revitalization, regeneration spaces, social innovation and collaborative practices.
The course will use case studies, including international, with particular regard to ECoC (European Capital of Culture), the Italian Capital of Culture, the UNESCO creative cities.

For attending students:
Lucio Argano "Manuale di progettazione della cultura. Filosofia progettuale, design e project management in campo culturale e artistico" FrancoAngeli, Milan, 2012 (chapters 2, 4, 5, 6)
Carlini C., Gallina M., Ponte di Pino O. (esd), "Reinventare i luoghi della cultura contemporanea. Nuovi spazi, nuove creatività, nuove professioni, nuovi pubblici", FrancoAngeli, Milan, 2017

For non-attending students
Lucio Argano "Manuale di progettazione della cultura. Filosofia progettuale, design e project management in campo culturale e artistico" FrancoAngeli, Milan, 2012 (chapters 2, 4, 5, 6)
Carlini C., Gallina M., Ponte di Pino O. (esd), "Reinventare i luoghi della cultura contemporanea. Nuovi spazi, nuove creatività, nuove professioni, nuovi pubblici", FrancoAngeli, Milan, 2017
Hangar "La quasi impresa. Manuale d’uso per operatori culturali", Sole 24 Ore, Milan, 2018

The course presents different aspects of historical research methodology, meant both as a set of operational tools and techniques, and as an historical theory. The concept of the Global History will be examined.
The first part of the course (12 hours) introduces the main elements of the history of historiography starting from the birth of the discipline during the nineteenth century. The second part of the course (12 hours) addresses the theoretical and methodological aspects of the use of historical sources with particular attention to "new sources" and dynamic use. The third and final part of the course (12 hours) focuses on the monographic theme of Global History.

G. De Luna, La Passione e la ragione. Il mestiere dello storico contemporaneo, Milano, Bruno Mondadori, 2004 (pp. 259, € 20,00)

A book to be chosen from:
- E. Vanhaute, Introduzione alla World History, Bologna, il Mulino, 2015 (pp. 272, € 25,00)
- S. Conrad, Storia globale. Un’introduzione, Roma, Carocci, 2015 (pp. 212, € 19,00)

Reading it is suggested:
- S. Gruzinski, Abbiamo ancora bisogno della storia? Il senso del passato nel mondo globalizzato, Milano, Raffaello Cortina, 2016 (pp. 166, € 18,00)

The Laboratory will allow to deepen and experiment on the field the themes addressed during the course in relation to the anthropology of performances and cultural representations.

Jean-Loup Amselle, Connessioni. Antropologia dell'universalità delle culture, trad. it. di Marco Aime, Torino, Bollati Borimghieri, 2001.
Shahram Khosravi, Io sono confine, trad. it. di Elena Cantoni, Milano, elèuthera, 2019.
Alessandro Leogrande, La frontiera, Milano, Feltrinelli, 2017 (edizione economica).
Luca Rastello, La frontiera addosso. Così si deportano i diritti umani, Roma-Bari, Laterza, 2010.

The course aims to pay attention to the strategies of cinematographic staging, favoring the context of contemporary cinema without renouncing - however - to a close confrontation with the filmic practices that have marked the period of classical cinema and, above all, of modern cinema. The question of direction will be analyzed as an eminently "theoretical" issue, developing a reflection that intends to go beyond the question of filmic grammar.
Starting from the idea of ​​the cinematographic staging as a strategy for organizing the filmic space, the course will also focus on the contemporary practices that release the film from the movie theater by proposing forms of "relocation" that require a rethinking of the idea of ​​direction itself (in particular focusing attention on the relation movie theater-museum and on the work of the so-called "cinematographers-artists"). In this framework, the work of Abbas Kiarostami will provide relevant case studies that will allow a constant sliding of the theoretical questions raised in the practice of analyzing the films and installations by the Iranian filmmaker.

BIBLIOGRAPHY
- Elio Ugenti, "Abbas Kiarostami. Le forme dell'immagine", Bulzoni, Roma 2018
- Francesco Federici, "Cinema esposto. Arte contemporanea, museo, immagini in movimento", Forum, Udine 2017
- Lecture notes edited by the teacher

FILMOGRAPHY:
- Where is the Friend's Home? [Khane-ye dust kojast], 1987
- Homework [Mashq-e shab], 1989
- And Life Goes on [Va zendegi edame darad], 1992
- Taste of Cherry [Tam'e ghilas], 1997
- The Wind Will Carry Us [Bad ma-ra khahad bord], 1999
- ABC Africa, 2001
- Five, 2004
- Roads of Kiarostami, 2005
- Shirin, 2008
- Certified Copy [Copie conforme], 2010
- Like Someone in Love, 2012
- 24 Frames, 2016

In contemporary societies the arts affect the public discourse, becoming agency of meanings, laboratory for the civil society, space and place for shaping the public memory of controversial events, arena where gender identities, ethnicity and social classes are socially constructed.
The first part of the course will aim at studying artistic production and politics of cultural consumption. It will focus on the following topics: theories of the author's death, theories of reception, art as social practice, the institutional definition of artistic value, cases of " non-recognition " and plagiarism, politics of genius, canonization and practices of social exclusion, theories of cultural capital, relationship between art and advertising, the role of social media in the production of artistic reputations and in relation to the "arts worlds".
The second part will concern art institutions. It will address the following topics: art and the public sphere, monuments in the urban space, art as memory technology, cultural consumption of the past and the role of the cinema in shaping the public memory of very contested pasts, sociology of museums and politics of museum exhibition, representation of ethnic identities in museums, museums as technology of gender, multimedia art.

1) Anna Lisa Tota e Antonietta De Feo (2019), La comunicazione artistica, Carocci, Roma (in publication).
2) Anna Lisa Tota, Lia Luchetti e Trever Hagen (2018) (eds.) Sociologie della memoria. Verso un’ecologia del passato, Carocci, Roma.

The course will mainly tackle the following topics: the origins of local diplomatic representation; Italian models; social careers and roles of ambassadors and apostolic nuncios; treaties on the diplomatic profession; critical investigation of diplomatic sources; duties and regulations of the diplomatic profession; the actual practices of diplomacy at work in modern-era historical contexts.

Exam texts
1) S. ANDRETTA, L’arte della prudenza. Teorie e prassi della diplomazia nell’Italia del XVI e XVII secolo, Biblink, Roma 2006.
2)G. ALONGE, Ambasciatori. Diplomazia e politica nella Venezia del Rinascimento, Donzelli, Roma 2019
oppure, E. PLEBANI, E.VALERI, P.VOLPINI, Diplomazie. Linguaggi, negoziati e ambasciatori far XV e XVI secolo, ( a cura di), Franco Angeli, Milano 2017

Non-attending students must study in addition to the texts indicated above:

1) R. SABBATINI, P. VOLPINI ( a cura di), Sulla diplomazia in età moderna. Politica, economia, religione, Franco Angeli, Milano 2011;


Or as an alternative choice of 4 essays taken from the books:

a) S. ANDRETTA, S. PÉQUIGNOT, J.-C.WAQUET ( a cura di), De l’ambassadeur. Les écrits relatifs à l’ambassadeur et à l’art de négocier du Moyen Âge au début du XIXe siècle (L’ambasciatore. Scritti relativi all’ambasciatore e all’arte della negoziazione dal Medioevo all’inizio del XIX secolo), EFR, Roma 2015.
b) S.ANDRETTA, S. PÉQUIGNOT, M.K.SCHAUB,J.-C.WAQUET, C. WINDLER ( a cura di), Paroles de négociateurs. L’entretien dans la pratique diplomatique de la fin du Moyen Ȃge à la fin du XIXe siècle (Parole di negoziatori. Pratiche dell’incontro diplomatico dalla fine del Medioevo alla fine del XIX secolo),EFR, Roma 2010

a) The contents of the course (as indicated in the three thematic groups in point c) will be made comprehensible for all students, both those attending and not attending, thanks to the continuous alternation between French and Italian;

b) The course will be carefully set out according to the number of credits assigned;

c) The course will address three topics: a first part dedicated to the history of the sixteenth century with a particular focus on the geographical discoveries, the religious wars inside and outside Christianity and French Renaissance; a second part will examine some of the authors of the Pléiade; in the third and final part we will discuss some poetic reading through a close analysis of the text.

C. Vivanti, Le guerre di religione nel Cinquecento, Laterza, 2007

F. Braudel, Espansione europea e capitalismo (1450-1650), Il Mulino, 1999

Du Bellay, Rimpianti, Dedalus, 2014

AAVV, Lodi del corpo femminile, SE, 2013

Du Bellay, Le antichità di Roma, Carocci, 2005

P. de Ronsard, Amori, Mondadori, 1990 [dispensa]

Du Bellay, Inno alla sordità, Dedalus, 2017 [dispensa]

J. de Sponde, Stanze e sonetti della morte, Einaudi, 1970 [dispensa]

Globalization and cultural diversity. Migrations and comparisons between cultures. The resistance of cultures. Each of us is culture. The work of living together.

Jean-Loup Amselle, Connessioni. Antropologia dell'universalità delle culture, trad. it. di Marco Aime, Torino, Bollati Borimghieri, 2001.
Shahram Khosravi, Io sono confine, trad. it. di Elena Cantoni, Milano, elèuthera, 2019.
Alessandro Leogrande, La frontiera, Milano, Feltrinelli, 2017 (edizione economica).
Luca Rastello, La frontiera addosso. Così si deportano i diritti umani, Roma-Bari, Laterza, 2010.

PROGRAM: A theoretical and historical analysis of concepts like “Intermediality”, ”Expanded Arts”, “Artmix”, “Dramaturgy of the Arts” from the ‘60s to today.
An analysis of the influence of “Intermediality” on Cinema, Communication and New Media histories.
There will be encounters with Italian and foreign artists and film-maker.

- M.M. Gazzano (a cura di) Edison Studio. Il "silent film" e l'elettronica in relazione intermediale, Exorma, Roma 2015;
- F. Zecca, Cinema e intermedialità. Modelli di traduzione, Forum, Udine 2013.

OPTIONALLY:
- V. Catricalà (ed.), Media Art. Towards a new Definition of Arts in the Ages of Technology, Gli Ori - Fondazione Mondo Digitale, Roma 2015;
- L. Leuzzi, S. Partridge, REWIND/Italia. Early Video Art in Italy / I primi anni della videoarte in Italia, John Libbey Publishing, New Barnet 2016 (Italian/English);
- M. M. Gazzano, Kinema. Il cinema sulle tracce del cinema. Dal film alle arti elettroniche, andata e ritorno (new edition), Exorma, Roma 2019.

Foreign Students can plan specific bibliographies with the Professor and the Tutors.
Foreign Students can plan specific bibliographies with the Professor and the Tutors.

The course focuses on the forms of Media Literacy in contemporary digital culture. The first part is theoretical and deals with the transformations of pedagogical forms and school learning interpreted in synergy with the new forms of spectatorship based on the logic of participatory cultures. The second part focuses on the forms of the crito-film and the video-essay. Read in continuity with the theoretical analyzes on the motif of the picture frame, the paratext and the screen, these critical-expressive practices reinterpret peculiar motifs and styles of the history of cinema and art, promoting an unprecedented educational and creative elaboration of comparison with contemporary images.

Henry Jenkins, Culture partecipative e competenze digitali. Media education per il XXI secolo, Guerini, Milano 2010.
A selection of texts edited by the teacher, available at the beginning of the course at the photocopy shop of via G. Rocco 11.

FILM AND VIDEOGRAPHY:
I bambini al cinema (1957) Francesco Maselli; Zorns Lemma (1970) Hollis Frampton; Live-taped Video Corridor (1970) Bruce Nauman; Present Continuous Past (1974) Dan Graham; Mein Fenster (La mia finestra, 1979) Zbigniew Rybczynski; Media (1980) Zbigniew Rybczynski; Tele-racconto (1991) Giacomo Verde; Evidence (1995) Godfrey Reggio; Blinkenlights (2001) Chaos Computer Club; Star Guitar (music video The Chemical Brothers, 2002) Michel Gondry; Arcade (2002) Chaos Computer Club; La pozzanghera (2006) Studio Azzurro; Be Kind Rewind (2007) Michel Gondry; Stereoscope (2008) Chaos Computer Club; Rembrandt’s J’accuse (2008) Peter Greenaway; Shirley: Visions of Reality (2013) Gustav Deutsch;
anthology of found footage film: Trade Tattoo (1937) Len Lye, Rainbow Dance (1936) Len Lye, Rose Hobart (1939) Joseph Cornell, Le film est déjà commencé? (1951) Maurice Lemaitre, A movie (1958) Bruce Conner, Very Nice, Very Nice (1961) Arthur Lipsett, La rabbia (1963) Pier Paolo Pasolini, La verifica incerta (1965) Gianfranco Baruchello, Alberto Grifi, Movie Drome (1965-1968) Stan Vanderbeek, The Cut-Ups (1966) William S. Burroughs, Antony Balch, Exploding Plastic Inevitable (1966) Andy Warhol, Le stelle di Mario Schifano (1967), L’inizio (Načalo, 1967) Artavazd Pelešian, Tom Tom the Piper’s Son (1969-1971) Ken Jacobs, La société du spectacle (1973) Guy Debord, Technology Transformation: Wonder Woman (1978) Dara Birnbaum, Mongoloid (music video Devo, 1978) Bruce Conner, Koyaanisqatsi (1983) Godfrey Reggio, A TV Dante. The Inferno (1985-1989) Peter Greeneway e Tom Phillips, Dal polo all’equatore (1986) Yervant Gianikian e Angela Ricci Lucchi, Art of Memory (1987) Woody Vasulka, Steps (1987) Zbigniew Rybczynski, Histoire(s) du cinéma. 1a Toutes les histoires (1988) Jean Luc Godard, Dab (1988-2016) John Oswald, Alchemie (1992) Jürgen Reble, Filmarilyn (1992) Paolo Gioli, Passage à l’acte (1993) Martin Arnold, 24 Hour Psycho (1993) Douglas Gordon, Telephones (1995) Christian Marclay, The Georgetown Loop (1996) Ken Jacobs, Yours (1997) Jeff Scher, Film Ist 1. Movement and time (1998) Gustav Deutsch, L’arrivée (1998) Peter Tscherkassky, Outer Space (1999) Peter Tscherkassky, Essere morti o essere vivi è la stessa cosa (2000) Gianluigi Toccafondo, The Pentagon Tv Commercials (2003) Cane CapoVolto, Fast Film (2003) Virgil Widrich, Celestial Subway Lines/ Salvaging Noise (2004) Ken Jacobs, Sync(Watch) (2005) Marco Brambilla, 24 seconds Psycho (2005) Chris Bors, Installazione Film Ist (1-12) (2006) Gustav Deutsch, Crumax Rins (2006, visual Plaid) Bob Jaroc, Blob. THI$ I$ NOTH&ND (2008), Domine Jesus (2008) Leonardo Carrano, Alessandro Pierattini, Pasolini Requiem (2009) Mario Verger, The Clock (2010) Christian Marclay, Delia Derbyshire, Loop Composer (2011) AK_Alias, Blue Matter, Change Your Mind (2011) AK_Alias, Distorted Times (2012) Gideon van der Stelt, Creation (2012) Marco Brambilla, Cinema rianimato n. 3 (2012) Daniele Puppi, Cirrus (music video Bonobo, 2013) Cyriak, The Emoshjining (2014) Donato Sansone, Sigla Mostra Internazionale del Cinema di Pesaro (2016) Virgilio Villoresi, Purge The Odd Couple (2017) Pogo, RedruM (2018) Pogo;
anthology of crito-film: Stile di Piero della Francesca (1954) Carlo Ludovico Ragghianti, Carpaccio (1947) Roberto Longhi e Umberto Barbaro, Il dramma di Cristo (1948) Luciano Emmer ed Enrico Gras, Pittori di provincia (1953) Lucio Fulci, Cinéastes de notre temps (1964-1972) e Cinéma, de notre temps (1989-2018);
anthology of and video-essay: Le combat avec l’ange (2004) Alain Bergala, The Doors of Perspection (2011) People Like Us (Vicki Bennett), Double Lives, Second Chances (2011) Cristina Álvarez López, Kubrick // One Point Perspective (2012) kogonada, Tarantino // From Below (2012) kogonada, Wes Anderson // From Above (2012) kogonada, The Career of Paul Thomas Anderson in Five Shots (2012) Kevin B. Lee, Rear Window Timelapse (2012) Jeff Desom, Zero De Doom (2012) Matthew Cheney, The Essay Film: Some Thoughts of Discontent (2013) Kevin B. Lee, Screen and Surface, Soft and Hard: the Cinema of Leos Carax (2013)Adrian Martin, Cristina Àlvarez López, [De Palma’s] Vision (2014) Adrian Martin, Cristina Àlvarez López, Wes Anderson // Centered (2014) kogonada, Peter Greenaway // Centered (2014) LaurentG, Evolution of the Dolly Zoom (2014) Vashi Nedomansky, Eyes of Hitchcock (2014) kogonada, Alphaville - A Crystal Maze (2014) Henrike Lindenberger, Cross-cut (2014) Drew Morton, Last Year At The Overlook (2015) Drew Morton, The Dutch Angle (2015) Jacob T. Swinney, First and Final Frames (2015) Jacob T.Swinney, The Definition of Film (2015) Richard Misek, Auteur in Space (2015) kogonada, Volumetric Cinema (2015) Kevin L. Ferguson, Manderley Motel (2015) Corey Creekmur, Blue Shining (2015) Richard Vezina, Joel & Ethan Coen - Shot | Reverse Shot (2016) Tony Zhou, Taylor Ramos, Amélie - Symmetry & Camera Movement (2016) Lessa Räbiger, Godard in Fragments (2016) kogonada, The Spielberg Touchscreen (2016) Ken Provencher, Graphic Spaces: Film Transitions in Steven Spielberg’s Filmmaking (2018) Andrea Minuz.
Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

In contemporary societies the arts affect the public discourse, becoming agency of meanings, laboratory for the civil society, space and place for shaping the public memory of controversial events, arena where gender identities, ethnicity and social classes are socially constructed.
The first part of the course will aim at studying artistic production and politics of cultural consumption. It will focus on the following topics: theories of the author's death, theories of reception, art as social practice, the institutional definition of artistic value, cases of " non-recognition " and plagiarism, politics of genius, canonization and practices of social exclusion, theories of cultural capital, relationship between art and advertising, the role of social media in the production of artistic reputations and in relation to the "arts worlds".
The second part will concern art institutions. It will address the following topics: art and the public sphere, monuments in the urban space, art as memory technology, cultural consumption of the past and the role of the cinema in shaping the public memory of very contested pasts, sociology of museums and politics of museum exhibition, representation of ethnic identities in museums, museums as technology of gender, multimedia art.

1) Anna Lisa Tota e Antonietta De Feo (2019), La comunicazione artistica, Carocci, Roma (in publication).
2) Anna Lisa Tota, Lia Luchetti e Trever Hagen (2018) (eds.) Sociologie della memoria. Verso un’ecologia del passato, Carocci, Roma.

The course aims to pay attention to the strategies of cinematographic staging, favoring the context of contemporary cinema without renouncing - however - to a close confrontation with the filmic practices that have marked the period of classical cinema and, above all, of modern cinema. The question of direction will be analyzed as an eminently "theoretical" issue, developing a reflection that intends to go beyond the question of filmic grammar.
Starting from the idea of ​​the cinematographic staging as a strategy for organizing the filmic space, the course will also focus on the contemporary practices that release the film from the movie theater by proposing forms of "relocation" that require a rethinking of the idea of ​​direction itself (in particular focusing attention on the relation movie theater-museum and on the work of the so-called "cinematographers-artists"). In this framework, the work of Abbas Kiarostami will provide relevant case studies that will allow a constant sliding of the theoretical questions raised in the practice of analyzing the films and installations by the Iranian filmmaker.

BIBLIOGRAPHY
- Elio Ugenti, "Abbas Kiarostami. Le forme dell'immagine", Bulzoni, Roma 2018
- Francesco Federici, "Cinema esposto. Arte contemporanea, museo, immagini in movimento", Forum, Udine 2017
- Lecture notes edited by the teacher

FILMOGRAPHY:
- Where is the Friend's Home? [Khane-ye dust kojast], 1987
- Homework [Mashq-e shab], 1989
- And Life Goes on [Va zendegi edame darad], 1992
- Taste of Cherry [Tam'e ghilas], 1997
- The Wind Will Carry Us [Bad ma-ra khahad bord], 1999
- ABC Africa, 2001
- Five, 2004
- Roads of Kiarostami, 2005
- Shirin, 2008
- Certified Copy [Copie conforme], 2010
- Like Someone in Love, 2012
- 24 Frames, 2016

The course is focussed on the digitization of audio-visual media, on multimedia convergence, on the multiplication of the distribution platfomrs, on the multimedia storytelling, with a special attention to entertainment as a meta-genre.

Books and essays:

A. Arvidsson, A. Delfanti, Introduzione ai media digitali, seconda edizione aggiornata, Bologna, Il Mulino, 2016. ;
E. Menduni, Entertainment, Bologna, Il Mulino, 2013.
F. Di Chio (a cura di), Mediamorfosi 2, Industrie e immaginari dell'audiovisivo digitale, Link idee per la televisione n. 22, Dicembre 2017 (selected essays - the whole "Immaginari" section - available at copy shop)

Employing the methodologies of contemporary visual studies, the course recomposes late-nineteenth and twentieth-century aesthetic theories and orientations with current reflections, focusing attention on the urban forms of artistic experimentation: from avant-garde cinema to the underground, from electronic and digital arts to the web, from the commercial to the music video, up to Vj'ing. The course wants to relate the changes of the urban habitat with those of the contemporary media landscape, investigating the hybridization territories between cinema, video, architecture and visual arts, considering the new perceptive and cognitive, aesthetic and technological forms that have emerged in the current audiovisual system.

G. Ravesi, La città delle immagini, Rubbettino, Soveria Mannelli 2011.
A selection of texts edited by the teacher, available at the beginning of the course at the photocopy shop of via G. Rocco 11.

FILMOGRAPHY
SINGLE-CHANNEL MOVIES AND VIDEOS
The Corridor (Norman McLaren, anni '50); Blinkity Blank (Norman McLaren, 1955); N.Y., N.Y. – A Day in New York (Francis Thompson, 1957); Bridges-Go-Round (Shirley Clarke, 1958); Broadway by Light (William Klein, 1958); New York Lightboard (Norman McLaren, 1961); Sulle scale mobili (Bruno Munari e Marcello Piccardo, 1964); Empire (Andy Warhol, 1964); Lights (Marie Menken, 1964-1966);Tre e basta (Luca Maria Patella, 1965); (Back and Forth, 1968) di Michael Snow (1968); Necrology (Roll Call Of The Dead) di Standish D. Lawder (1969); Serene Velocity (Ernie Gehr, 1970); Broadwalk (William Raban, 1971); Synchromy (Norman McLaren, 1971); Shift (Ernie Gehr, 1972-1974); Park Film (Chris Welsby, 1973); Eureka (Ernie Gehr,1974); Nuovo libro (Nowa ksiazka, Zbigniew Rybczynski, 1975); Analogies: Studies in the Movement of Time (Peter Rose, 1977); Mein Fenster (La mia finestra, Zbigniew Rybczynski, 1979); Media (Zbigniew Rybczynski, 1980); Tango (Zbigniew Rybczynski, 1980); Mistaken Memories of Mediaeval Manhattan (Brian Eno, 1981-1982); Koyaanisqatsi (Godfrey Reggio, 1983); Two Times in One Space (Ivan Ladislav Galeta, 1976-1984); Signal – Germany on the Air (Ernie Gehr, 1985); Steel Cathedrals (Yasuyuki Yamaguchi, David Sylvian, 1985); Le deuxième jour (Robert Cahen, 1988); Hong Kong Song (Robert Cahen, 1989); Appunti di viaggio su moda e città (Wim Wenders, 1989); Surveillance (Jem Cohen, 1995); X-Rays (Jem Cohen, 1995); Lost Book Found (Jem Cohen, 1996); Lucy et le fantôme de Marcushelmons (Valérie Pavia, 1996); Monocodes (Alexander Rutterford, 2000); Naqoyqatsi (Godfrey Reggio, 2002); Crossings (H.C. Gilje, 2002); Panorama_Roma (ZimmerFrei, 2004); Crossings (Marina Chernikova, 2004); Exchangeable Cities (Kentaro Taki, 2004); Site specific_Roma 04 (Olivo Barbieri, 2004); Site specific_Las Vegas 05 (Olivo Barbieri, 2005); Tournis (François Vogel, 2006); Reflect (spot Motorola, François Vogel, 2007); Fell It (spot ATP, Luis Nieto, 2007); Empire II (Amos Poe, 2007).

INSTALLATIONS, VIDEOINSTALLATIONS, INTERACTIVE ART
Intervento per lo Scalone, IX Triennale di Milano (Lucio Fontana, 1951); Italia 61 (Soffitto Padiglione, Torino, Lucio Fontana, 1961); Ambienti stroboscopici (Davide Boriani, 1965-1967); Live-taped Video Corridor (Bruce Nauman, 1970); Present Continuous Past (Dan Graham, 1974);
Video Piece for Showcase Windows In Shopping Arcade (Dan Graham, 1976);Video Piece for Two Glass Office Buildings (Dan Graham, 1976); Alteration to a Suburban House (Dan Graham, 1978);
Video Projection Outside Home (Dan Graham, 1978); Titled Arc (Federal Plaza, New York, Richard Serra, 1981);Vedute – quel tale non sta mai fermo (Studio Azzurro, 1985); The Legible City (Jeffrey Shaw, 1988-1991); The Stairs I – Geneva (Peter Greenaway, 1994); The Georgetown Loop (Ken Jacobs, 1996); Périphérie (Miguel Chevalier, 1998);On View (Antoni Muntadas, 1999); Megalopoli (Studio Azzurro, 2000); Naples (piazza Plebiscito, Napoli, Richard Serra, 2000); Exercising Nowheres (1), (2) e (3) (Hans op de Beeck, 2000); CECUT Projection (Omnimax Theater, Centro Cultural Tijuana, Mexico, Krzysztof Wodiczko, 2000); Macchina dell’arcobaleno (Alberto Biasi, 2000); Location (2) (Hans op de Beeck, 2001); WalkAround (Patrick Tuttofuoco , 2002); Metapolis (Miguel Chevalier, 2002); Y (Patrick Tuttofuoco, 2004); T-Mart (Hans op de Beeck, 2004); Location (5) (Hans op de Beeck, 2004); Celestial Subway Lines/ Salvaging Noise (Ken Jacobs, 2004); Revolving Landscape (Patrick Tuttofuoco, 2006); Sleepwalkers (Doug Aitken, 2007); Crossborders (Miguel Chevalier, 2007); Location (6) (Hans op de Beeck, 2008).

MUSIC VIDEO, VISUAL, VJ’ING
Se telefonando (spot Barilla, Piero Gherardi, 1966); Under pressure (music video Queen feat. David Bowie) di David Mallet e Andy Morahan (1982); Imagine (music video John Lennon) di Zbig Rybczynski (1987); La tour de Pisa (music video Jean François Cohen) di Michel Gondry (1992); Big Time Sensuality (music video Björk) di Stéphane Sednaoui (1992); Love is Strong (music video Rolling Stones) di David Fincher (1995); Children (music video Robert Miles) di Elizabeth Bailey (1996); Ray of Light (music video Madonna) di Jonas Âkerlund (1997); Non è mai stato subito (music video Biagio Antonacci) di Stefano Salvati (1998); Brown Paper Bag (music video Roni Size/Reprazent, 1998); The Child (music video dj Alex Gopher) di Antoine Bardou-Jacquet (1999); Strong Enough (music video Cher) di Nigel Dick (1999); Freestyler (music video Bomfunk MC’S, 2000); This strange effect (music video Hooverphonic, 2000); Analyse (music video Cranberries) di Keir McFarlane (2001); Star Guitar (music video The Chemical Brothers) di Michel Gondry (2002); Come Into My World (music video Kylie Minogue) di Michel Gondry (2002); Growing Up (music video Peter Gabriel) di François Vogel (2002); Sit Down. Stand Up (music video Radiohead) di Ed Holdsworth (2003); Woodsroads (Saul Saguatti , 2003-2004); Tension (visual Orbital) di Giles Thacker (2004); I Citizen The Loathsome (visual Plaid) di Bob Jaroc (2006); Colombo (music video Baustelle) di Stefano Poletti (2007); Presunti Accenni (music video IG) di Fabio Massimo Iaquone, Luca Attilii (2007); Se vuoi (music video IG) di Fabio Massimo Iaquone, Luca Attilii (2007); Transit City #2 RomAstratta (Saul Saguatti, 2008)

NET AND SOFTWARE ART
Blinkenlights (2001) Chaos Computer Club; Arcade (2002) Chaos Computer Club; Avatar's Portraits (2006) Eva e Franco Mattes; Stereoscope (2008) Chaos Computer Club.
Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139 together with a lecture note with the audiovisual materials of the lessons (for internal use only).

The course is divided into two parts.
The first part describes the main developments in the social, political, cultural, economic and technological environment, with particular attention to the urban dimension and territories, placing the performing arts in the perimeter of the tangible and intangible cultural resources, in order to provide, using multiple reading keys, a critical knowledge of the scenarios and fields of action and interaction.
In the second part, starting from the cultural planning approaches and from measurement legacy (outcomes, impacts), are investigated the various design platforms and opportunities with which the theatrical and performing arts organization can contribute to urban revitalization, regeneration spaces, social innovation and collaborative practices.
The course will use case studies, including international, with particular regard to ECoC (European Capital of Culture), the Italian Capital of Culture, the UNESCO creative cities.

For attending students:
Lucio Argano "Manuale di progettazione della cultura. Filosofia progettuale, design e project management in campo culturale e artistico" FrancoAngeli, Milan, 2012 (chapters 2, 4, 5, 6)
Carlini C., Gallina M., Ponte di Pino O. (esd), "Reinventare i luoghi della cultura contemporanea. Nuovi spazi, nuove creatività, nuove professioni, nuovi pubblici", FrancoAngeli, Milan, 2017

For non-attending students
Lucio Argano "Manuale di progettazione della cultura. Filosofia progettuale, design e project management in campo culturale e artistico" FrancoAngeli, Milan, 2012 (chapters 2, 4, 5, 6)
Carlini C., Gallina M., Ponte di Pino O. (esd), "Reinventare i luoghi della cultura contemporanea. Nuovi spazi, nuove creatività, nuove professioni, nuovi pubblici", FrancoAngeli, Milan, 2017
Hangar "La quasi impresa. Manuale d’uso per operatori culturali", Sole 24 Ore, Milan, 2018

A CONSUMING SEARCH
The being unfolds in heartbeats and light, through the voice of a Me around a bright You, getting
oriented in the void, changing direction, constantly and stubbornly exploring its unique life form,
experiencing its infinite possibilities through leaps and wounds, navigating earthly things,
dancing in its own body, a shadow and a flower. In the constant mutation of life, everything
aspires to a shape as a work of life. Transcending its fleeting obviousness, each body manifests in
the uniqueness of its own figure. Collected in drawings and secret aspirations, intimacy strives to
unfold, but it cannot steer towards complete visibility. Through a research freed from any
conditionings and deceptive expectations, the workshop aims to awaken self-passion as a
creative force for every possible path.

Definition of communication. In-depth study and research on the psychological processes (cognitive, affective, relational) of communication in all of its modalities: verbal and body (words and sentences, prosody and intonation, gestures, facial expression, gaze, touch, posture, proxemics, music), and technological media. Analysis and detection of sincere and deceptive, cooperative and aggressive communication, and its uses in interpersonal interaction, at work, in education, politics, entertainment.

The items to be studied for the oral exam are the following:


A. Lotto L. e Rumiati R. (a cura di). Introduzione alla psicologia della comunicazione. Il Mulino, Bologna 2019 (nuova edizione): except for chapters 3, 4, 5, 10, 11.
B. Poggi I.: Le parole del corpo. Introduzione alla comunicazione multimodale. Carocci, Roma 2006.
C. Castelfranchi C. e Poggi I.: Bugie, finzioni, sotterfugi, per una scienza dell’inganno, Carocci, Roma 2012.
D. One text or set of texts, chosen among the following 8 items:

1. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
2. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
3. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
4. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
5. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
6. Both of the following texts:
a. Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
b. Riva G.: I social network. Bologna, Il Mulino

7. Both of the following texts:
a. Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
b. Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

8. 4 papers about multimodal communication, chosen among the following, to be downloaded from:
http://www.comunicazione.uniroma3.it/it/page/25/_/___22

Vincze L., Poggi I. (2013) Multimodal markers of One's Own and the Other's Vagueness. AI*HCI 2013, Workshop of the XIII AI*IA Conference, December 4th

Poggi I., D'Errico F. (2013) Towards the Parody Machine. Qualitative analysis and cognitive processes in the parody of a politician. In A. Petrosino,

D'Errico F and Poggi I., Vincze L. (2013) Discrediting body. A multimodal strategy to spoil the other's image. In Poggi I., D'Errico F. (et al.; eds)

D'Errico, F., Vincze L. Poggi, I. (2013). Vagueness in Political Discourse. In S. Villalta & Cabrio (eds) Proceedings of 2nd International Workshop on

Poggi I, D'Errico F., Vincze L. (2013) Comments in words, face and body. Journal of multimodal users interface. Vol. 7, Issue 1 (2013), Page 67-78; DO

D'Errico, F., Vincze L. Poggi, I. (2013). Face and head comments. Taking the floor without words. In Mello, H., Pettorino, M., and Raso, T., editors,

Signorello, R., D'Errico, F., Poggi, I., Demolin, D., and Mairano, P. (2013). Charisma perception in political speech: a case study. In Mello, H., Pet

D'Errico F., Signorello R., Poggi I..(2013) The perception of charisma from voice. A cross-cultural study. Proceedings of Aci Conference, IEEE, pp. 55-

D’Errico F. and Poggi I.: “The Bitter Laughter”. When Parody Is a Moral and Affective Priming in Political Persuasion. Frontiers in Psychology, 09 August 2016 | https://doi.org/10.3389/fpsyg.2016.01144 (download from Frontiers)

The course aims to problematize the teaching of cinema and audiovisual disciplines in the broader context of media education, both from a theoretical and methodological point of view and from a pragmatic point of view.
Starting from the redefinition of teaching strategies resulting from the increasingly frequent use of digital technologies in education, the first part of the course will focus on the presence and function of media in pedagogical practices, both as an object of study (media education and cinematographic language) as a support for teaching in many different disciplines (education through the media), paying specific attention to audiovisual media.
In the second part of the course, media education will be put in dialogue with the most recent theories developed in the field of visual culture studies, to assess the effectiveness of some teaching strategies in the area of image education.

- Pier Cesare Rivoltella, Media Education. Idea, metodo, ricerca, ELS La Scuola, Brescia 2017
- Lecture notes edited by the teacher

The course will tackle some of the experiences that changed the relationship between acting and stage (including the film) during the last century.
Special atention will be dedicated to Appia, Piscator and the actors in silent movies in German and in Russian-Soviet cultures.

A. Appia, Attore, musica e scena, ed. italiana a c. di F. Marotti, Cue Press;
B. Balasz, L'uomo visibile, Lindau;
S. M. Ejzenstejn, Lezioni di regia, Einaudi.
(Students coming from abroad can read these texts in English, German, French or Russian versions).

Filmography (the films are available in the Dept. Library):
R. Wiene, Il gabinetto del dottor Caligari;
F. Lang, Metropolis;
L. Kuleshov, Secondo la legge (Dura Lex);
S.M. Ejzenstejn, Que viva Mexico!

Butō and the legacy of european culture, theatrical anthropology and the identification of the actor's / dancer's art principles in different cultures, action and expression in german early-twentieth century dance.
The course includes, for attending students, an exercise of bibliographical recognition and biographical writing.

- Eugenio Barba, Nicola Savarese, L’arte segreta dell’attore, edizioni di pagina, Bari 2011
- Eugenia Casini Ropa, La danza e l'agitprop. I teatri non-teatrali nella cultura tedesca del
primo Novecento, Imola, Cue Press, 2015
- Butoh-fu. Dance and words, Dossier edited by Samantha Marenzi, in “Teatro e Storia”, 37/2016 (http://www.teatroestoria.it/indici.php?id_volume=102). If it is impossible to read in english: Matteo Casari, Elena Cervellati, (edited by), Butō. Prospettive europee e sguardi dal Giappone, Bologna, Dipartimento delle Arti e ALMADL, 2015, only chapters IV, V, VI, VII, IX, XI (http://amsacta.unibo.it/4352/)







Non-attending students will add corpi del Butō. Fotografie di danza tra Oriente e Occidente, a cura di Samantha Marenzi, Postcart, Roma 2018. (The volume will be available for online purchase starting from May 2020). In case of difficulty in finding write to the teacher from that date)

The course aims to problematize the teaching of cinema and audiovisual disciplines in the broader context of media education, both from a theoretical and methodological point of view and from a pragmatic point of view.
Starting from the redefinition of teaching strategies resulting from the increasingly frequent use of digital technologies in education, the first part of the course will focus on the presence and function of media in pedagogical practices, both as an object of study (media education and cinematographic language) as a support for teaching in many different disciplines (education through the media), paying specific attention to audiovisual media.
In the second part of the course, media education will be put in dialogue with the most recent theories developed in the field of visual culture studies, to assess the effectiveness of some teaching strategies in the area of image education.

- Pier Cesare Rivoltella, Media Education. Idea, metodo, ricerca, ELS La Scuola, Brescia 2017
- Lecture notes edited by the teacher

Re-Animation: contemporary animation as new dominant logic of moving images.

Paying particular attention to the conjunction between theories and practices, the course will focus on styles of the new animation products looking firstly at the dialectic between innovation and tradition, but also between aesthetic and narrative forms coming from different cultural paradigms. Without forgetting the way in which animation software is also used in live action cinema, the course will highlight how the concept of "re-animation" should also be understood as revitalization and problematization, carried out by animation itself, of historical, political and cultural issues involving new moving images.

C. Uva, P. Wells (a cura di), Re-Animation.L’animazione contemporanea tra cinema, televisione, videoarte e nuovi media, «Imago. Studi di cinema e media», n. 16, 2017.

C. Uva, Il sistema Pixar, Il Mulino, Bologna 2017.

Handout.

Definition of communication. In-depth study and research on the psychological processes (cognitive, affective, relational) of communication in all of its modalities: verbal and body (words and sentences, prosody and intonation, gestures, facial expression, gaze, touch, posture, proxemics, music), and technological media. Analysis and detection of sincere and deceptive, cooperative and aggressive communication, and its uses in interpersonal interaction, at work, in education, politics, entertainment.

The items to be studied for the oral exam are the following:


A. Lotto L. e Rumiati R. (a cura di). Introduzione alla psicologia della comunicazione. Il Mulino, Bologna 2019 (nuova edizione): except for chapters 3, 4, 5, 10, 11.
B. Poggi I.: Le parole del corpo. Introduzione alla comunicazione multimodale. Carocci, Roma 2006.
C. Castelfranchi C. e Poggi I.: Bugie, finzioni, sotterfugi, per una scienza dell’inganno, Carocci, Roma 2012.
D. One text or set of texts, chosen among the following 8 items:

1. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
2. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
3. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
4. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
5. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
6. Both of the following texts:
a. Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
b. Riva G.: I social network. Bologna, Il Mulino

7. Both of the following texts:
a. Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
b. Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

8. 4 papers about multimodal communication, chosen among the following, to be downloaded from:
http://www.comunicazione.uniroma3.it/it/page/25/_/___22

Vincze L., Poggi I. (2013) Multimodal markers of One's Own and the Other's Vagueness. AI*HCI 2013, Workshop of the XIII AI*IA Conference, December 4th

Poggi I., D'Errico F. (2013) Towards the Parody Machine. Qualitative analysis and cognitive processes in the parody of a politician. In A. Petrosino,

D'Errico F and Poggi I., Vincze L. (2013) Discrediting body. A multimodal strategy to spoil the other's image. In Poggi I., D'Errico F. (et al.; eds)

D'Errico, F., Vincze L. Poggi, I. (2013). Vagueness in Political Discourse. In S. Villalta & Cabrio (eds) Proceedings of 2nd International Workshop on

Poggi I, D'Errico F., Vincze L. (2013) Comments in words, face and body. Journal of multimodal users interface. Vol. 7, Issue 1 (2013), Page 67-78; DO

D'Errico, F., Vincze L. Poggi, I. (2013). Face and head comments. Taking the floor without words. In Mello, H., Pettorino, M., and Raso, T., editors,

Signorello, R., D'Errico, F., Poggi, I., Demolin, D., and Mairano, P. (2013). Charisma perception in political speech: a case study. In Mello, H., Pet

D'Errico F., Signorello R., Poggi I..(2013) The perception of charisma from voice. A cross-cultural study. Proceedings of Aci Conference, IEEE, pp. 55-

D’Errico F. and Poggi I.: “The Bitter Laughter”. When Parody Is a Moral and Affective Priming in Political Persuasion. Frontiers in Psychology, 09 August 2016 | https://doi.org/10.3389/fpsyg.2016.01144 (download from Frontiers)

The course will tackle some of the experiences that changed the relationship between acting and stage (including the film) during the last century.
Special atention will be dedicated to Appia, Piscator and the actors in silent movies in German and in Russian-Soviet cultures.

A. Appia, Attore, musica e scena, ed. italiana a c. di F. Marotti, Cue Press;
B. Balasz, L'uomo visibile, Lindau;
S. M. Ejzenstejn, Lezioni di regia, Einaudi.
(Students coming from abroad can read these texts in English, German, French or Russian versions).

Filmography (the films are available in the Dept. Library):
R. Wiene, Il gabinetto del dottor Caligari;
F. Lang, Metropolis;
L. Kuleshov, Secondo la legge (Dura Lex);
S.M. Ejzenstejn, Que viva Mexico!

The course aims to analyze the relationships between visual arts, sound and music from the second post-war period to the Sixties of the XX century. Starting from the deepening of the relationship between painting and music in the field of artistic research of abstract expressionism and the poetics of informal matter and signs, the attention will focus on the silence of John Cage in relation to the monochrome, to the dematerialization of the work and the “theatricality” of minimalism. With a transversal path, taking into account continuity and discontinuity between the historical avant-gardes and the neo-avant-garde season, the analysis will touch on behavioral-performative practices which, in various ways, have focused their poetics on the voice and on the corporal sounds, also in relation to the use of new technologies.

1) Texts of a general character for the study of Postwar Art:
- F. Poli, Informale ed espressionismo astratto, in F. Poli (a cura di), Arte moderna. Dal Postimpressionismo all’Informale, Electa, Milano 2007, pp. 262-283)[PDF download area on the professor's website]

- F. Poli (a cura di), Arte contemporanea. Le ricerche internazionali dalla fine degli anni ’50 a oggi, Electa, Milano 2003, pp. 12-221

2) In-depth readings:
- Art or sound, catalogo della mostra (Venezia, Fondazione Prada Ca’ Corner della Regina, 7 giugno – 8 novembre 2014), a cura di G. Celant, Fondazione Prada, Milano 2014 [in particolare i saggi: G. Celant, Dal plurilinguismo al multisensoriale; C. Cox, Vedere non è sentire. Sinestesia, anestesia e arte audiovisiva; L. Chessa, Un’orchestra metafisica. Una ricerca sulla ricostruzione degli intonarumori; R. Young, Così brutalmente forzata. La svolta del dopoguerra dalla musica al suono; E. de Visscher, Il silenzio come scultura musicale. John Cage e gli strumenti di 4’33’’; G. Dayal, Musica sperimentale e performance. David Tudor, John Cage e Merce Cunningham; Jo Applin, Rumore ottico. Il suono della scultura negli anni ’60; A. Licht, Il rumore della superficie. Rendere l’arte udibile nel XX Secolo; S. Menegoi, Sound Art? Arti visive e suono al passaggio fra anni ’70 e ’80; H. Rogers, Sinestesia distorta. Il video musicale e le arti visive ]

- P. Bolpagni, Musica visiva / Colori immateriali. Tentazioni sinestetiche e prospettive intermediali negli anni Sessanta e Settanta, in “Medea”, a. I, n. 1, 2015
http://ojs.unica.it/index.php/medea/article/view/1818/1531

- P. Fameli, Il corpo risonante. Vocalità e gestualità nel Novecento, Campanotto Editore, Pasian di Prato (UD) 2013

Not attending
They will integrate with
- P. Bolpagni, F. Tedeschi (a cura di), Rapporti tra musica e arti visive nel Novecento, Vita e Pensiero, Milano 2009
or with another text agreed with the professor.

Globalization and cultural diversity. Migrations and comparisons between cultures. The resistance of cultures. Each of us is culture. The work of living together.

Jean-Loup Amselle, Connessioni. Antropologia dell'universalità delle culture, trad. it. di Marco Aime, Torino, Bollati Borimghieri, 2001.
Shahram Khosravi, Io sono confine, trad. it. di Elena Cantoni, Milano, elèuthera, 2019.
Alessandro Leogrande, La frontiera, Milano, Feltrinelli, 2017 (edizione economica).
Luca Rastello, La frontiera addosso. Così si deportano i diritti umani, Roma-Bari, Laterza, 2010.

The course aims to pay attention to the strategies of cinematographic staging, favoring the context of contemporary cinema without renouncing - however - to a close confrontation with the filmic practices that have marked the period of classical cinema and, above all, of modern cinema. The question of direction will be analyzed as an eminently "theoretical" issue, developing a reflection that intends to go beyond the question of filmic grammar.
Starting from the idea of ​​the cinematographic staging as a strategy for organizing the filmic space, the course will also focus on the contemporary practices that release the film from the movie theater by proposing forms of "relocation" that require a rethinking of the idea of ​​direction itself (in particular focusing attention on the relation movie theater-museum and on the work of the so-called "cinematographers-artists"). In this framework, the work of Abbas Kiarostami will provide relevant case studies that will allow a constant sliding of the theoretical questions raised in the practice of analyzing the films and installations by the Iranian filmmaker.

BIBLIOGRAPHY
- Elio Ugenti, "Abbas Kiarostami. Le forme dell'immagine", Bulzoni, Roma 2018
- Francesco Federici, "Cinema esposto. Arte contemporanea, museo, immagini in movimento", Forum, Udine 2017
- Lecture notes edited by the teacher

FILMOGRAPHY:
- Where is the Friend's Home? [Khane-ye dust kojast], 1987
- Homework [Mashq-e shab], 1989
- And Life Goes on [Va zendegi edame darad], 1992
- Taste of Cherry [Tam'e ghilas], 1997
- The Wind Will Carry Us [Bad ma-ra khahad bord], 1999
- ABC Africa, 2001
- Five, 2004
- Roads of Kiarostami, 2005
- Shirin, 2008
- Certified Copy [Copie conforme], 2010
- Like Someone in Love, 2012
- 24 Frames, 2016

Employing the methodologies of contemporary visual studies, the course recomposes late-nineteenth and twentieth-century aesthetic theories and orientations with current reflections, focusing attention on the urban forms of artistic experimentation: from avant-garde cinema to the underground, from electronic and digital arts to the web, from the commercial to the music video, up to Vj'ing. The course wants to relate the changes of the urban habitat with those of the contemporary media landscape, investigating the hybridization territories between cinema, video, architecture and visual arts, considering the new perceptive and cognitive, aesthetic and technological forms that have emerged in the current audiovisual system.

G. Ravesi, La città delle immagini, Rubbettino, Soveria Mannelli 2011.
A selection of texts edited by the teacher, available at the beginning of the course at the photocopy shop of via G. Rocco 11.

FILMOGRAPHY
SINGLE-CHANNEL MOVIES AND VIDEOS
The Corridor (Norman McLaren, anni '50); Blinkity Blank (Norman McLaren, 1955); N.Y., N.Y. – A Day in New York (Francis Thompson, 1957); Bridges-Go-Round (Shirley Clarke, 1958); Broadway by Light (William Klein, 1958); New York Lightboard (Norman McLaren, 1961); Sulle scale mobili (Bruno Munari e Marcello Piccardo, 1964); Empire (Andy Warhol, 1964); Lights (Marie Menken, 1964-1966);Tre e basta (Luca Maria Patella, 1965); (Back and Forth, 1968) di Michael Snow (1968); Necrology (Roll Call Of The Dead) di Standish D. Lawder (1969); Serene Velocity (Ernie Gehr, 1970); Broadwalk (William Raban, 1971); Synchromy (Norman McLaren, 1971); Shift (Ernie Gehr, 1972-1974); Park Film (Chris Welsby, 1973); Eureka (Ernie Gehr,1974); Nuovo libro (Nowa ksiazka, Zbigniew Rybczynski, 1975); Analogies: Studies in the Movement of Time (Peter Rose, 1977); Mein Fenster (La mia finestra, Zbigniew Rybczynski, 1979); Media (Zbigniew Rybczynski, 1980); Tango (Zbigniew Rybczynski, 1980); Mistaken Memories of Mediaeval Manhattan (Brian Eno, 1981-1982); Koyaanisqatsi (Godfrey Reggio, 1983); Two Times in One Space (Ivan Ladislav Galeta, 1976-1984); Signal – Germany on the Air (Ernie Gehr, 1985); Steel Cathedrals (Yasuyuki Yamaguchi, David Sylvian, 1985); Le deuxième jour (Robert Cahen, 1988); Hong Kong Song (Robert Cahen, 1989); Appunti di viaggio su moda e città (Wim Wenders, 1989); Surveillance (Jem Cohen, 1995); X-Rays (Jem Cohen, 1995); Lost Book Found (Jem Cohen, 1996); Lucy et le fantôme de Marcushelmons (Valérie Pavia, 1996); Monocodes (Alexander Rutterford, 2000); Naqoyqatsi (Godfrey Reggio, 2002); Crossings (H.C. Gilje, 2002); Panorama_Roma (ZimmerFrei, 2004); Crossings (Marina Chernikova, 2004); Exchangeable Cities (Kentaro Taki, 2004); Site specific_Roma 04 (Olivo Barbieri, 2004); Site specific_Las Vegas 05 (Olivo Barbieri, 2005); Tournis (François Vogel, 2006); Reflect (spot Motorola, François Vogel, 2007); Fell It (spot ATP, Luis Nieto, 2007); Empire II (Amos Poe, 2007).

INSTALLATIONS, VIDEOINSTALLATIONS, INTERACTIVE ART
Intervento per lo Scalone, IX Triennale di Milano (Lucio Fontana, 1951); Italia 61 (Soffitto Padiglione, Torino, Lucio Fontana, 1961); Ambienti stroboscopici (Davide Boriani, 1965-1967); Live-taped Video Corridor (Bruce Nauman, 1970); Present Continuous Past (Dan Graham, 1974);
Video Piece for Showcase Windows In Shopping Arcade (Dan Graham, 1976);Video Piece for Two Glass Office Buildings (Dan Graham, 1976); Alteration to a Suburban House (Dan Graham, 1978);
Video Projection Outside Home (Dan Graham, 1978); Titled Arc (Federal Plaza, New York, Richard Serra, 1981);Vedute – quel tale non sta mai fermo (Studio Azzurro, 1985); The Legible City (Jeffrey Shaw, 1988-1991); The Stairs I – Geneva (Peter Greenaway, 1994); The Georgetown Loop (Ken Jacobs, 1996); Périphérie (Miguel Chevalier, 1998);On View (Antoni Muntadas, 1999); Megalopoli (Studio Azzurro, 2000); Naples (piazza Plebiscito, Napoli, Richard Serra, 2000); Exercising Nowheres (1), (2) e (3) (Hans op de Beeck, 2000); CECUT Projection (Omnimax Theater, Centro Cultural Tijuana, Mexico, Krzysztof Wodiczko, 2000); Macchina dell’arcobaleno (Alberto Biasi, 2000); Location (2) (Hans op de Beeck, 2001); WalkAround (Patrick Tuttofuoco , 2002); Metapolis (Miguel Chevalier, 2002); Y (Patrick Tuttofuoco, 2004); T-Mart (Hans op de Beeck, 2004); Location (5) (Hans op de Beeck, 2004); Celestial Subway Lines/ Salvaging Noise (Ken Jacobs, 2004); Revolving Landscape (Patrick Tuttofuoco, 2006); Sleepwalkers (Doug Aitken, 2007); Crossborders (Miguel Chevalier, 2007); Location (6) (Hans op de Beeck, 2008).

MUSIC VIDEO, VISUAL, VJ’ING
Se telefonando (spot Barilla, Piero Gherardi, 1966); Under pressure (music video Queen feat. David Bowie) di David Mallet e Andy Morahan (1982); Imagine (music video John Lennon) di Zbig Rybczynski (1987); La tour de Pisa (music video Jean François Cohen) di Michel Gondry (1992); Big Time Sensuality (music video Björk) di Stéphane Sednaoui (1992); Love is Strong (music video Rolling Stones) di David Fincher (1995); Children (music video Robert Miles) di Elizabeth Bailey (1996); Ray of Light (music video Madonna) di Jonas Âkerlund (1997); Non è mai stato subito (music video Biagio Antonacci) di Stefano Salvati (1998); Brown Paper Bag (music video Roni Size/Reprazent, 1998); The Child (music video dj Alex Gopher) di Antoine Bardou-Jacquet (1999); Strong Enough (music video Cher) di Nigel Dick (1999); Freestyler (music video Bomfunk MC’S, 2000); This strange effect (music video Hooverphonic, 2000); Analyse (music video Cranberries) di Keir McFarlane (2001); Star Guitar (music video The Chemical Brothers) di Michel Gondry (2002); Come Into My World (music video Kylie Minogue) di Michel Gondry (2002); Growing Up (music video Peter Gabriel) di François Vogel (2002); Sit Down. Stand Up (music video Radiohead) di Ed Holdsworth (2003); Woodsroads (Saul Saguatti , 2003-2004); Tension (visual Orbital) di Giles Thacker (2004); I Citizen The Loathsome (visual Plaid) di Bob Jaroc (2006); Colombo (music video Baustelle) di Stefano Poletti (2007); Presunti Accenni (music video IG) di Fabio Massimo Iaquone, Luca Attilii (2007); Se vuoi (music video IG) di Fabio Massimo Iaquone, Luca Attilii (2007); Transit City #2 RomAstratta (Saul Saguatti, 2008)

NET AND SOFTWARE ART
Blinkenlights (2001) Chaos Computer Club; Arcade (2002) Chaos Computer Club; Avatar's Portraits (2006) Eva e Franco Mattes; Stereoscope (2008) Chaos Computer Club.
Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139 together with a lecture note with the audiovisual materials of the lessons (for internal use only).

The course is focussed on the digitization of audio-visual media, on multimedia convergence, on the multiplication of the distribution platfomrs, on the multimedia storytelling, with a special attention to entertainment as a meta-genre.

Books and essays:

A. Arvidsson, A. Delfanti, Introduzione ai media digitali, seconda edizione aggiornata, Bologna, Il Mulino, 2016. ;
E. Menduni, Entertainment, Bologna, Il Mulino, 2013.
F. Di Chio (a cura di), Mediamorfosi 2, Industrie e immaginari dell'audiovisivo digitale, Link idee per la televisione n. 22, Dicembre 2017 (selected essays - the whole "Immaginari" section - available at copy shop)

A theoretical and historical analysis of concepts like “Intermediality”, ”Expanded Arts”, “Artmix”, “Dramaturgy of the Arts” from the ‘60s to today.
An analysis of the influence of “Intermediality” on Cinema, Communication and New Media histories.
There will be encounters with Italian and foreign artists and film-maker.

- M.M. Gazzano (a cura di) Edison Studio. Il "silent film" e l'elettronica in relazione intermediale, Exorma, Roma 2015;
- F. Zecca, Cinema e intermedialità. Modelli di traduzione, Forum, Udine 2013.

OPTIONALLY:
- V. Catricalà (ed.), Media Art. Towards a new Definition of Arts in the Ages of Technology, Gli Ori - Fondazione Mondo Digitale, Roma 2015;
- L. Leuzzi, S. Partridge, REWIND/Italia. Early Video Art in Italy / I primi anni della videoarte in Italia, John Libbey Publishing, New Barnet 2016 (Italian/English);
- M. M. Gazzano, Kinema. Il cinema sulle tracce del cinema. Dal film alle arti elettroniche, andata e ritorno (new edition), Exorma, Roma 2019.

Foreign Students can plan specific bibliographies with the Professor and the Tutors.

The course focuses on the forms of Media Literacy in contemporary digital culture. The first part is theoretical and deals with the transformations of pedagogical forms and school learning interpreted in synergy with the new forms of spectatorship based on the logic of participatory cultures. The second part focuses on the forms of the crito-film and the video-essay. Read in continuity with the theoretical analyzes on the motif of the picture frame, the paratext and the screen, these critical-expressive practices reinterpret peculiar motifs and styles of the history of cinema and art, promoting an unprecedented educational and creative elaboration of comparison with contemporary images.

Henry Jenkins, Culture partecipative e competenze digitali. Media education per il XXI secolo, Guerini, Milano 2010.
A selection of texts edited by the teacher, available at the beginning of the course at the photocopy shop of via G. Rocco 11.

FILM AND VIDEOGRAPHY:
I bambini al cinema (1957) Francesco Maselli; Zorns Lemma (1970) Hollis Frampton; Live-taped Video Corridor (1970) Bruce Nauman; Present Continuous Past (1974) Dan Graham; Mein Fenster (La mia finestra, 1979) Zbigniew Rybczynski; Media (1980) Zbigniew Rybczynski; Tele-racconto (1991) Giacomo Verde; Evidence (1995) Godfrey Reggio; Blinkenlights (2001) Chaos Computer Club; Star Guitar (music video The Chemical Brothers, 2002) Michel Gondry; Arcade (2002) Chaos Computer Club; La pozzanghera (2006) Studio Azzurro; Be Kind Rewind (2007) Michel Gondry; Stereoscope (2008) Chaos Computer Club; Rembrandt’s J’accuse (2008) Peter Greenaway; Shirley: Visions of Reality (2013) Gustav Deutsch;
anthology of found footage film: Trade Tattoo (1937) Len Lye, Rainbow Dance (1936) Len Lye, Rose Hobart (1939) Joseph Cornell, Le film est déjà commencé? (1951) Maurice Lemaitre, A movie (1958) Bruce Conner, Very Nice, Very Nice (1961) Arthur Lipsett, La rabbia (1963) Pier Paolo Pasolini, La verifica incerta (1965) Gianfranco Baruchello, Alberto Grifi, Movie Drome (1965-1968) Stan Vanderbeek, The Cut-Ups (1966) William S. Burroughs, Antony Balch, Exploding Plastic Inevitable (1966) Andy Warhol, Le stelle di Mario Schifano (1967), L’inizio (Načalo, 1967) Artavazd Pelešian, Tom Tom the Piper’s Son (1969-1971) Ken Jacobs, La société du spectacle (1973) Guy Debord, Technology Transformation: Wonder Woman (1978) Dara Birnbaum, Mongoloid (music video Devo, 1978) Bruce Conner, Koyaanisqatsi (1983) Godfrey Reggio, A TV Dante. The Inferno (1985-1989) Peter Greeneway e Tom Phillips, Dal polo all’equatore (1986) Yervant Gianikian e Angela Ricci Lucchi, Art of Memory (1987) Woody Vasulka, Steps (1987) Zbigniew Rybczynski, Histoire(s) du cinéma. 1a Toutes les histoires (1988) Jean Luc Godard, Dab (1988-2016) John Oswald, Alchemie (1992) Jürgen Reble, Filmarilyn (1992) Paolo Gioli, Passage à l’acte (1993) Martin Arnold, 24 Hour Psycho (1993) Douglas Gordon, Telephones (1995) Christian Marclay, The Georgetown Loop (1996) Ken Jacobs, Yours (1997) Jeff Scher, Film Ist 1. Movement and time (1998) Gustav Deutsch, L’arrivée (1998) Peter Tscherkassky, Outer Space (1999) Peter Tscherkassky, Essere morti o essere vivi è la stessa cosa (2000) Gianluigi Toccafondo, The Pentagon Tv Commercials (2003) Cane CapoVolto, Fast Film (2003) Virgil Widrich, Celestial Subway Lines/ Salvaging Noise (2004) Ken Jacobs, Sync(Watch) (2005) Marco Brambilla, 24 seconds Psycho (2005) Chris Bors, Installazione Film Ist (1-12) (2006) Gustav Deutsch, Crumax Rins (2006, visual Plaid) Bob Jaroc, Blob. THI$ I$ NOTH&ND (2008), Domine Jesus (2008) Leonardo Carrano, Alessandro Pierattini, Pasolini Requiem (2009) Mario Verger, The Clock (2010) Christian Marclay, Delia Derbyshire, Loop Composer (2011) AK_Alias, Blue Matter, Change Your Mind (2011) AK_Alias, Distorted Times (2012) Gideon van der Stelt, Creation (2012) Marco Brambilla, Cinema rianimato n. 3 (2012) Daniele Puppi, Cirrus (music video Bonobo, 2013) Cyriak, The Emoshjining (2014) Donato Sansone, Sigla Mostra Internazionale del Cinema di Pesaro (2016) Virgilio Villoresi, Purge The Odd Couple (2017) Pogo, RedruM (2018) Pogo;
anthology of crito-film: Stile di Piero della Francesca (1954) Carlo Ludovico Ragghianti, Carpaccio (1947) Roberto Longhi e Umberto Barbaro, Il dramma di Cristo (1948) Luciano Emmer ed Enrico Gras, Pittori di provincia (1953) Lucio Fulci, Cinéastes de notre temps (1964-1972) e Cinéma, de notre temps (1989-2018);
anthology of and video-essay: Le combat avec l’ange (2004) Alain Bergala, The Doors of Perspection (2011) People Like Us (Vicki Bennett), Double Lives, Second Chances (2011) Cristina Álvarez López, Kubrick // One Point Perspective (2012) kogonada, Tarantino // From Below (2012) kogonada, Wes Anderson // From Above (2012) kogonada, The Career of Paul Thomas Anderson in Five Shots (2012) Kevin B. Lee, Rear Window Timelapse (2012) Jeff Desom, Zero De Doom (2012) Matthew Cheney, The Essay Film: Some Thoughts of Discontent (2013) Kevin B. Lee, Screen and Surface, Soft and Hard: the Cinema of Leos Carax (2013)Adrian Martin, Cristina Àlvarez López, [De Palma’s] Vision (2014) Adrian Martin, Cristina Àlvarez López, Wes Anderson // Centered (2014) kogonada, Peter Greenaway // Centered (2014) LaurentG, Evolution of the Dolly Zoom (2014) Vashi Nedomansky, Eyes of Hitchcock (2014) kogonada, Alphaville - A Crystal Maze (2014) Henrike Lindenberger, Cross-cut (2014) Drew Morton, Last Year At The Overlook (2015) Drew Morton, The Dutch Angle (2015) Jacob T. Swinney, First and Final Frames (2015) Jacob T.Swinney, The Definition of Film (2015) Richard Misek, Auteur in Space (2015) kogonada, Volumetric Cinema (2015) Kevin L. Ferguson, Manderley Motel (2015) Corey Creekmur, Blue Shining (2015) Richard Vezina, Joel & Ethan Coen - Shot | Reverse Shot (2016) Tony Zhou, Taylor Ramos, Amélie - Symmetry & Camera Movement (2016) Lessa Räbiger, Godard in Fragments (2016) kogonada, The Spielberg Touchscreen (2016) Ken Provencher, Graphic Spaces: Film Transitions in Steven Spielberg’s Filmmaking (2018) Andrea Minuz.
Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

The course aims to analyze the relationships between visual arts, sound and music from the second post-war period to the Sixties of the XX century. Starting from the deepening of the relationship between painting and music in the field of artistic research of abstract expressionism and the poetics of informal matter and signs, the attention will focus on the silence of John Cage in relation to the monochrome, to the dematerialization of the work and the “theatricality” of minimalism. With a transversal path, taking into account continuity and discontinuity between the historical avant-gardes and the neo-avant-garde season, the analysis will touch on behavioral-performative practices which, in various ways, have focused their poetics on the voice and on the corporal sounds, also in relation to the use of new technologies.

1) Texts of a general character for the study of Postwar Art:
- F. Poli, Informale ed espressionismo astratto, in F. Poli (a cura di), Arte moderna. Dal Postimpressionismo all’Informale, Electa, Milano 2007, pp. 262-283)[PDF download area on the professor's website]

- F. Poli (a cura di), Arte contemporanea. Le ricerche internazionali dalla fine degli anni ’50 a oggi, Electa, Milano 2003, pp. 12-221

2) In-depth readings:
- Art or sound, catalogo della mostra (Venezia, Fondazione Prada Ca’ Corner della Regina, 7 giugno – 8 novembre 2014), a cura di G. Celant, Fondazione Prada, Milano 2014 [in particolare i saggi: G. Celant, Dal plurilinguismo al multisensoriale; C. Cox, Vedere non è sentire. Sinestesia, anestesia e arte audiovisiva; L. Chessa, Un’orchestra metafisica. Una ricerca sulla ricostruzione degli intonarumori; R. Young, Così brutalmente forzata. La svolta del dopoguerra dalla musica al suono; E. de Visscher, Il silenzio come scultura musicale. John Cage e gli strumenti di 4’33’’; G. Dayal, Musica sperimentale e performance. David Tudor, John Cage e Merce Cunningham; Jo Applin, Rumore ottico. Il suono della scultura negli anni ’60; A. Licht, Il rumore della superficie. Rendere l’arte udibile nel XX Secolo; S. Menegoi, Sound Art? Arti visive e suono al passaggio fra anni ’70 e ’80; H. Rogers, Sinestesia distorta. Il video musicale e le arti visive ]

- P. Bolpagni, Musica visiva / Colori immateriali. Tentazioni sinestetiche e prospettive intermediali negli anni Sessanta e Settanta, in “Medea”, a. I, n. 1, 2015
http://ojs.unica.it/index.php/medea/article/view/1818/1531

- P. Fameli, Il corpo risonante. Vocalità e gestualità nel Novecento, Campanotto Editore, Pasian di Prato (UD) 2013

Not attending
They will integrate with
- P. Bolpagni, F. Tedeschi (a cura di), Rapporti tra musica e arti visive nel Novecento, Vita e Pensiero, Milano 2009
or with another text agreed with the professor.

Definition of communication. In-depth study and research on the psychological processes (cognitive, affective, relational) of communication in all of its modalities: verbal and body (words and sentences, prosody and intonation, gestures, facial expression, gaze, touch, posture, proxemics, music), and technological media. Analysis and detection of sincere and deceptive, cooperative and aggressive communication, and its uses in interpersonal interaction, at work, in education, politics, entertainment.

The items to be studied for the oral exam are the following:


A. Lotto L. e Rumiati R. (a cura di). Introduzione alla psicologia della comunicazione. Il Mulino, Bologna 2019 (nuova edizione): except for chapters 3, 4, 5, 10, 11.
B. Poggi I.: Le parole del corpo. Introduzione alla comunicazione multimodale. Carocci, Roma 2006.
C. Castelfranchi C. e Poggi I.: Bugie, finzioni, sotterfugi, per una scienza dell’inganno, Carocci, Roma 2012.
D. One text or set of texts, chosen among the following 8 items:

1. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
2. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
3. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
4. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
5. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
6. Both of the following texts:
a. Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
b. Riva G.: I social network. Bologna, Il Mulino

7. Both of the following texts:
a. Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
b. Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

8. 4 papers about multimodal communication, chosen among the following, to be downloaded from:
http://www.comunicazione.uniroma3.it/it/page/25/_/___22

Vincze L., Poggi I. (2013) Multimodal markers of One's Own and the Other's Vagueness. AI*HCI 2013, Workshop of the XIII AI*IA Conference, December 4th

Poggi I., D'Errico F. (2013) Towards the Parody Machine. Qualitative analysis and cognitive processes in the parody of a politician. In A. Petrosino,

D'Errico F and Poggi I., Vincze L. (2013) Discrediting body. A multimodal strategy to spoil the other's image. In Poggi I., D'Errico F. (et al.; eds)

D'Errico, F., Vincze L. Poggi, I. (2013). Vagueness in Political Discourse. In S. Villalta & Cabrio (eds) Proceedings of 2nd International Workshop on

Poggi I, D'Errico F., Vincze L. (2013) Comments in words, face and body. Journal of multimodal users interface. Vol. 7, Issue 1 (2013), Page 67-78; DO

D'Errico, F., Vincze L. Poggi, I. (2013). Face and head comments. Taking the floor without words. In Mello, H., Pettorino, M., and Raso, T., editors,

Signorello, R., D'Errico, F., Poggi, I., Demolin, D., and Mairano, P. (2013). Charisma perception in political speech: a case study. In Mello, H., Pet

D'Errico F., Signorello R., Poggi I..(2013) The perception of charisma from voice. A cross-cultural study. Proceedings of Aci Conference, IEEE, pp. 55-

D’Errico F. and Poggi I.: “The Bitter Laughter”. When Parody Is a Moral and Affective Priming in Political Persuasion. Frontiers in Psychology, 09 August 2016 | https://doi.org/10.3389/fpsyg.2016.01144 (download from Frontiers)

The course aims to pay attention to the strategies of cinematographic staging, favoring the context of contemporary cinema without renouncing - however - to a close confrontation with the filmic practices that have marked the period of classical cinema and, above all, of modern cinema. The question of direction will be analyzed as an eminently "theoretical" issue, developing a reflection that intends to go beyond the question of filmic grammar.
Starting from the idea of ​​the cinematographic staging as a strategy for organizing the filmic space, the course will also focus on the contemporary practices that release the film from the movie theater by proposing forms of "relocation" that require a rethinking of the idea of ​​direction itself (in particular focusing attention on the relation movie theater-museum and on the work of the so-called "cinematographers-artists"). In this framework, the work of Abbas Kiarostami will provide relevant case studies that will allow a constant sliding of the theoretical questions raised in the practice of analyzing the films and installations by the Iranian filmmaker.

BIBLIOGRAPHY
- Elio Ugenti, "Abbas Kiarostami. Le forme dell'immagine", Bulzoni, Roma 2018
- Francesco Federici, "Cinema esposto. Arte contemporanea, museo, immagini in movimento", Forum, Udine 2017
- Lecture notes edited by the teacher

FILMOGRAPHY:
- Where is the Friend's Home? [Khane-ye dust kojast], 1987
- Homework [Mashq-e shab], 1989
- And Life Goes on [Va zendegi edame darad], 1992
- Taste of Cherry [Tam'e ghilas], 1997
- The Wind Will Carry Us [Bad ma-ra khahad bord], 1999
- ABC Africa, 2001
- Five, 2004
- Roads of Kiarostami, 2005
- Shirin, 2008
- Certified Copy [Copie conforme], 2010
- Like Someone in Love, 2012
- 24 Frames, 2016

The course is focussed on the digitization of audio-visual media, on multimedia convergence, on the multiplication of the distribution platfomrs, on the multimedia storytelling, with a special attention to entertainment as a meta-genre.

Books and essays:

A. Arvidsson, A. Delfanti, Introduzione ai media digitali, seconda edizione aggiornata, Bologna, Il Mulino, 2016. ;
E. Menduni, Entertainment, Bologna, Il Mulino, 2013.
F. Di Chio (a cura di), Mediamorfosi 2, Industrie e immaginari dell'audiovisivo digitale, Link idee per la televisione n. 22, Dicembre 2017 (selected essays - the whole "Immaginari" section - available at copy shop)

PROGRAM: A theoretical and historical analysis of concepts like “Intermediality”, ”Expanded Arts”, “Artmix”, “Dramaturgy of the Arts” from the ‘60s to today.
An analysis of the influence of “Intermediality” on Cinema, Communication and New Media histories.
There will be encounters with Italian and foreign artists and film-maker.

- M.M. Gazzano (a cura di) Edison Studio. Il "silent film" e l'elettronica in relazione intermediale, Exorma, Roma 2015;
- F. Zecca, Cinema e intermedialità. Modelli di traduzione, Forum, Udine 2013.

OPTIONALLY:
- V. Catricalà (ed.), Media Art. Towards a new Definition of Arts in the Ages of Technology, Gli Ori - Fondazione Mondo Digitale, Roma 2015;
- L. Leuzzi, S. Partridge, REWIND/Italia. Early Video Art in Italy / I primi anni della videoarte in Italia, John Libbey Publishing, New Barnet 2016 (Italian/English);
- M. M. Gazzano, Kinema. Il cinema sulle tracce del cinema. Dal film alle arti elettroniche, andata e ritorno (new edition), Exorma, Roma 2019.

Foreign Students can plan specific bibliographies with the Professor and the Tutors.
Foreign Students can plan specific bibliographies with the Professor and the Tutors.

Theoric course focusing on the relationship between Music (P. Schaeffer and J. Cage mainly) Video Art and Sound Arts in the second half of XX century. Audiovision and historical-critical analysis of the most important works related to the videoartistic experiences in relationship with music and sound research.

ONE TEXT BY CHOICE:
- M.M. Gazzano (ed.) "Visione molteplice. L'Opera Audiovisiva di Hermes Intermedia", Armando, Roma 2019;
- M. M. Gazzano (ed.), "Edison Studio. Il silent film e l’elettronica in relazione intermediale", Exorma Roma 2015;
- G. Guanti (ed.), "La resistenza estetica in musica", Pisa University Press, Pisa 2018.

Introduction:
• What is music analysis
• History of music analysis
Principal methodologies of music analysis
Exercises of phraseological analysis
Exercises of morphological analysis
Exercises of analysis of thematic derivation

1. CLEMENS KÜHN, Il linguaggio delle forme nella musica occidentale, Milano, Unicopli, 1987: part III (Musica e tempo), IV (Elementi strutturali della composizione), V (Melodia) e VI (Forma musicale e opera musicale)
2. IAN BENT – WILLIAM DRABKIN, Analisi musicale, Torino, EDT, 1990: chapters I (L’analisi musicale in generale) and IV (La metodologia dell’analisi)

Theoric course focusing on the relationship between Music (P. Schaeffer and J. Cage mainly) Video Art and Sound Arts in the second half of XX century. Audiovision and historical-critical analysis of the most important works related to the videoartistic experiences in relationship with music and sound research.

ONE TEXT BY CHOICE:
- M.M. Gazzano (ed.) "Visione molteplice. L'Opera Audiovisiva di Hermes Intermedia", Armando, Roma 2019;
- M. M. Gazzano (ed.), "Edison Studio. Il silent film e l’elettronica in relazione intermediale", Exorma Roma 2015;
- G. Guanti (ed.), "La resistenza estetica in musica", Pisa University Press, Pisa 2018.

The course will tackle some of the experiences that changed the relationship between acting and stage (including the film) during the last century.
Special atention will be dedicated to Appia, Piscator and the actors in silent movies in German and in Russian-Soviet cultures.

A. Appia, Attore, musica e scena, ed. italiana a c. di F. Marotti, Cue Press;
B. Balasz, L'uomo visibile, Lindau;
S. M. Ejzenstejn, Lezioni di regia, Einaudi.
(Students coming from abroad can read these texts in English, German, French or Russian versions).

Filmography (the films are available in the Dept. Library):
R. Wiene, Il gabinetto del dottor Caligari;
F. Lang, Metropolis;
L. Kuleshov, Secondo la legge (Dura Lex);
S.M. Ejzenstejn, Que viva Mexico!