Paloma G. Díaz
PhD in History of Art from the UB. Bachelor’s degree in Audiovisual Communication from the Complutense University of Madrid.
Direction, development and management of audiovisual and multimedia projects. Teacher and creator of educational content tailored to the client.
- The objective of the course is to analyse the evolution of contemporary visual culture linked to the development of new media.
- Conduct research on the transformation of language and methodology in the context of project development within our field of study. Understand how certain projects have been changing the spatiotemporal configuration and the relationship with the viewer through different strategies (interaction, involvement and/or integration).
- Study the trends of the current audiovisual industry.
- Provide the student with solid knowledge so that he/she can apply good criteria (establishing benchmarks) when developing future professional audiovisual projects.
1. The audiovisual culture in the Information Age
- Introduction to gender-related audiovisual media.
- New contexts, new performances and readings.
- The audiovisual professional: changes in the challenges and strategies.
2. The beginning of the audiovisual creation and its new cultural environments
- Origin and influence of the first experimental uses of off-screen video: installation, performance and interactivity.
- Characteristics of the protagonists/references: innovation and mass consumption.
- Principal actors and referents: the beginning of new participatory and interactive languages.
- Evolution and current formats: installation, electronic music versus performances and installations, etc.
3. New technologies and audiovisual design
- The evolution of the technological creation. New working tools and methodologies.
- The Internet: from net.art to the creation of social networks. Analysis of the evolution and study of the basic references.
- Facilities, projects and development of new formats: mapping, video mapping, RA, etc.
- Links between the shows and new media: experimentation, ownership and resource sharing.
- New space-time relationship and the role of the spectator-user.
4. Contemporary visual culture. New experiences
- Topics: identity, criticism and collective creation.
- The audiovisual artist as a researcher of new methods and languages.
- New tools and concepts related to free software or hardware: open data, Arduino, processing, etc.
5. Big data
- What is it and what is the origin of data visualisation audiovisual design projects? Related either to statistics or databases.
- Analysis of the origin, evolution and integration of the role of the user.
- Analysis of interactive and participatory projects in real time: data connectivity and aesthetics.
6. Transmedia storytelling
- Origin, evolution and typology of the most common transmedia projects.
- Cultural convergence, media platforms and user participation.
- Case study: video games, animation, etc.
- The student develops primary and secondary aspects of audiovisual works by means of multidisciplinary analysis.
- Proper use of the archive material from documentation centres, libraries and online sources.
- He/she will continue to be mindful of new sources of research.
- He/she addresses the conceptual and technical innovation of the digital domain from a professional standpoint.
- He/she collects and interprets relevant data and information on which to base, when necessary and appropriate, reflections on social, scientific or ethical issues from the field of design.
- SS1. Critical analysis and evaluation of the consequences and implications of proposals raised in design projects, both the student’s own and those of others, and their adjustment to suit the social, economic, political and cultural context.
- SS2. Integration of knowledge and approaches related to cultural, artistic and historical references in design, to practical design projects in creative and innovative ways.
- SS4. Apply appropriate methodologies and varied research according to the subject matter, both for knowledge management and for formal experimentation and production that meets academic and professional standards.
- Observation of participation
- Monitoring of the work produced
- Realisation of works or projects