3 Fine Arts and Illustration Master's Degree Programs in Argentina

The program proposes to study contemporary aesthetic conceptions in their possible relations of continuity or break with aesthetics from modernity in the context of current artistic manifestations. In this sense, it can be affirmed that the most important difficulty that these manifestations pose, when modifying productive and receptive experiences, is that they put more or less traditional categories and classifications of aesthetic theory in crisis. Performance, installations, bodyart, bioart, graffiti, videogames, series, among others, have the consequence that the concepts of work, author, receiver and the established value judgments are often incompetent to account for them. In such a way that the multiple forms of the contemporary make art today withdraw from attempts at theoretical demarcation. This crisis of aesthetics, on the other hand, cannot be separated from the context of capitalism and the main cultural and philosophical crises since modernity. However, it is also possible to include ruptures within the very logic of the artistic insofar as, especially since modernity, the demand for originality for art entails a cyclical questioning of established theoretical categories.

It is increasingly well known that the Interior Designer of the XXI century must have a greater number of interior design project tools that help them to function in an increasingly competitive world in terms of discipline, where when they propose to investigate in In-depth, the design treatment of the different residential, commercial, work, tourist, and landscape spaces, can be manifested from a process of acts and decisions of strong creativity. Likewise, it must generate a clear and identifying design concept for the client to which it responds, basing each project decision and providing its proposal with powerful theoretical-conceptual support, in order to achieve the different qualities of spaces that are possible to materialize. Knowing how to provide environments with a particularized character, making the conceptual design as a whole, starting from the personalization of each space, be it for the use it is intended for, is the challenge that will provide the interior designer with an expression of his own, as a differentiating variable in the world of work. In interior design, great things are achieved with a thorough knowledge of the variables that influence the moment of projecting; keeping in mind the other fundamental condiments that are: interest, dedication, and the desire to experiment. The interior space is transformed day by day: the search for new sensory experiences has begun and this requires a redefinition of the intervention in the project.

Sound art is a recent field in the history of world artistic creation. The concept of “sound art” encompasses areas of creation that go beyond the traditions of musical practice, since it is about productions that include the possibility of working without restrictions with all available sound materials (not only with those usually associated with to the music). In the course of the 20th and 21st centuries, a phenomenon of expansion and interrelation between various creative and artistic fields and disciplines in relation to music and sound is observed. Some of these disciplines are: formats and supports typical of the visual arts such as sculpture and installation; interactive art; the invention and construction of new musical instruments (experimental luthería); a diversity of performance practices; among other. Various researchers coincide in affirming that sound art, a field in constant growth and expansion, constitutes an axis of central relevance of the artistic creation of our time. Seth Kim-Cohen (2009) explains that sound art throughout the 20th century acquired its own identity as an “expanded sonic field”, characterizing it as “non-cochlear” art (establishing an analogy with the concept of “non-retinal art” by M . Duchamp), in the sense of proposing various alternatives to both traditional musical arts and traditional listening practices. López Cano, for his part, explains that "the concept of sound art does not refer to a specific technique, artistic genre or practice, but to a transdisciplinary domain where specialists from extremely different fields, disciplines and artistic traditions concur (...) in the domain, diverse artistic behaviors originating from diverse traditions of contemporary and avant-garde art are mutually integrated, discussed and contaminated ". Thus, he concludes that sound art "is integrated into contemporary art paradigms while reformulating them and building its own" (López Cano, 2013).