- Details
- Category: Discipline
- Não
- Semestral
- Português
- 4
- 0
- 30
- 2
- IPLUSO7035-1919
- Project
- 1919
- 7035
- Digital Health
- Details
- Category: Discipline
- Não
- The course guides the development of an authorial artistic project in drawing, exploring diverse approaches and integrating practice, experimentation, and critical thinking.
- Semestral
Ponderação da Avaliação:
. Assiduidade, participação e pontualidade (10%).
. Exercício de crítica visual 20%
. Avaliação periódica (70%):
. 1ª Avaliação periódica: Concepção de Projecto Artístico - 1ª fase (20%);
. 2ª Avaliação periódica: Desenvolvimento do Projeto Artístico e Exposição (50%)
De acordo com o Regulamento de Avaliação da IES, é mandatório que os estudantes cumpram com um requisito de presença mínima nas aulas para aprovação na unidade curricular. A falta de cumprimento desta exigência resultará na necessidade de prestação de exame.
Exame de Recurso:
O exame de recurso será dividido em duas partes: um exame prático que contará 50% e a apresentação de todos os trabalhos realizados ao longo do semestre, que também terá um peso de 50%.
Assessment Weighting:
. Attendance, Participation, and Punctuality (10%)
. Visual critique exercise 20%
. Periodic assessment (70%):
. 1st periodic evaluation: Artistic Project Conception - 1st phase (20%);
. 2nd Periodic Assessment: Development of the Artistic Project and Exhibition (50%)
In accordance with the Assessment Regulations of the Higher Education Institution, it is mandatory for students to meet a minimum attendance requirement for passing the course unit. Failure to comply with this requirement will necessitate taking an examination.
Resit Exam: The resit exam will be divided into two parts: a practical exam accounting for 50% and the presentation of all works completed throughout the semester, which will also carry a weight of 50%.
- - Exercises in graphic experimentation around representation, expression, composition and non-conventional supports; - An exercise on visual criticism (elaboration of a graphic solution from a theme under reflection); - Exploration and reflection on the specificity of the graphic discourse of reference visual artists (drawing practitioners): formal and conceptual aspects; - Conception of an authorial artistic project (techniques and conceptual dimension); - Development of the authorial artistic project (artistic research, operative issues and methodology); - Drawing in the exhibition space and its devices.
- This Curricular Unit of a theoretical-practical nature is directed towards the maturation of an authorial artistic project based on the practice of drawing, thus aiming to: - Explore different approaches to drawing (observation, technical, diagrammatic, expressive, transmedia) creatively; - Deepen the practice of drawing, both in its creative value and in view of the technical and material requirements mobilized by the inherent needs of each artistic project; - Stimulate an attitude of experimentation, as well as the maturation of each student’s authorial approach; - Strengthen the ability to articulate the questions, themes and concepts called for by artistic research to consolidate a critical and self reflective discourse that enhances it; - Develop habits and strategies that favour the autonomy of artistic research in its various components, namely, the conception and exploration phases leading to the elaboration of an artistic project, as well as its presentation and exhibition.
- Mandatory
- The classes at this curricular unit, both theoretical and practical, always maintain a dialogue between the artistic project and reflective research. The theoretical component stems from oral exposition and is supported by audiovisual means, using a wide range of practical examples and artistic references. Visual artists will be invited to share their artistic investigations and study visits to exhibitions and studios are planned. Instruments of analysis, individual and in groups, are created and articulated with a discussion on different processes of thinking and making, as well as critical reflection on contemporary artistic practices. The practical component – the artistic drawing project – is the core of this CU, and therefore classes take place in a studio environment. The contents are structured through a gradual approximation to the specificities of each student's artistic project. The final project should culminate in an exhibition.
- Português
- . AAVV. (2005). New perspectives in drawing. Vitamin D. Phaidon . Bachelard, G. (2008 [1957]). A Poética do Espaço. Martins Fontes. . Barrett, E., & Bolt, B. (Eds.). (2014). Practice as research: Approaches to creative arts enquiry. Bloomsbury Publishing. . Berger, J. (2005). Berger on Drawing. Occasional Press. . Clingman, S., Locke, A. e Thompson. R. (2022). William Kentridge. Londres: Royal Academy of Arts. . Kaupelis, Robert (1980). Experimental Drawing. Watson-Guptill Publications, 1992. . Molina, J. J. G. (coord.) (2006 [1999]). Estrategias del Dibujo en el Arte Contemporáneo. Ediciones Cátedra. . Nancy, J. L. (2022). O Prazer no Desenho. Documenta. . Pereira, M. D. D. C. (2022). Os limites do desenho: perspetivas contemporâneas: hibridação e transitus. (Tese de Doutoramento). FBAUL. . Phaidon Editors. (2002). Vitamin D: New perspectives in drawing. Phaidon Press. . San Payo, M. (2000). Da mancha no desenho. FBAUL.
- 4
- 0
- 10
- 1
- IPLUSO6947-2-26039
- Artistic Design Project I
- 26039
- 6947
- Drawing
- Details
- Category: Discipline
- Não
- The course combines practical experimentation and critical reflection on artistic materials and techniques, fostering an integrated and informed practice within the field of contemporary art.
- Semestral
Ao longo do semestre, os estudantes são submetidos a uma avaliação contínua, que corresponde a 75% da nota final. Esta modalidade de avaliação está em consonância com os objetivos de aprendizagem da UC, nomeadamente no que diz respeito à aquisição de domínio técnico, à experimentação com diversos materiais e à integração de conhecimentos de outras UCs. O feedback providenciado nesta fase permite o ajuste e a melhoria contínua dos estudantes.
No final do semestre, os estudantes apresentam um portefólio com os exercícios realizados em aula, que corresponderá a 15% da nota final. Este portefólio deverá refletir o domínio das técnicas e materiais explorados, bem como a capacidade de experimentação e reflexão crítica.
A avaliação de assiduidade, participação e pontualidade compõe 10% da nota final e está vinculada à participação ativa e assiduidade dos estudantes, reforçando a importância do envolvimento contínuo com os materiais e métodos de ensino da UC.
Ponderação da Avaliação:
. Apresentação de portefólio: 15%
. Avaliação contínua: 75%
. Assiduidade, participação e pontualidade: 10%
De acordo com o Regulamento de Avaliação da IES, é mandatório que os estudantes cumpram com um requisito de presença mínima nas aulas para aprovação na unidade curricular. A falta de cumprimento desta exigência resultará na necessidade de prestação de exame.
Exame de Recurso:
O exame de recurso será dividido em duas partes: um exame prático que contará 50% e a apresentação de todos os trabalhos realizados ao longo do semestre, que também terá um peso de 50%.
During the semester, students undergo continuous assessment, accounting for 75% of the final grade. This form of assessment aligns with the learning objectives of the course unit, particularly in terms of technical mastery, experimentation with various materials, and the integration of knowledge from other course units. The feedback provided at this stage allows for the continuous adjustment and improvement of students.
At the end of the semester, students present a portfolio of the exercises carried out in class, which will make up 15% of the final grade. This portfolio should reflect mastery of the techniques and materials explored, as well as the capacity for experimentation and critical reflection.
Attendance, participation, and punctuality make up 10% of the final grade and are linked to the active and consistent participation of students, reinforcing the importance of ongoing engagement with the course unit's materials and teaching methods.
Assessment Weighting:
. Portfolio Presentation: 15%
. Continuous Assessment: 75%
. Attendance, Participation, and Punctuality: 10%
In accordance with the Assessment Regulations of the Higher Education Institution, it is mandatory for students to meet a minimum attendance requirement for passing the course unit. Failure to comply with this requirement will necessitate taking an examination.
Resit Exam: The resit exam will be divided into two parts: a practical exam accounting for 50% and the presentation of all works completed throughout the semester, which will also carry a weight of 50%.
- - Exercises for technical and material mastery, using different types of artistic materials and techniques. - Exploration of drawing and painting techniques such as charcoal, pencil, watercolor, and acrylic, to develop technical mastery. - Exercises in experimentation with unconventional materials and techniques, such as resins, fabrics, and metals. - Group discussion exercises and critical analysis of works, to assess the impact and effectiveness of different techniques and materials. - Exercises aimed at integrating knowledge and skills acquired in other curricular units. - Exercises in the combination and experimentation of materials and techniques, promoting an experimental approach. - Exercises involving the recording of the creative process and critical reflection activities on the selection and application of materials and techniques.
- This theoretical-practical course unit aims to: - Acquire practical mastery of a diverse range of artistic techniques and materials, from the most traditional to the most innovative. - Foster a deep understanding of the material and technical processes underlying artistic creation. - Encourage experimentation as a means of discovering new expressive and technical possibilities. - Promote the integration of knowledge and skills acquired in other course units for the development of a cohesive and informed artistic practice. - Stimulate critical reflection on the use of different materials and techniques, evaluating their impact and relevance in different artistic projects and within the contemporary artistic context. The teaching method combines practical instruction, demonstrations, and group discussions, aligning with the learning objectives through a practical and experimental approach.
- Mandatory
- The teaching methodologies employed are a blend of hands-on instruction, demonstrations, and group discussions. This methodological framework was designed to maximize effectiveness in achieving the learning outcomes of the course: . Laboratory practical classes are the primary mode of instruction, allowing students to directly experiment with different materials and techniques. . Demonstrations are used to introduce new techniques and materials, presenting students with practical examples and tutorial guidance. . Group discussions are encouraged to foster a forum for critical reflection and the analysis of works, allowing students to consolidate their theoretical understanding and provide constructive criticism of their own work and that of others. . Individual and group tasks are structured to promote autonomy in artistic research and collaborative skills. . Evaluation is conducted through continuous observation of student progress.
- Português
- . Bismarck, M. (2007). Desenhar é o desenho. Em: Livro de Atas de Conferência Nacional. FBAUP. . Elkins, J. (1997). The Object Stares Back: On the Nature of Seeing. Harcourt Brace. . Fenwick, S., e Smith, G. (2018). The Business of Watercolour. Routledge. . Gottsegen, M. D. (2006). The Painter's Handbook: Revised and Expanded. Watson-Guptill Publications. . Kaupelis, R. (1980). Experimental Drawing. Watson-Guptill Publications, 1992. . Mayer, R. (1991). The artist's handbook of materials and techniques (5th ed.). Viking. . Molina, J. J. G. (coord.) (2001). El Manual del Dibujo: Estrategias en su enseñanza. Ediciones Cátedra. Molina, J. J. G., (coord.) (2002). Máquinas y herramientas de dibujo. Ediciones Catedra. . Pedro, A. (2015). A expressão do tempo no desenho. Em: As idades do Desenho (pp. 113-122). FBAUL. . Smith, T. (2009). What is contemporary art? University of Chicago Press.
- 4
- 0
- 5
- 1
- IPLUSO6947-2-26038
- Artistic Expression Laboratory
- 26038
- 6947
- Drawing
- Details
- Category: Discipline
- Não
- The discipline investigates the role of artistic images in the formation of subjectivity and their critical potential in relation to contemporary visual culture.
- Semestral
Esta UC segue um método de avaliação contínuo e presencial.
Ponderação da Avaliação:
10% - Assiduidade, pontualidade e participação em aula (alunos regulares: 75% presenças em aula obrigatória; alunos trabalhadores-estudantes: 30% presenças obrigatórias).50% 50% Trabalhos práticos desenvolvidos em aula (apresentações orais, debates, exercícios de aplicação teórico-práticos, resumo crítico sobre obras, filmes ou textos)
20% Relatório de visita de estudo elaborado em aula.
20% Ensaio crítico sobre um tema, texto ou filme.
Exame de Recurso / Época Especial:
O exame de recurso será dividido em duas partes: a submissão de todos os trabalhos realizados ao longo do semestre, que contará 50%, e a apresentação e defesa oral dos mesmos, que também terá um peso de 50%.
This UC follows a continuous, in-person assessment method.
Assessment Weighting:
10% - Attendance, punctuality, and class participation (regular students: 75% mandatory class attendance; working students: 30% mandatory attendance).
50% Practical work developed in the classroom (oral presentations, debates, theoretical and practical application exercises, critical summaries of works, films, or texts)
20% Study visit report prepared in class.
20% Critical essay on a topic, text, or film.
Resit Exam:
The resit exam will be divided into two parts: the submission of all work completed throughout the semester, which will count for 50%, and the oral presentation and defence of the work, which will also count for 50%.
- Introductory Module: critical yhinking about and through artistic images Module 1: The civilization of the image and the artwork as a Pharmakon 1.1 Homo mimeticus (representation, imitation, identification, construction of subjectivities, the ambiguity of mimesis) 1.2 The image that gives us birth 1.3 The image that absorbs us 1.4 The artwork as a Pharmakon Module 2: Case Studies This Curricular Unit elaborates on the thought of philosophers and art critics such as John Berger, Philippe Lacoue-Labarthe, Nidesh Lawtoo, Peter Sloterdijk, Marie-José Mondzain, Georges Didi-Huberman and Tomás Maia.
- This Curricular Unit aims to encourage critical thinking about the role of artistic images vis-à-vis the omnipresence of images in the contemporary world, providing analytical and critical tools that help the master's student to: Generically understand how visual representations participate in subjectivation processes (self-image, volitions and behaviors) in thecontext of our mimetic condition (articulating concepts such as mimetic unconscious, imitation, identification and contagion). Differentiate the artistic image from other visual representations regarding its impact on subjectivation processes (estrangement of theworld and disidentification). Problematize the emancipatory and critical potential of artistic images in consumer society (the artistic image as pharmakon). Apply the conceptual bases mentioned above in the analysis of artistic images in the context of debates, oral presentations and writing ofan article about case studies.
- Mandatory
- This Curricular Unit adopts a transdisciplinary approach in which the syllabus articulates contributions from artistic studies, philosophy, and social sciences. The oral presentation is supported by the analysis and commentary of artistic images and text excerpts and may use other audiovisual materials, such as film excerpts, videos, or interviews. Whenever possible, the theoretical exposition is articulated with the participation of the students through the valorisation and welcoming of questions, the opening of space for debates, flipped classroom, accompanied writing exercises during the classroom, study visit reports and the scheduling of individual presentations by the master's students.
- Português
- Berger, J. (2023). Modos de ver. Fósforo. Lacque-Labarthe, P. (2000). A Imitação dos Modernos: Ensaios sobre Arte e Filosofia. Org. Virginia de Araújo Figueiredo e João Camillo Penna. Paz e Terra. Lacque-Labarthe, P. (2011 [1980]). O paradoxo e a mimese. Trad. Tomás Maia. Projecto Teatral. Lawtoo, N. (2013). The Phantom of the Ego: Modernism and the Mimetic Unconscious. Michigan State University Press. Maia, T. (2022). Vida a crédito: arte contemporânea e capitalismo financeiro. Sistema Solar (Documenta). Mondzain, M. J. (2015 [2007]). Homo spectator: ver > fazer ver. Trad. Luís Lima. Orfeu negro. Mondzain, M. J. (2009). A imagem pode matar? Trad. Susana Mouzinho. Nova Veja. Broome, J., Pereira, A., & Anderson, T. (2018). Critical thinking: Art criticism as a tool for analysing and evaluating art, instructional practice and social justice issues. International Journal of Art & Design Education, 37(2), 265-276.
- 4
- 0
- 5
- 1
- IPLUSO6947-2-26026
- Critical Reflections
- 26026
- 6947
- Drawing
- Details
- Category: Discipline
- Não
- The discipline investigates the role of artistic images in the formation of subjectivity and their critical potential in relation to contemporary visual culture.
- Semestral
Esta UC segue um método de avaliação contínuo e presencial.
Ponderação da Avaliação:
10% - Assiduidade, pontualidade e participação em aula (alunos regulares: 75% presenças em aula obrigatória; alunos trabalhadores-estudantes: 30% presenças obrigatórias).50% 50% Trabalhos práticos desenvolvidos em aula (apresentações orais, debates, exercícios de aplicação teórico-práticos, resumo crítico sobre obras, filmes ou textos)
20% Relatório de visita de estudo elaborado em aula.
20% Ensaio crítico sobre um tema, texto ou filme.
Exame de Recurso / Época Especial:
O exame de recurso será dividido em duas partes: a submissão de todos os trabalhos realizados ao longo do semestre, que contará 50%, e a apresentação e defesa oral dos mesmos, que também terá um peso de 50%.
This UC follows a continuous, in-person assessment method.
Assessment Weighting:
10% - Attendance, punctuality, and class participation (regular students: 75% mandatory class attendance; working students: 30% mandatory attendance).
50% Practical work developed in the classroom (oral presentations, debates, theoretical and practical application exercises, critical summaries of works, films, or texts)
20% Study visit report prepared in class.
20% Critical essay on a topic, text, or film.
Resit Exam:
The resit exam will be divided into two parts: the submission of all work completed throughout the semester, which will count for 50%, and the oral presentation and defence of the work, which will also count for 50%.
- Introductory Module: critical yhinking about and through artistic images Module 1: The civilization of the image and the artwork as a Pharmakon 1.1 Homo mimeticus (representation, imitation, identification, construction of subjectivities, the ambiguity of mimesis) 1.2 The image that gives us birth 1.3 The image that absorbs us 1.4 The artwork as a Pharmakon Module 2: Case Studies This Curricular Unit elaborates on the thought of philosophers and art critics such as John Berger, Philippe Lacoue-Labarthe, Nidesh Lawtoo, Peter Sloterdijk, Marie-José Mondzain, Georges Didi-Huberman and Tomás Maia.
- This Curricular Unit aims to encourage critical thinking about the role of artistic images vis-à-vis the omnipresence of images in the contemporary world, providing analytical and critical tools that help the master's student to: Generically understand how visual representations participate in subjectivation processes (self-image, volitions and behaviors) in thecontext of our mimetic condition (articulating concepts such as mimetic unconscious, imitation, identification and contagion). Differentiate the artistic image from other visual representations regarding its impact on subjectivation processes (estrangement of theworld and disidentification). Problematize the emancipatory and critical potential of artistic images in consumer society (the artistic image as pharmakon). Apply the conceptual bases mentioned above in the analysis of artistic images in the context of debates, oral presentations and writing ofan article about case studies.
- Mandatory
- This Curricular Unit adopts a transdisciplinary approach in which the syllabus articulates contributions from artistic studies, philosophy, and social sciences. The oral presentation is supported by the analysis and commentary of artistic images and text excerpts and may use other audiovisual materials, such as film excerpts, videos, or interviews. Whenever possible, the theoretical exposition is articulated with the participation of the students through the valorisation and welcoming of questions, the opening of space for debates, flipped classroom, accompanied writing exercises during the classroom, study visit reports and the scheduling of individual presentations by the master's students.
- Português
- Berger, J. (2023). Modos de ver. Fósforo. Lacque-Labarthe, P. (2000). A Imitação dos Modernos: Ensaios sobre Arte e Filosofia. Org. Virginia de Araújo Figueiredo e João Camillo Penna. Paz e Terra. Lacque-Labarthe, P. (2011 [1980]). O paradoxo e a mimese. Trad. Tomás Maia. Projecto Teatral. Lawtoo, N. (2013). The Phantom of the Ego: Modernism and the Mimetic Unconscious. Michigan State University Press. Maia, T. (2022). Vida a crédito: arte contemporânea e capitalismo financeiro. Sistema Solar (Documenta). Mondzain, M. J. (2015 [2007]). Homo spectator: ver > fazer ver. Trad. Luís Lima. Orfeu negro. Mondzain, M. J. (2009). A imagem pode matar? Trad. Susana Mouzinho. Nova Veja. Broome, J., Pereira, A., & Anderson, T. (2018). Critical thinking: Art criticism as a tool for analysing and evaluating art, instructional practice and social justice issues. International Journal of Art & Design Education, 37(2), 265-276.
- 4
- 0
- 5
- 1
- IPLUSO6947-3-26026
- Critical Reflections
- 26026
- 6947
- Drawing
