Artistic and Dissertation Project

Category: Discipline
  • Não
  • The course develops methods and skills in artistic research, articulating practice and theory with a focus on the elaboration of the Dissertation or Final Project plan, enabling students to define and structure critical, sustained, and innovative research.
  • Semestral
    1. Avaliação Contínua (10%) - baseada na assiduidade, pontualidade e participação ativa nas atividades letivas.
    2. Elaboração de Texto de Enquadramento Teórico do Projeto (20%) - desenvolvimento de um texto fundamentado teoricamente, contextualizando o projeto de investigação.
    3. Relatório Escrito / Memória Descritiva do Projeto Artístico (20%) - documentação detalhada do processo de criação e desenvolvimento do projeto artístico.
    4. Trabalho Final (40%) - Segundo o template disponibilizado no início do semestre.
    5. Apresentação do Projeto (10%) - exposição clara e estruturada do projeto, evidenciando comunicação eficaz e reflexão crítica sobre o trabalho realizado.

    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%.

    4.2.14. Avaliação (EN):

    1. Continuous Assessment (10%) - based on attendance, punctuality, and active participation in class activities.
    2. Development of Theoretical Framework Text for the Project (20%) - preparation of a theoretically grounded text, contextualizing the research project.
    3. Written Report / Descriptive Memory of the Artistic Project (20%) - detailed documentation of the creation process and development of the artistic project.
    4. Final Work (40%) - according to the template provided at the beginning of the semester.
    5. Project Presentation (10%) - clear and structured presentation of the project, demonstrating effective communication and critical reflection on the work carried out.

    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 work completed throughout the semester, which will also carry a weight of 50%.

     
  • The course provides guidance and understanding of research methods in art. It explores methodological tools as means of positioning within the research process, while maintaining the possibility of adopting various analytical methods. . Analysis and discussion of case studies (investigations conducted by reference artists); . Analysis and discussion of relevant aspects associated with the artistic practice of master's students; . Understand and promote cross-disciplinarity with other scientific areas; . Write the summary of the Dissertation/Final Project Work project; . Acquire the necessary tools for defining, developing, and realizing the various stages of research work (theme, problem statement, setting objectives, state of the art, methodologies, organization of references, procedures to be developed in the applied work of an artistic project).
  • The UC aims to explore, question, and discuss issues pertaining to the methods of artistic research and the writing processes from an experimental art practice perspective. It seeks to guide students in the process of developing their Dissertation/Final Project Work, equipping them with fundamental instruments and methods so that they can develop a relevant and productive relationship between the artistic project and the theoretical study. Thus, it develops methods and competences in art research and delves into investigative approaches linked to ‘Practice Based Research’. The primary goal is to define the work plan for the Dissertation/Final Project Work that each student will develop in the second year, outfitting them with the necessary tools for the definition, development, and realization of critical and innovative research works. promoting the ability to collect and analyze elements inherent to individual artistic practices, as well as to argue effectively.
  • Mandatory
  • Classes with ample visual support of practical examples of artistic references, result from oral exposition, using audiovisual means. In order to encourage the active participation of students and expedite the fulfillment of the objectives of the UC, quick exercises, writing and debate will be proposed on the methods and references of contemporary artists. Individual and group analysis tools are created, associated with the discussion of different processes of thinking and doing and a critical reflection on contemporary artistic practices. Visits to exhibitions will be carried out. In specific sessions, invitations will be made to research artists, so that they can share their experience. In the elaboration phase of the Work Plan, writing processes will be stimulated from the experimental practice in art, and the work will always be accompanied individually (in person/email) by the UC professor.
  • Português
  • . Barone, T., e Eisner, E. W. (2011). Arts based research. Sage. . Barret, E., e Bolt, B. (2010). Practice as Research - Approaches to Creative Arts Enquir. I.B.Tauris. . Bruno, G. (2014). Surface - Matters of Aesthetics, Materiality, and Media. The University of Chicago Press. . Candy, L., e Edmonds, E (2018). Practice-Based Research in the Creative Arts: Foundations and Futures from the Front Line. Leonardo 51 (1): 63–69. . Finley, S. (2008). Arts-based research. Handbook of the arts in qualitative research: Perspectives, methodologies, examples, and issues, 71-81. . Frada, J. J. C. (2005). Novo Guia Prático Para a Pesquisa, Elaboração e Apresentação de Trabalhos Científicos e Organização de Currículos. Sete Caminhos. . Holly, M. A. (ed.) (2009). What Is Research in the Visual Arts?: Obsession, Archive, Encounter. Clark Art Institute. . Rothko, M. (2007). A realidade do artista. Edições Cotovia.  
  • 4
  • 0
  • 5
  • 1
  • IPLUSO6947-1-26028
  • Artistic and Dissertation Project
  • 26028
  • 6947
  • Drawing

Artistic Design Project II

Category: Discipline
  • Não
  • This curricular unit deepens the authorial practice in artistic drawing, contributing to the development of an individual style, the advanced use of techniques and the critical articulation of work in the context of contemporary artistic practices.  
  • Semestral

  • A avaliação contínua constitui a maior parte da nota final, com uma ponderação de 70%. Esta componente está alinhada com os objetivos de aprofundamento técnico, desenvolvimento da identidade autoral e integração de dimensões formais, conceptuais e expressivas no trabalho artístico. O feedback contínuo dos docentes facilita o ajuste e a melhoria constantes, permitindo que os estudantes compreendam e aprimorem suas áreas fortes e pontos a melhorar.

    A contextualização do projeto tem uma ponderação de 20% e está intrinsecamente ligada ao objetivo de desenvolver uma compreensão mais profunda e aplicada das práticas artísticas contemporâneas. Espera-se que os estudantes sejam capazes de articular eficazmente os conceitos e as teorias que informam o seu trabalho, tanto por escrito como oralmente, e que demonstram um entendimento contextualizado do seu projeto artístico.

    A assiduidade, participação e pontualidade compõem os restantes 10% da avaliação.

    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%.

     

     

     

    The continuous assessment makes up the majority of the final grade, with a weight of 70%. This component is aligned with the objectives of technical deepening, development of authorial identity, and integration of formal, conceptual, and expressive dimensions in artistic work. Continuous feedback from instructors facilitates ongoing adjustments and improvements, allowing students to understand and enhance their strengths and areas for improvement.

    The project's contextualization has a weight of 20% and is intrinsically linked to the objective of developing a deeper and applied understanding of contemporary artistic practices. Students are expected to effectively articulate the concepts and theories that inform their work, both in writing and orally, and to demonstrate a contextualized understanding of their artistic project.

    Attendance, participation, and punctuality make up the remaining 10% of the assessment.

    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%.

     
  • - Continuation of the work initiated in the first semester with the course 'Artistic Drawing Project I,' incorporating new materials and techniques that may enhance the individual artistic project; - Practical exercises and case studies focused on consolidating the student's unique style and artistic voice; - Practical studies integrating formal, conceptual, and expressive aspects in drawing, with the creation of compositions that combine traditional and digital techniques, or that integrate elements from different artistic disciplines; - Review and discussion of contemporary examples of drawing and art, both in terms of technique and content; - Deepening art research techniques, with a focus on conducting investigations that can support the personal artistic project, using methods such as "Art-Based Research"; - Practical guidelines on how to prepare works for exhibition, including considerations about assembly, curation, and interaction with the public.
  • This curricular unit aims to serve as an advanced continuation of "Artistic Drawing Project I." Its objectives are: - To deepen Authorial Identity by consolidating one's own style and individual artistic voice, aligning drawing practice with the conceptual and discursive questions each student wishes to explore; - To advance the drawing techniques learned on the first semester, exploring materials and methods in accordance with the requirements of the individual artistic project; - To integrate different dimensions of drawing—formal, conceptual, expressive—into more complex and nuanced compositions; - To foster an applied and contextual understanding of contemporary artistic practices, through case analysis and interaction with professionals in the field, thereby enhancing the ability to articulate one's own artistic work; - To increase autonomy in conducting research and in carrying out artistic projects, from conception to exhibition.
  • Mandatory
  • Just like in "Artistic Drawing Project I," the classes for "Artistic Drawing Project II" will be divided between theoretical and practical components, both intrinsically intertwined. The theoretical component will benefit from oral presentations supported by audiovisual media, which will be enriched by a variety of practical examples and artistic references. Visits to exhibitions and studios, as well as the participation of guest artists, will provide students with a contextualized and applied understanding of contemporary artistic practices, aligning with the learning objectives. In the practical component, the environment will resemble that of a studio, allowing students to work on the development of their individual artistic projects. The initial phase of the classes will be characterized by guided exercises that explore different techniques and materials, followed by a more autonomous phase where students will work on their individual projects under tutorial guidance.
  • Português
  • . AAVV. (2005). New perspectives in drawing, vitamin D. Phaidon . Barrett, T. (2010). Making Art: Form and Meaning. McGraw-Hill. . Bishop, C. (2012). Artificial Hells: Participatory Art and the Politics of Spectatorship. Verso. . Bismarck, M. (2007). Desenhar é o desenho. Livro de Atas de Conferência Nacional. Faculdade de Belas Artes da Universidade do Porto. . Danto, A. C. (1997). After the End of Art: Contemporary Art and the Pale of History." Princeton University Press. . Hoptman, L. J. (2002). Drawing Now: Eight Propositions. The Museum of Modern Art. . McNiff, S. (1998) Art-Based Research. Jessica Kingsley Publishers. . Maslen, M. e Southern, J. (2011). Drawing Projects: An Exploration of the Language of Drawing. Black Dog Publishing. . Sale, T., & Betti, C. (2007). Drawing: A contemporary approach. Cengage Learning. . Sullivan, G. (2010). Art Practice as Research: Inquiry in Visual Arts. SAGE Publications.  
  • 4
  • 0
  • 10
  • 1
  • IPLUSO6947-2-26040
  • Artistic Design Project II
  • 26040
  • 6947
  • Drawing

Digital Animation

Category: Discipline
  • Não
  • The course develops technical and artistic skills in digital animated drawing, integrating creation, editing, and analysis of animated sequences with an emphasis on graphic expressiveness and professional applicability.
  • Semestral

  •  

    Esta UC segue um método de avaliação contínuo e presencial.

    Ponderação da Avaliação:

    Logline e guião: 10%

    Character sheet e turnaround, cenários e storyboard: 20%

    Curta-metragem animada: 50%

    Cartaz e trailer: 10%

    Avaliação contínua: pontualidade, participação e assiduidade: 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%.

     

     

     

     

    This UC follows a method of continuous and in-person evaluation.

    Assessment Weighting:

    Logline and script: 10%

    Character sheet and turnaround, backgrounds, and storyboard: 20%

    Animated short film: 50%

    Poster and trailer: 10%

    Continuous assessment: punctuality, participation, and attendance: 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%.

     
  • NARRATIVE AND/OR EXPERIMENTAL SHORT FILM Short animation and promotion . Historical and conceptual notions: vision persistence, optical toys, chronophotography, animation, cinema; . Application of specific skills in the various production stages of a short film (pre-production, production, post-production, dissemination and promotion); . Creation of narratives (logline), characters (character sheet and turnaround) and scenarios (appropriate for the parallax effect); . Script (Hollywood standard) and Storyboarding; . Development of animated sequences (walking cycle, lip sync, keyframes and inbetweens); . Animation in non-linear editing software; . Open-source soundtrack, dialogs, sounds and sound effects (foley); . Typography for animation (open and end credits); . Export to small and large screens and web publishing; . Supports and strategies for communication and dissemination in print and on the web (poster and trailer).
  • Acquire knowledge and artistic and technical competences in movement-image through narrative animated digital drawings. Animate forms and characters with digital techniques and methodologies. Develop competences in sequence drawings in non-linear video editing software, and export files. Analyze, interpret, and decode animated sequences through their narrative, moving and visual elements. The exercises and the animation project allow to continuously stimulate the production capacity of audio-visual content, as well as the acquisition of knowledge and skills in the interpretation and exploratory graphic creation of concepts and ideas. The approach to syllabus contents through the development of the project allow the continuous mobilization of technical knowledge and skills and facilitates the acquisition of vocabulary and methodological skills, leading to an easier integration into the labour market and collaborative projects.
  • Mandatory
  • The teaching/learning process adopts a theoretical-practical approach based on the demonstration of real and practical examples; in direct contact with the technologies necessary to produce narrative and/or experimental animated short films using digital drawing; in the development of work methodologies, research, and creative processes; in the collective critical analysis at the end of classes about all the work done.
  • Português
  • . Blair, P. (2020) Cartoon Animation with Preston Blair, Revised Edition: Learn techniques for drawing and animating cartoon characters. Walter Foster Publishing. . Denis, S. (2010). O Cinema de Animação. Edições Texto & Grafia. . Enns, A. (2022). Time-Critical Animation: Comics, Cartoons, Computers. Journal of Science and Technology of the Arts, 14(3), 11-28. . Luz, F. C. (2009). Animação digital: reflexos dos novos medias nos conceitos tradicionais de animação. In VIII Congresso LUSOCOM. Lisboa (pp. 919-936). . Mateu-Mestre, M. (2010). Framed Ink: Drawing and Composition for Visual Storytellers. Design Studio Press. . Riley, C.(2021). The Hollywood Standard - Third Edition: The Complete and Authoritative Guide to Script Format and Style. Michael Wiese Productions. . Rousseau, D., e Phillips, B. (2013). Storyboarding Essentials: SCAD Creative Essentials (How to Translate Your Story to the Screen for Film, TV, and Other Media). Watson-Guptill.
  • 4
  • 0
  • 5
  • 1
  • IPLUSO6947-1-15914
  • Digital Animation
  • 15914
  • 6947
  • Drawing

Digital Design Project II

Category: Discipline
  • Não
  •   The discipline deepens the authorial practice in digital design, encouraging experimentation, autonomy in project management and mastery of advanced development and presentation strategies in digital environments.
  • Semestral

  • O trabalho realizado em aula, que inclui tanto o desenvolvimento técnico e criativo quanto a aplicação de teorias e conceitos na prática artística digital, constitui 75% da nota final. Este componente é avaliado de forma contínua ao longo do semestre, tendo em vista o acompanhamento próximo do progresso dos estudantes.

    No final do semestre, os estudantes fazem uma apresentação digital interativa e oral do projeto que desenvolveram durante o curso. Este elemento da avaliação representa 15% da nota final.

    A assiduidade, pontualidade e participação ativa dos estudantes durante as aulas compõem os restantes 10% da avaliação. Este critério destaca a importância do envolvimento contínuo e ativo no processo de aprendizagem.

    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%.

     

     

    The work completed in class, which encompasses both technical and creative development as well as the application of theories and concepts in digital artistic practice, constitutes 75% of the final grade. This component is assessed continuously throughout the semester, aiming to closely monitor the progress of students.

    At the end of the semester, students deliver an interactive and oral digital presentation of the project they developed during the course. This element of assessment accounts for 15% of the final grade.

    Attendance, punctuality, and active participation by students during the classes make up the remaining 10% of the assessment. This criterion underscores the importance of ongoing and active involvement in the learning process.

    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 work completed over the semester, which will also carry a weight of 50%.

     
  • Continuation of the work initiated in the first semester with the course "Digital Design Project I," focusing on the in-depth exploration of digital drawing and illustration software. The emphasis is placed on advanced techniques in Adobe Illustrator, Blender, Adobe Photoshop, Procreate, among others; Analysis of contemporary works in digital drawing, focusing on techniques, language, and strategies for presentation and exhibition.3. Development and management of an authorial project centered on the discovery and deepening of one's own language and style in digital drawing. Experimentation with new digital techniques, methods, and conceptual approaches that broaden the horizons of artistic practice in digital media. Approach to the entire life cycle of the project, from conception through execution, to presentation and exhibition.4. Final interactive presentation and oral presentation of the digital project developed over the course of the semester.
  •   This UC aims to serve as an advanced continuation of 'Digital Drawing Project I', with following objectives: .To encourage students to take risks and explore new techniques, methods, and concepts beyond the traditional realms of digital drawing, allowing them to discover new directions in their artistic practice and find creative solutions to unexpected challenges; .To strengthen authorial practice in digital drawing by deepening the development of an individualized language, aligned with each student's specific aspirations and investigations; .To cultivate habits and strategies that promote autonomy in the complex management of projects, from the research phase to presentation and exhibition, with a focus on advanced strategies for development and implementation; .To foster the skills necessary for creating interactive presentations in digital environments, as well as oral presentation skills, in order to prepare students for demanding academic and professional contexts.
  • Mandatory
  •   The teaching/learning process adopts a theoretical-practical approach. The theoretical component is underpinned by critical analyses and case studies to foster a deep understanding of contemporary techniques and concepts in digital design. This component provides students with a robust foundation for exploring new directions in their artistic practice, thereby solidifying their individualized language. Conversely, the practical component is primarily focused on hands-on classes, tutorials, and project work. Students have the opportunity to apply theoretical knowledge in practical exercises and an independent project, developed under the close supervision of the instructor. This approach allows for the practical and contextualized application of students' knowledge, facilitating autonomy in the complex management of projects. Continuous assessment is implemented to ensure that students are progressing in accordance with the objectives of the course unit.
  • Português
  • . 3dtotal Publishing. (2023). A guide to Digital Painting in Procreate: Landscapes & Plein Air. 3DTotal Publishing. . 3dtotal Publishing. (2020). Art Fundamentals 2nd edition: Light, shape, color, perspective, depth, composition & anatomy. 3DTotal Publishing. . Batista, T. (2011). As implicações do digital nas práticas contemporâneas do desenho. Tese de Mestrado. FBAUL. . Casey, M., e Edmonds, E. (2019). From Technological to Virtual Art. MIT Press. . Cousens, D. (2013). Digital Art: A Complete Guide to Making Your Own Computer Artworks. Arcturus Publishing Limited. . 3dtotal Team (Ed.). (2023). Digital Art Masters Volume 9. 3DTotal Publishing. . Lee, M. R., e Chen, T. T. (2015). Digital creativity: Research themes and framework. Em: Computers in human behavior, 42, 12-19. . Lovejoy, M., Vesna, V., e Paul, C. (2019). Context Providers: Conditions of Meaning in Media Arts. Intellect Books. . Manovich, L. (2001). The Language of New Media. MIT Press.  
  • 4
  • 0
  • 10
  • 1
  • IPLUSO6947-1-26034
  • Digital Design Project II
  • 26034
  • 6947
  • Drawing

Image and Thought

Category: Discipline
  • Não
  • The discipline promotes the critical analysis of the image within the scope of visual culture and visual theory, articulating reading, writing and debate around its meanings, uses and historical, political and social frameworks.  
  • Semestral

  •  

    A avaliação será realizada combinando elementos de avaliação contínua (15%) e avaliação final (85%). A avaliação contínua compreende assiduidade (5%) e participação ativa (10%) nas aulas. A avaliação final combina três elementos: (A) um conjunto de exercícios realizados ao longo do semestre no contexto das aulas (25%); (B) a realização de três testes intercalares manuscritos (20%); (C) a realização e entrega de um ensaio textual e visual de tema escolhido pelo estudante, que demonstre autonomia na aplicação das ferramentas de investigação, análise de diversas fontes e pertinência na integração da investigação do aluno no contexto científico (40%). O exame de recurso é constituído pela realização de um breve trabalho escrito (comentário crítico de carácter monográfico sobre um tema proposto pela docente) (50%) e pela apresentação ou repetição de exercícios feitos ao longo do semestre, caso algum destes se revele de aproveitamento insatisfatório (50%). Serão avaliadas as competências de escrita e utilização das metodologias transmitidas para a elaboração de todos os exercícios e trabalhos escritos. Serão ainda avaliadas as competências de leitura, pensamento crítico, organização de fontes e apresentação de diálogo com as leituras realizadas, articulação de conteúdos, estruturação do tema escolhido, e pertinência da integração dos temas trabalhados no contexto científico específico da área. As entregas são feitas através da plataforma Moodle de acordo com o calendário estabelecido para a unidade curricular (integrada no calendário letivo), definido entre a docente e os estudantes no início do respetivo semestre. De acordo com o Regulamento de Avaliação da IES, é obrigatório 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.

     

     

    Avaliação contínua - 15%

    Assiduidade e pontualidade

    5%

     

    Presença obrigatória em aula

    Estudantes regulares: 75%

    Trabalhadores-estudantes: 30%

    Participação nos debates propostos

    10%

     

    Avaliação periódica - 85%

    (A) Exercícios realizados em aula

    25%

     

    Guião da exposição (10%)

    Guião do filme (10%)

    Apresentação oral do projeto de ensaio (5%)

    (B) Testes manuscritos

    20%

    (C) Ensaio visual + textual individual

    40%

     

    The assessment will be carried out by combining elements of continuous assessment (15%) and final assessment (85%). Continuous assessment comprises attendance (5%) and active participation (10%) in classes. The final assessment combines three elements: (A) a set of exercises completed throughout the semester in the context of classes (25%); (B) the completion of three handwritten interim tests (20%); (C) the completion and submission of a textual and visual essay on a topic chosen by the student, demonstrating autonomy in the application of research tools, analysis of various sources, and relevance in integrating the student's research into the scientific context (40%). The resit exam consists of a short written work (a critical commentary of a monographic nature on a topic proposed by the professor) (50%) and the presentation or repetition of exercises completed throughout the semester, should any of these prove to be unsatisfactory (50%). Writing skills and the use of the methodologies taught in the preparation of all exercises and written work will be assessed. Reading comprehension skills, critical thinking, organization of sources and presentation of dialogue with the readings, articulation of content, structuring of the chosen theme, and relevance of the integration of the themes worked on in the specific scientific context of the area will also be evaluated. Assignments are made through the Moodle platform according to the schedule established for the curricular unit (integrated into the academic calendar), defined between the professor and the students at the beginning of the respective semester. According to the IES Assessment Regulations, students are required to meet a minimum attendance requirement in classes to pass the course. Failure to meet this requirement will result in the need to take an exam.

     

     

    Continuous assessment - 15%

    Attendance and punctuality

    5%

     

    Mandatory attendance

    Regular students: 75%

    Student-workers: 30%

    Participation in proposed discussions

    10%

     

    Periodic assessment - 85%

    (A) Exercises proposed in class

    25%

     

    Exhibition script (10%)

    Film script (10%)

    Oral presentation of the essay project (5%)

    (B) Manuscript exams

    20%

    (C) Visual+textual individual essay

    40%

     

     
  •  1. What is an image? 2. To illustrate is to represent 2.A. Colonial imagery 2.B. Decolonization of medical illustration 2.C. How can illustration be political? 3. Case study: Charlie Hebdo 3.A. The illustration of Muhammad (2015) 3.B. The illustration of Rokhaya Diallo (2025) 4. Artificial Intelligence 4.A. What it is and what it is not. 4.B. Mythologies and problems 4.C. Case studies 5. Accessibility issues
  • Problematicize the character and conceptualization of the image. Provide students with exposure to issues, authors, and schools of thought that help them critically engage with a set of texts within the scope of visual culture and visual theory, and develop interpretative skills regarding the reception, production, and nature of images. Students should learn to contextualize these references, interpret objects with nuance, dismantle polarizations, articulate arguments coherently, and conduct research through oral discussion and peer writing. An introduction to thinking about and through images will be covered, including their political context, cultural patterns, and historical antecedents (relations and reactions to the Western/Oriental context, semiotics and linguistics, capitalist system and class structure, feminisms and gender studies, post-colonialism), attempting to understand how these relations and patterns shape the way images are conceived, produced, and received.
  • Mandatory
  • The teaching methodology of this curricular unit is based on a theoretical approach, through the exposure of content in classes, with the help of audiovisual materials, bibliography, and access to support materials previously prepared by the teacher (bibliography, audiovisual material, suggestion of events). These materials will be delivered via the professor's institutional e-mail and later discussed in class. A level of involvement and discussion appropriate to the topics and level of studies in question is expected. Practical exercises will also be carried out focused on the themes proposed in class, with the aim of developing critical thinking skills also in writing: an oral presentation (20 minutes, conference format with discussion) of the theme proposed to work on in the written essay; writing a written essay. Time will also be reserved for face-to-face and e-mail tutorial guidance.
  • Português
  • Benjamin, W. (2010). A obra de arte na era da sua reprodução mecanizada. ESTC Berger, J.(2013). Modos de Ver. Antígona Debord, G. (2021). A Sociedade do Espectáculo. Antígona Didi-Huberman, G. (2012). Imagens Apesar de tudo. KKYM Kilomba, G. (2019). Memórias da plantação. Orfeu Negro Manghani, S. (2012) Image Studies, Theory and Practice. Routledge Mbembe, A. (2017). Crítica da Razão Negra. Orfeu Negro Mirzoeff, N. (ed.) (2001). The Visual Culture Reader. Routledge Mondzain, M. J. (2015). Homo Spectator. Ver > Fazer Ver. Orfeu Negro Mondzain, M. J. (2017). A Imagem Pode Matar? Nova Vega Nancy, J. L. (2022). O Prazer no Desenho. Documenta Rancière, J. (2022). O espectador emancipado. Orfeu Negro
  • 4
  • 0
  • 5
  • 1
  • IPLUSO6947-3-12228
  • Image and Thought
  • 12228
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  1. Image and Thought
  2. Image and Thought
  3. Multidisciplinary Illustration Project II
  4. Public Space and Community

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