- Details
- Category: Discipline
- Não
- This curricular unit explores the relationship between art and nature, promoting artistic experimentation, ecological awareness, and critical reflection based on the legacy of land art and environmental art.
- Semestral
A avaliação dos conhecimentos e competências traduz uma ponderação que tem em conta a participação e acompanhamento efetivo do aluno em aula, o trabalho desenvolvido e empenho, a resposta adequada aos exercícios propostos e a qualidade do desempenho, aferidos em:
- Avaliação contínua: pontualidade, participação e assiduidade (75%) cujo incumprimento obriga ao exame (10%)
Reflexão crítica de uma obra artística com um máximo de 1000 palavras, sobre a relação arte e natureza (15%);
Exercícios rápidos de concretização plástica realizados em aula (15%)
Ensaio Visual - A experiência do lugar (25%)
Proposta Site-Specific no espaço natural (25%)
Apresentação oral do trabalho desenvolvido (10%)
Caso o estudante não tenha uma nota positiva ou queira fazer melhoria da nota obtida na avaliação final pode recorrer ao exame de recurso. Este exame replica a avaliação final, mas para o seu sucesso, o estudante deve apresentar uma melhoria do seu trabalho. Para os estudantes trabalhadores e finalistas há ainda o exame de época especial que acontece mais tarde relativamente ao exame de época de recurso.
O exame de recurso é constituído pela entrega de todos os exercícios do semestre (50%) e do enunciado do exame (50%)
- The theoretical and practical course explores artistic responses to the poetics of natural space and environmental sustainability. It promotes the web of interrelations between art and the physical, biological, cultural, political and historical aspects of ecological systems. It questions the relationship between man and nature from three points of view: materiality, incorporation/wandering and ecological awareness. Module I (theoretical) . From Landscape Painting to Land Art; . Drift Theory and Psychogeography; . Environmental Art, Sustainability and Activism. Module II (practical) . Formal and material exploration of elements associated with natural forces such as wind, water or sunlight; . Visual essay linked to the poetics of the natural place; . Proposal for a site-specific project involved in a critical reflection on the theme of sustainability.
- This course aims to autonomise the students' sense of project applied to the relationship between art and nature. Starting from the artistic legacy linked to land art and environmental art, the theoretical-practical course develops, through the proposed exercises, the capacity for experimentation, intellectual curiosity, ecological awareness and attentiveness to the poetics of place, leading to a demanding critical attitude within artistic practice and culture. Specific objectives: . To develop the ability to establish relationships between the poetic and/or political dimension of natural space and the plastic properties of the materials of that same place; . To develop a formal and critical vocabulary by analysing and discussing works of art that deal with environmental themes. . Focusing visual analysis and interpretation on the forces of nature (wind, rain, etc.). . To develop creative skills and create visual work based on nature/sustainability/ecology themes.
- Optional
- In this course, theory and practice are articulated in an integrated way, leading to the realisation of two visual works, an essay and a sitespecific intervention proposal. The theoretical classes aim to broaden visual culture, curiosity and knowledge of the relationship between art and nature. They should lead students to understand the main themes of contemporary environmental art practice through research, viewing works and discussing them, paying special attention to how artists engage with the natural place, its poetic power and its fragility in the Anthropocene. Active student participation is encouraged, with students expressing their opinions on the topics covered. The theoretical component is accompanied by practical drawing exercises and small three-dimensional constructions. Plastic experimentation is promoted alongside a conceptual approach to the theme of nature.
- Português
- BACHELARD, G. (2012) A Água e os Sonhos - Ensaio sobre a Imaginação da Matéria. São Paulo: Martins Fontes BENNETT, J. (2010) Vibrant Matter: A Political Ecology of Things. Durham: Duke University Press BERGSON, H. (1990) Matéria e Memória: Ensaio sobre a relação do corpo com o espírito. São Paulo, Martins Fontes CARNEIRO, A. (2015) Alberto Carneiro: Árvores, Flores e Frutos do Meu Jardim. Lisboa, Sistema Solar - Documenta CIVARDI, G. (2021). Drawing- A Complete Guide: Nature. Kent, Search Press GIL, J. (2005). A imagem nua e as pequenas perceções: estética e metafenomenologia. Lisboa: Relógio d' Água KASTNER, J. (ed) (1998). Land and Environmental Art. Nova Iorque, Phaidon Press KAUPELIS, R. (1980). Experimental Drawing. New York: Watson-Guptill Pubications TUFNELL, B. (2019). In Land: Writings Around Land Art and its Legacies. City of Winchester, Zero Books WALLIS, C. W. (ed) (2017). Stones, Clouds, Miles: A Richard Long Reader. Londres, Ridinghouse
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- 5
- 1
- IPLUSO7066-12709
- Art and Nature
- 12709
- 7066
- Visual Artes and Digital Media
- Details
- Category: Discipline
- Não
- Curricular unit that deepens the practice of artistic installation.
- Semestral
O recurso à Inteligência Artificial não é considerada uma ferramenta de trabalho nesta UC, exceto se conceptualmente justificado pelo estudante e devidamente autorizado e orientado pela docente. Esta condição prende-se com o facto de que esta UC visa exercitar no estudante a capacidade de desenvolver o seu pensamento crítico e com isso aprimorar a sua identidade e autenticidade artística. Neste sentido, assume-se que todas as adversidades que poderão surgir (bloqueios, dificuldade em organizar o pensamento, o discurso, aplicar e articular conceitos e ideas, etc.) fazem parte do processo de aprendizagem e devem resultar do exercício e esforço criativo, intelectual, e natural, do estudante, de quem se espera uma gradual aprendizagem e melhoramento destes aspetos ao longo do semestre.
35% Exercícios (Problem Based Learning)
35% Projeto Autoral (Project Based Learning) 20% Dossier do Projeto Autoral (incluindo a informação registada no diário de aula)
10% Avaliação contínua, intercalar e final com critérios de assiduidade (75% de presenças), e inclui parâmetros de pontualidade, participação nos debates da aula e orientação tutorial.
A avaliação em época de recurso e em época especial implica a apresentação oral de todos os trabalhos solicitados ao longo do semestre, incluindo o Dossier de Projeto e o portefólio.
Os critérios gerais de avaliação desta UC:
• Integridade e autenticidade intelectual, académia e artística;
• Capacidade de articulação de conceitos e procedimentos provenientes da produção artística e conducentes ao desenvolvimento de uma identidade artística e autoral;
• Qualidade do trabalho e resolução criativa e plástica coerente com a componente conceptual e específica do projeto;
• Capacidade de formular questões relativas aos conteúdos programáticos e estabelecer relações críticas entre os mesmos;
• Competências de desenvolvimento de metodologias adequadas a cada projeto.
Os critérios específicos de cada exercício serão explicitados em cada enunciado e de acordo com a tipologia e objetivos de cada um, podendo alterar de ano letivo para ano letivo.
Uma vez que esta UC dá continuidade a 'Instalação Artística I" os estudantes podem continuar a Instalação artística que iniciaram no semestre anterior, aplicando uma lógica de melhoria a cada item em avaliação, reforçando a sua capacidade de resiliência, de auto-crítica e de apresentar hipoteses de continuidade do seu projeto.
- 1. A deeper understanding of the historical, conceptual, theoretical and technological contexts of installation art. The specificity of the site; social and political issues related to the natural and urban environment; Land art; environmental art; exchange and interaction; reception, participation and community; time and narrative; performance as space activation. 2. Practical and experimental approaches to creative processes and their articulation with different technologies. 3. Development and deepening of working methods and introduction to the preparation of a Project Brief: description, definition of the problem (concepts and references); studies, sketches and experiments; production strategies and phasing of tasks; documentation and archiving.
- At the end of the semester, students are expected to be able to: - Deepen the historical and social context of installation in contemporary art; - Consolidate and apply notions of space and context, considering the singularities and specificities of place (site-specific), public or private space, spectator reception and participation; collaboration and community; ecology, nature and environment; - Encourage critical reflection and create an authentic and idiosyncratic discourse on their artistic practice, placing it in a contemporary perspective. - Be able to conceive and produce installation projects based on individual themes or concepts, materials and media. - Document and produce their own research. - Develop working methodologies for drawing up installation Project Briefs, according to the characteristics of the location, budget, production and work teams.
- Optional
- A teaching methodology based on active student participation is adopted, providing in advance the corresponding teaching resources on Moodle included in the syllabus, allowing students to come to class prepared (Flipped Classroom), debating in groups on the themes/artists/works they consider most relevant to their artistic practice and thus formulating their own questions.
- Português
- BISHOP, C. (2012) Artificial Hells. Participatory Art and the Politics of Spectatorship. London: Verso.. COULTER-SMITH, Graham (2007) Deconstructing Installation Art. Fine Art and Media Art, 1986-2006. London: CASIAD Publishing. GOLDBERG, R. (1979) Performance. Live Art 1909 to the Present. New York: H. N. Abrams. KAYE, N. (2000) Site-specific Art Performance, Place, and Documentation. New York and London: Routledge. MALPAS, W. (2007) Land Art: A Complete Guide to Landscape, Environmental, Earthworks, Nature, Sculpture and Installation Art. Crescent Moon Publishing. MONDLOCH, K. (2010) Screens: Viewing Media Installation Art. Minneapolis: University of Minnesota Press. SUDERBURG, E. (2000) Space, Site, Intervention: Situating Installation Art. Minneapolis: University of Minnesota Press. WHITE, M. (2006) The Body and the Screen. Theories of Internet Spectatorship. Cambridge: The MIT Press.
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- 1262
- 5
- 1
- IPLUSO7066-26056
- Artistic Installation II
- 26056
- 7066
- Visual Artes and Digital Media
- Details
- Category: Discipline
- Não
- This curricular unit aims to develop technical and artistic skills in the field of digital animation.
- 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%.
- 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, key-frames and in-betweens); . 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.
- Optional
- 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.
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- 5
- 1
- IPLUSO7066-15914
- Digital Animation
- 15914
- 7066
- Visual Artes and Digital Media
- Details
- Category: Discipline
- Não
- Curricular unit dedicated to critical thinking about images.
- Semestral
A avaliação será realizada combinando elementos de avaliação contínua (20%) e avaliação final (80%). A avaliação contínua compreende assiduidade (5%) e participação (15%) nas aulas. A avaliação final combina dois elementos: (A) uma apresentação oral (de 20 minutos, em formato de conferência, com discussão posterior) do tema proposto para trabalhar no trabalho escrito (30%); (B) redação de um trabalho escrito (50%) a partir de um tema previamente proposto, relacionado com as propostas dos conteúdos da unidade curricular, e desenvolvendo criticamente as questões abordadas. O exame de recurso é constituído pela realização de um breve trabalho escrito (comentário crítico de carácter monográfico sobre um objecto proposto pelo aluno) (50%) e pela apresentação ou repetição dos exercícios feitos ao longo do semestre, caso algum destes se revele de aproveitamento insatisfatório (50%). Serão avaliadas as competências de escrita e utilização das referências 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 por via moodle de acordo com o calendário estabelecido para a unidade curricular (integrada no calendário letivo), definido entre a docente e os alunos no início do respetivo semestre. 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.
- Image . Definitions (idea, eidos, imago, phantasma, phantasia, imagination) . Visual and non-visual image: visuality in the definition of the image . Image, language, and mimesis. Rhetoric, poetics, semiotics, and visual theory. Representation . Definitions (presence, presentation, representation). Representation in the definition of postmodernism and subsequent concepts. . What is the drawing? Art and art systems. Drawing as technique, discipline, gesture, and desire. Differentiation between the concepts of figure and formative force. Aesthetic and Political . Differentiation between politics and political. The neutral image and the contaminated image: aesthetic beliefs and political agencies . Non-representation theories. The unrepresentable and the desire for non-mediation. Testimony and representation of trauma (holocaust, feminism, blackness, diaspora, postcolonial studies, place of speech, fiction, and document). Examples, polemics and case studies.
- 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.
- Optional
- 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.
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- 1262
- 5
- 1
- IPLUSO7066-12228
- Image and Thought
- 12228
- 7066
- Visual Artes and Digital Media
- Details
- Category: Discipline
- Não
- Theoretical-practical curricular unit that promotes critical reflection on the notion of (inter)discipline in artistic practice.
- Semestral
A avaliação é realizada combinando elementos de avaliação contínua (20%) e avaliação final (80%).
A avaliação contínua compreende assiduidade (5%) e participação (15%) nas aulas.
A avaliação final combina dois elementos:
1) uma apresentação oral (de 20 minutos, em formato de conferência, com discussão posterior) do tema proposto para trabalhar no
trabalho escrito (30%);
2) redacção de um trabalho escrito (50%) a partir de um tema previamente proposto, relacionado com as propostas dos conteúdos da unidade curricular, e desenvolvendo criticamente as questões abordadas.
O exame de recurso é constituído pela realização de um breve trabalho escrito (comentário crítico de carácter monográfico sobre um objecto proposto pelo estudante) (50%) e pela apresentação ou repetição dos exercícios feitos ao longo do semestre, caso algum destes se revele de aproveitamento insatisfatório (50%).
São avaliadas as competências de escrita e utilização das referências transmitidas para a elaboração de todos os exercícios e trabalhos escritos. São avaliadas as competências de leitura (capacidade de interpretar), 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 via moodle de acordo com o calendário estabelecido para a unidade curricular (integrada no calendário letivo), definido entre docente e estudantes no início do respetivo semestre.
- I. Thinking about disciplinary praxis I.1. The ritual, the ceremony, the theater. The arts system. The case of the Gesamtkunstwerk. The difference between art and life: the borders of representation. The notion of discipline. Differentiations between art and technique. I.2. The disciplinary fluidification of the 20th and 21st centuries. I.3. Current notions: visual arts; performing arts; movie theater; digital arts; body art; literature and writing; design and craftsmanship; architecture; public art; community agency; et al. The notion of praxis applied to an artistic practice. II. Case studies applied to students.
- This unit is dedicated to questioning the character and conceptualization of the notion of interdiscipline associated with an artistic practice. The aim is to provide master's students with an exploratory place, conceptually and using exercises associated with their research and artistic interests. To this end, the UC is structured around two moments: the first, contact with questions, authors and concepts that help them problematize interdisciplinary practices and their own notions of practice and discipline in different contexts and historical moments , ideological and cultural. They must learn to contextualize these references, interpret objects with nuances and undo polarization, articulate arguments coherently, and develop an investigation through oral and written discussion between peers. An introduction to critical thinking about the structure, form and contents of different objects and works will be worked on, which is intended to be transferred to your own practices.
- Optional
- 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
- BARTHES, Roland (1977). Image Music Text. London: Fontana Press. BERGER, John (2013). Modos de Ver. Lisboa: Antígona BRECHT, Bertold (1964). Brecht on theater. New York: Hill and Wang. CONDEE, William (2016). The Interdisciplinary Turn in the Arts and Humanities. In Issues in Interdisciplinary Studies, No. 34, pp. 12-29. DEBORD, Guy (2021). A Sociedade do Espectáculo. Lisboa: Antígona. FOUCAULT, M. (2013). Vigiar e Punir: o Nascimento da Prisão. Lisboa: Edições 70. FRODEMAN, R.; KLEIN J. T.; MITCHAM C. (2010). The Oxford handbook of interdisciplinarity. Oxford: Oxford University Press. KLEIN, J. T. (1990). Interdisciplinarity: History, theory, and practice. Detroit: Wayne State University Press. MANGHANI, Sunil (2012) Image Studies, Theory and Practice. London: Routledge MIRZOEFF, Nicholas (2001). The Visual Culture Reader. London: Routledge WEINGART, P.; Stehr, N. (2000). Practicing interdisciplinarity. Toronto: University of Toronto Press.
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- IPLUSO7066-26017
- Interdisciplinary Practices
- 26017
- 7066
- Visual Artes and Digital Media