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Portrait and Anatomy

Details
Category: Discipline
  • Não
  • Curricular unit dedicated to the exploration of human anatomy and portraiture.
  • Semestral
  • Esta UC segue um método de avaliação contínuo e presencial. Ponderação da Avaliação:
    . Trabalhos práticos: 75%
    . Diário Gráfico: 15%
    . 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%.

     

    This course unit employs a continuous and in-person assessment method. Assessment Weighting:
    . Practical assignments: 75%
    . Sketchbook: 15%
    . 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 work completed throughout the semester, which will also carry a weight of 50%.

  • . History of Portraiture: From Antiquity to Contemporary Times. . Foundations of Artistic Anatomy: Structural lines, proportions, positive and negative space, perspective and scale in anatomical representation, encompassing concepts such as anatomical planes, musculature, and skeletal systems.  .Modes of Drawing: Sketch, draft, detail, and nuance. .Techniques of Representation: Light, shadow, texture, and expression. . Exploration of a Variety of Mediums: Including graphite, charcoal, ink, and digital platforms. . Study of the Human Face: Characteristics, emotions, and individuality. . Maintenance of a visual diary as a record of the creative and investigative process throughout the semester
  • The course aims to equip students with a deep understanding of human anatomy, emphasizing its application in the creation of accurate and artistically expressive portraits. The intentions are: . To endow students with both theoretical and practical knowledge regarding human anatomical structure. . To cultivate technical skills in portraiture, taking into account proportion, perspective, and technique. . To foster a critical appreciation of the representation of the human body in art, namely by presenting the Portrait as a genre (of Painting) and its developments. The pedagogical approach merges theory and practice, ensuring that students grasp anatomical concepts and apply them in the context of artistic creation, in alignment with the proposed objectives, and understand portraiture as an ancient practice in the history of art.
  • Optional
  • The course unit aims to integrate theory and practice in the study of human anatomy and its artistic representation. The syllabus is organized in a logical and systematic progression, facilitating the achievement of these objectives. The historical approach to portraiture provides students with a cultural and aesthetic context that serves as a foundation for critical understanding of human representation in art. Exploration of the fundamentals of artistic anatomy leads to the acquisition of both theoretical and practical knowledge about human anatomical structure. This approach is complemented by the instruction of drawing and representation techniques. The study of the human face, along with its individualized and emotional characteristics, aligns with the objective of developing specific technical skills in portraiture.
  • Português
  • . Bammes, Gottfried. (1990). L'étude du corps humain. Dessain et tolra. . Goldfinger, E. (2004). Anatomia Humana para Artistas. Edições Contraponto. . Gombrich, E. H. (2001). A História da Arte. Editora LTC. . Hale, R. (1977). Drawing Lessons from the Great Masters. Watson-Guptill. . Lauricella, Michell. (2018). Anatomia Artística. Editorial Gustavo Gili, SL. . Lauricella, Michell. (2018). Anatomia Artística 2: como desenhar o corpo humano de forma esquemática. Editorial Gustavo Gili, SL. . Loomis, A. (2021). Figure drawing for all it's worth. Clube de Autores. . West, S. (2004). Portraiture. OUP Oxford. . White, J. (2011). The Artist's Guide to Human Anatomy. Dover Publications. . 3DTotal (2022). Beginner's guide to creating portraits: Learning the essentials & developing your own style. 3DTotal Publishing.
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  • 1
  • IPLUSO7066-26055
  • Portrait and Anatomy
  • 26055
  • 7066
  • Visual Artes and Digital Media

Transmedia Narratives

Details
Category: Discipline
  • Não
  • Curricular Unit dedicated to the creation of transmedia narratives and universes, developing skills in worldbuilding, intellectual property and production of visual and textual content.
  • Semestral
  • This course follows a method of continuous and in-person assessment. Assessment Weighting:
    15% Worldbuilding (template completion)
    15% Design and production of a map of the developed world 15% Description of characters and logline
    15% Production of a character sheet with turnaround
    15% Design of a visual scheme (infographic) or plan (report) for the transmediation of the fictional world and SWOT analysis of the project
    15% Design of a visual scheme (infographic) or plan (report) for the transmedia dissemination of the fictional world and production of a poster in the main narrative
    10% Continuous assessment: punctuality, participation, and attendance


    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 carried out over the semester, which will also weigh 50%.

  • 1. WORLDBUILDING Creation of an expanded fictional world suitable for transmediation . Historical and conceptual notions of worldbuilding and transmedia storytelling; . Basic notions of narrative structures and narrative genres; . Fill in a worldbuilding template; . Production of map. 2. TRANSMEDIA NARRATIVE Creating the foundations of a story within the fictional world . Genres of transmedia storytelling (intracompositional, intercompositional, hybrid); . Conception, creation and description of characters (physical, psychological and social description, character sheet and turnaround); . Production of a logline (protagonist, objective, obstacle). 3. TRANSMEDIATION PROJECT Creation of the structure for the implementation and dissemination of a transmedia franchise . Conception of the appropriate structure for the transmediation of the developed expanded fictional world; . Description of the transmedia dissemination plan for the fictional world.
  • The objectives of this CU are: Acquire technical and artistic knowledge and skills in the production of transmedia franchises focusing on worldbuilding, the development of appealing intellectual properties and their dissemination. Develop specific skills to create stories, characters, maps, and promotional materials for a transmedia intellectual property. Analyze, interpret, and decode transmedia narratives through their components. The exercises proposed in the evaluation allow to continuously stimulate the ability to produce textual and graphic content, as well as the acquisition of skills in the interpretation and exploratory creation of concepts. The approach to the syllabus through the development of exercises allows the continuous mobilization of knowledge and technical skills and facilitates the acquisition of vocabulary and methodological skills leading to an easier integration in the labor market.
  • Optional
  • The teaching-learning process adopts a theoretical-practical approach. Practical examples and real case studies are used to illustrate and contextualize theoretical concepts, thereby facilitating their understanding and application. Direct engagement with current technologies is a key element, providing students with the necessary practical exposure to develop technical skills that are later applicable in a professional context. Work and research methodologies are taught and progressively implemented throughout the semester. Techniques such as brainstorming, bibliographic research, and critical analysis are incorporated to stimulate independent thinking and problem-solving. Critical analysis plays a pivotal role, being integrated into classroom discussions; it fosters a constructive feedback environment, allowing for ongoing reflection and adjustments in the learning process.
  • Português
  • Arnaut, R. (2015). Guia Audiovisual Volume 9: Transmídia. Objetiva. Arnaut, R., e Terra, R. (2015). Guia Bíblia Transmídia. Objetiva. Bernardo, N. (2015, 20 de novembro). How to Build an Exciting and Convincing Transmedia Storyworld. Nuno Bernardo. https://nunobernardo.com/build-exciting-convincing-transmedia-storyworld Bertetti, P. (2014). Toward a Typology of Transmedia Characters. International Journal of Communication, 8, 2344–2361. https://ijoc.org/index.php/ijoc/article/view/2597 Campbell, J. (2004). The Hero with a Thousand Faces. Princeton University Press. Jenkins, H. (2006). Convergence culture: Where old and new media collide. University Press. Mateu-mestre, Marcos (2010). Framed Ink: Drawing and Composition for Visual Storytellers. Design Studio Press. Mckee, R. (1997). Story: Substance, Structure, Style, and the principles of Screenwriting. Methuen. Pratten, R. (2015). Getting Started in Transmedia Storytelling: A Practical Guide for Beginners, (2ª Ed).
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  • 1262
  • 5
  • 1
  • IPLUSO7066-26054
  • Transmedia Narratives
  • 26054
  • 7066
  • Visual Artes and Digital Media

Seminar in Art Research

Details
Category: Discipline
  • Não
  • Curricular unit dedicated to developing critical reflection skills on contemporary art.
  • Semestral
  • Os estudantes deverão realizar um trabalho de investigação teórico-prático com vista ao desenvolvimento de um projeto pessoal de criação artística, documentando o processo de reunião de informação, estabelecimento de uma metodologia, ensaios e inflexões no processo. O trabalho final deve ser apresentado à turma e defendido teoricamente pelo estudante, valendo o trabalho produzido 30% da avaliação final e a apresentação pública 30% da avaliação final; os restantes 40% referem-se à qualidade de participação nas aulas, sobretudo nos momentos de debate crítico e reflexão conjunta com o docente ao longo do semestre.

  • 1. 1.1. In-depth notions of art and visual culture; 1.2. Critical analysis of European and American cultures in the 20th century: study of issues related to modernity and avant-garde: ephemeral action, break with tradition and hybridity; 1.3. Presentation, analysis and discussion of the notion of contemporary times and the museum crisis. 2. Visual Culture and contemporary political and aesthetic debates: 2.1. Artistic production and contemporary movements: civil rights, feminism, migrations, communitarianism and minorities, queer culture, post-colonialism and decolonialism; 2.2. Disciplines and communicational and technological hybridization. 3. Artistic production methodologies 3.1. The global communication society and the web: particularisms and aesthetic hegemonies; documentation and appropriationism; transmediality; 3.2. The theoretical and laboratory processes of individual projects: organization of information, experimentation and possibility of formalization and exhibition.
  • Each topic is studied with the program support the observation of art and cultural objects (texts, films, ...) in the classroom and in the exercise of drafting critics. The aim of the course focuses on the skills of reflection on the contemporary art, good observation and interpretation of cultural elements produced by different social worlds, deepening the relationship with the arts in various domains and multiple instances of communication.
  • Mandatory
  • Theoretical-practical study based on the analytical and critical observation of paradigmatic works of contemporary art, accompanied by the contextualized study of circles of community, minority or peripheral artistic production in the global context; study and analysis of seminal contemporary texts by authors, theorists and artists of our time, exploring their relationship with the history of visual culture and politicalsocial history; study of documents and documentary films about artistic production and its relationship with new media and modes of communication in the digital economy; study of the web, social networks and virtual reality as new creative platforms.
  • Português
  • Alpers, Svetlana. ; “The Museum as a Way of Seeing” in Exhibiting Cultures: The Poetics and Politics of Museum Display. Ivan Karp & Steven D.Lavine (eds.). , London: Smithsonian Institution Press. , 1999 (25-32.) Berman, Marshall; “Modernidade Ontem, Hoje e Amanhã” in Tudo o que é Sólido Dissolve-se no Ar. A Aventura da Modernidade., Lisboa: Edições 70., 1982 ( 15-40) Youngblood, Eugene; “The Artist as Ecologist” in Expanded Cinema, , 1970 (345-351.)
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  • 1
  • IPLUSO7066-26049
  • Seminar in Art Research
  • 26049
  • 7066
  • Visual Artes and Digital Media

Theories of Art II

Details
Category: Discipline
  • Não
  • This curricular unit is dedicated to the development of critical thinking and writing about art, focusing on the analysis of works and concepts of contemporary visual arts through different theoretical and philosophical approaches.
  • 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:
    A) uma comunicação oral de 15 minutos partir de um tema proposto e formato de conferência, que inclui debate com colegas (25%);

    B) recensão crítica de um texto à escolha de acordo com os conteúdos lecionados (25%);
    C) ensaio escrito a partir de um tema previamente proposto, relacionado com as propostas dos conteúdos da UC, e desenvolvendo criticamente as questões abordadas (30%).
    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 e de interpretação do lido, 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 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 resulta na necessidade de prestação de exame.


    O exame de recurso é constituído pela realização de uma recensão crítica a um texto incluído nos conteúdos programáticos (50%) e uma prova oral.


    É esperado dos estudantes uma atitude de integridade académica relativamente às práticas de citação e no uso adequado de IA.

  • This CU continues Art Theory I. The contents are structured by bringing together the theories that underpinned the development of the visual arts during the 20th and 21st centuries and some of the thematic guidelines of contemporary art based on the writings of artists, texts by critics, philosophers, politicians and literary figures. Module 1 Materiality VS Immateriality: - Critique of the medium and the post-medium condition; -Rosalind Krauss and Yves-Alain Bois  Formlessness; - Didi-Huberman - Memory and Materiality - The idea of Materiality in Giuliana Bruno.   Module 2. Authorship Vs Participation: - Roland Barthes and the death of the author; - Gilles Deleuze and the Anti-Oedipus; - Claire Bishop and the concept of Participation.   Module 3. Sustainability, Community and Activism. - Tim Ingold, Subsistence, Housing and Skill; - Jacques Rancière and the Politics of the Sensible; - Guerrilla Girls and Judith Butler, Gender activism; - Climate activism, positions and contradictions.
  • General objectives: . To contextualize art theory in the history of art in conjunction with ideas and concepts from other areas of knowledge such as sociology, anthropology, politics and psychology; . To identify and distinguish between the fundamental theoretical frameworks that have molded the practice and theory of contemporary art from the perspective of a visual artist. Specific objectives: . To recognize the inherent theoretical problems of an aesthetic object; . Identify key aesthetic currents of the 20th and 21st centuries; . Interpret fundamental texts of art theory and relate them to artistic practices; . Examine and relate students' studio practice to art theory; . Develop well-informed aesthetic positions that reject, develop or support important theoretical issues related to art theory; . Debate and formulate theoretical discussions in groups and among peers.
  • Mandatory
  • The curricular unit's teaching and learning methodologies were designed in accordance with the institution's pedagogical model and the unit's specific objectives. In addition to the theoretical approach, through the exposition of content in class, with the aid of audiovisual materials, bibliography and access to support materials previously prepared by the lecturer (bibliography, audiovisual material, suggested events), all subjects are taught with the encouragement of critical dialogue, in the form of debates, visits to exhibitions and artists' studios and through the contribution of guests.
  • Português
  • . AA.VV. (2008) The Art of Participation – 1950 to Now. Sa?o Francisco: San Francisco Museum of Modern Art (Thames & Hudson). . BARTHES, Roland (1987) Rumor da Língua. Edições 70. .BRUNO, Giuliana (2014) Surface - Matters of Aesthetics, Materiality, and Media. Chicago: The University of Chicago Press. . BUTLER, Judith (2015). Senses of the Subject. Nova Iorque: Fordam University Press. . DELEUZE, Gilles e GUATTARI, Felix (2004) O Anti-E?dipo: Capitalismo e Esquizofrenia 1, Lisboa: Assi?rio e Alvim. . DIDI-HUBERMAN, Georges (2011). O que no?s vemos, o que nos olha. Porto: Dafne Editora. . INGOLD, Tim (2013). Designing environments for life. In Anthropology and natur. In HASTRUP, K., ed. Abingdon: Routledge, pp. 233-246. . KRAUSS, Rosalind (1999). Bachelors. Cambridge, Londres: The MIT Press, OCTOBER Books. . . RANCIE?RE, Jacques (2010). Este?tica e Politica – A Partilha do Sensi?vel. Porto: Imago.
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  • 1
  • IPLUSO7066-26050
  • Theories of Art II
  • 26050
  • 7066
  • Visual Artes and Digital Media

Dissertation Project Seminar

Details
Category: Discipline
  • Não
  • Curricular unit dedicated to research in art.
  • Semestral
  • Esta UC segue um método de avaliação contínuo e presencial. Ponderação da avaliação:
    Assiduidade, participação e pontualidade: 20% Meta-dissertação: 80%
    A meta-dissertação é avaliada por um júri composto pelos três docentes da unidade curricular. A avaliação sé baseada em critérios previamente estabelecidos e tem em conta a qualidade académica e artística do trabalho apresentado.
    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.
    Exame de Recurso:
    O exame de recurso é constituído pela apresentação do documento meta-dissertativo e de uma apresentação oral onde o estudante expõe a sua investigação realizada até ao momento.

  • Module 1: Investigation in Art 1.1. Artistic Investigation and Practice as Research 1.2. Theoretical Investigation 1.3. Intersection of Theoretical and Artistic Investigation 1.4. Specific Tools for Investigation in Art 1.5. Conceptualization and Translation of Artistic Investigation Module 2: Documentation and Presentation of Artistic Projects 2.1. Photographic and Videographic Record of Artworks and Artistic Processes 2.2. Archiving and Organization 2.3. Descriptive Memory and Captioning 2.4. Portfolio 2.5. The Role of Narrative in Artistic Documentation (Case Studies) 2.6. Meta-dissertation Module 3: Ethics in Artistic Practice and Research 3.1. Copyright and Intellectual Property 3.2. Ethics in Art Research 3.3. Consent and Representation 3.4. Making References in an Ethical and Academic Manner 3.5. Cultural and Contextual Considerations
  • . Acquire an understanding of research methodologies in art, both theoretical and practical; . Grasp the role of "Practice as Research" within the artistic context; . Develop skills for adequately documenting both the artistic process and its outcomes; . Learn to construct a descriptive account and a cohesive, impactful portfolio; . Gain deep comprehension of ethical considerations in artistic practice and research; . Understand and apply principles of copyright and intellectual property; . Develop a critical approach to evaluate relevant literature and artistic works, integrating such analysis into one's own research; . Enhance the capability to organize research and artistic materials, plan project execution, and manage time effectively; . Refine oral and written communication skills for presenting ideas and results in a clear and persuasive manner.
  • Mandatory
  • The teaching methodology of this curricular unit is based on three distinct methodological pillars, each contributing in a unique way to the student's comprehensive training. The first pillar is theoretical exposition. Each module is supported by theoretical classes, supported by audiovisual, bibliographic and other support materials prepared in advance by the teaching staff. The second pillar is tutorial guidance. In this context, teachers and supervisors work closely with students to establish research parameters and outline the final project, namely with the structuring of a well-structured me-dissertation document that must be developed in the 2nd semester. The third methodological pillar is the integration of invited experts.
  • Português
  • . Bury, S. (1995). Artists' books: the book as a work of art, 1963-1995. Scholar Press. . Sousa, G. (1988). Metodologia da Investigação, Redação e Apresentação de Trabalhos Científicos. Livraria Civilização. . Frada, J. J. C. (2005). Novo Guia Prático para a Pesquisa, Elaboração e Apresentação de Trabalhos Científicos e Organização de Currículos. Sete Caminhos. . Garner, S. (2008). Writing on Drawing: Essays on Drawing Practice and Research. Intellect. . Molina, J. J. G. (1999). Estrategias Del Dibujo en el Arte Contemporáneo. Cátedra. . Molina, J.J. G. (2005). Los Nombres del Dibujo. Cátedra. . Rose, G. (2022). Visual methodologies: An introduction to researching with visual materials. Visual methodologies, 1-100. . Shaw, I. (2008). Ethics and the practice of qualitative research. Qualitative social work, 7(4), 400-414. . Sousa, G. V. e (1988). Metodologia da Investigação, Redação e Apresentação de Trabalhos Científicos. Livraria Civilização Editora.
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  • 30
  • 2
  • IPLUSO7066-26401
  • Dissertation Project Seminar
  • 26401
  • 7066
  • Visual Artes and Digital Media
  1. Dissertation / Artistic Project Work
  2. Dissertation
  3. English
  4. Financial Accounting I

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