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Presentation
Presentation
This core discipline offers an introduction to the general history of art and visual culture, based on case studies, to understand the relationships between art and design, their origins, developments, and multiple interconnections. Classes promote non-linear thinking about art history, associating and drawing parallels between different artists, periods, and artistic movements,from antiquity to the 21st century. This approach aims to demonstrate to students the recursiveness of history and the consequent importance of understanding the past to build the future. Analyze and understand that the contexts of art history and visual culture are inseparable from each other, and that they are articulated in theories and processes, allowing the construction of a network of strategies fundamental to the study of design. The course includes a practical component to investigate and graphically explore some of the concepts covered in class, using different techniques and materials.
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Class from course
Class from course
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Degree | Semesters | ECTS
Degree | Semesters | ECTS
Bachelor | Semestral | 4
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Year | Nature | Language
Year | Nature | Language
1 | Mandatory | Português
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Code
Code
ULHT93-15903
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Prerequisites and corequisites
Prerequisites and corequisites
Not applicable
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Professional Internship
Professional Internship
Não
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Syllabus
Syllabus
I - Introduction to visual culture with a problem 1. The image 1.1. Images and new readings of the «Real» II - Modernity and technicality 2. Modernity and the shattering of representation 2.1. Mosaics, archives, constellations, atlas III - Contemporary transmutations 3. Images and contemporaneity 3.1 Visual decolonization, body and identity(ies), Otherness 3.2 Globalization, ecologies and cross-cultural practices
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Objectives
Objectives
Understand a global and articulable vision of the History of Art and Visual Culture; Understand different theoretical and conceptual perspectives on artistic practice, design and image criticism; Promote the analysis and study of different image regimes throughout history based on case studies; Experiment with different methodologies and research and investigation strategies and understand modes of image massification, including digital transformations; Assimilation of heuristic and methodological procedures for the construction of historical-artistic-creative knowledge; Ability to conceive and develop with autonomy and competence an authorial research that contributes to the knowledge of the state of the art; Design and produce concepts, ideas and artifacts that incorporate a critical view; carry out practical projects that mirror theoretical research, deepening research strategies.
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Teaching methodologies
Teaching methodologies
The creative methodologies used invest in the use of disruptive strategies, introducing new ways of looking at the contents. Thus, the pedagogical design follows a line of thought with the aim of creating an articulated relationship between thinking, feeling and doing, reorganizing the order of these three elements into new geometries whenever possible. From a specific context (story, challenge, brief, etc.) students are encouraged to develop attitudes and behaviors in project or laboratory mode, aiming to work on skills and curriculum content in a dynamic and interactive way, mobilizing different capacities of the student and their various kinds of knowledge. Some methodologies involve the introduction of creative challenges (use of objects, images, sounds or people, events or actions), creation of artifacts (production of analogue/other micro-devices, graphic and written diaries, cartography), use of the body (body expression)
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References
References
Berger, John. Modos de ver. Lisboa: Antígona, 2018. ISBN 9789726083290. Clifford, J. (1988) The Predicament of Culture: Twentieth-Century Ethnography, Literature and Art. Cambridge, MA: Harvard University Press. Crary, J. (1990) Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge, MA: MIT Press. Foster, H. (ed.) (1988) Vision and Visuality. Seattle: Bay Press. Gombrich, Ernst Hans. The Story of Art (16 a Edição). Londres: Phaidon Press, 2013. ISBN 9780714833552. Jay, M. (1988) Scopic Regimes of Modernity?, in Hal Foster (ed.) Vision and Visuality. Seattle: Bay Press. Mirzoeff, N. (ed.) (1998) The Visual Culture Reader. London: Routledge. Mirzoeff, N. (1999) An Introduction to Visual Culture. London: Routledge.
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Assessment
Assessment
Unidade curricular organizada em sessões teórico-práticas, seminários e visitas guiadas. Metodologias e práticas pedagógicas ativas, e projetos learning by doing . Os seminários de ambiente inclusivo, promovendo o debate e a troca de ideias. A avaliação tem um carácter contínuo que incide na assiduidade, participação, cumprimento de prazos e empenho. O desenvolvimento do(s) projeto(s) proposto(s) para o semestre pode(m) ser individual(ais) e/ou coletivo(s). Realizar-se-ão, também, diferentes exercícios exploratórios que visam estimular a investigação, a criatividade e a inovação. Os momentos de avaliação são definidos pelo docente e têm carácter obrigatório. A avaliação final global resulta das ponderações dos diferentes Professores da UC, onde se inclui 90% nos trabalhos propostos (numa percentagem equitativa ao número de aulas) e 10% na participação/presenças. O exame de recurso será constituído pela realização da totalidade dos trabalhos exigidos durante o semestre, com as melhorias indicadas, assim como um novo exercício a ser realizado nesse mesmo dia.
A participação nos Workshops é de carácter obrigatório, e conta para a avaliação final da UC.
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Mobility
Mobility
No
