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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
The Specular Regime and Image Theory - The Critical Gaze and the Construction of Vision; Modernity, Archives, and Avant-Garde Practices - Montage Practices, Atlases, Archives; Deconstruction and Appropriation; Contemporary Tensions: Ecologies, Technology, Politics, Body, Identity, and Visual Decolonization; The Synthetic Image, AI, and Cyberculture; Visual Ecologies and Sustainability; Curatorial and Editorial Practices in Communication Design - The designer as researcher, curator, and visual editor.
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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
Learning by Doing & Action-Research: A combination of discussion-oriented lectures and hands-on studio or laboratory sessions. Construction of Devices and Visual Journals: Use of analog tools (sketchbooks, fanzines, montages) and digital tools (collaborative platforms). Seminar Classes and Transdisciplinary Dialogue: Discussion of key texts and project presentations in a curatorial defense format. Reflective Integration of GenAI: Use of Generative AI as an object of critical study and as an exploratory tool to support the visual process. Methodologies include the introduction of creative challenges (using objects, images, sounds, people, events, or actions), the creation of artifacts (producing analog micro-devices, sketchbooks, written journals, and cartographies), and the 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); 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; Mirzoeff, N. (ed.) (1998) The Visual Culture Reader. London: Routledge. Mirzoeff, N. (1999) An Introduction to Visual Culture. London: Routledge; Brown, K. (Ed.). (2026). Artificial Intelligence and Art History: Looking at Pictures in an Algorithmic Culture. Liverpool University Press / The British Academy Eldridge, L. (2026). Robotic Vision and Virtual Interfacings: Seeing, Sensing, Shaping. Edinburgh University Press Shanbaum, P. (2026). Aesthetics, Gender, and Disability in Interactive Digital Art and Performance Art. Routledge Wang, Y. (2025). Contemporary Chinese Graphic Design Practice. Bloomsbury Visual Arts.
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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 pelos docentes 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.
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Mobility
Mobility
No
