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Artistic Technologies
Scholar Year: 2022/2023 - 2S
| Code: |
OP0001 |
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Acronym: |
TECART |
Courses
| Acronym |
N. of students |
Study Plan |
Curricular year |
ECTS |
Contact hours |
Total Time |
| ANIM |
|
Study Plan |
1º |
5,0 |
60 |
135,0 |
| LAS |
20 |
Study Plan |
1º |
5,0 |
60 |
135,0 |
Teaching language
Portuguese
Intended learning outcomes (Knowledges, skills and competencies to be developed by the students)
Learning objectives (knowledge, skills and competences to be developed by students)
a) Know the variety of media and techniques used in Textile Art;
b) Understand the plastic and aesthetic potentialities of traditional textile materials as well as of new materials;
c) Relate the textile thought with other areas namely Multimedia, Painting, Sculpture, Photography or Video;
d) To provide the student with practical knowledge and mastery of expressive techniques and methods that include the visual and sound components, allied to theoretical knowledge;
e) To know the importance of the soundscape in the construction of an artistic project;
f) To integrate the visual arts and technologies in the production of original contents for the community that stimulate and enhance creativity;
g) To conceive, execute and produce sound and visual landscapes through the elaboration of a project.
Syllabus
a) Contemporary tapestry and fiberart: new materials, new techniques, new aesthetics;
b) Experimentation of techniques and materials;
c) The scenography and its evolution;
d) Soundscapes: contemporary framework and panorama;
e) Arts, technologies and creativity;
f) The plastic and sound components present in projects.
Demonstration of the syllabus coherence with the UC intended learning outcomes
Considering the technical and plastic specificities of the textile universe, on the one hand, and, on the other, the transversality that the tapestry may assume in terms of artistic practices, the syllabus to be explained during the Course Unit of Artistic Technologies seeks to address a double aspect of the acquisition of skills in the specific field of techniques and materials, in close relationship with the modalities of plastic thinking in general, both with regard to two-dimensional and three-dimensional practices.
In this sense, the contents are developed around three fundamental axes:
Firstly, the approach to the major guidelines of a renewal of textile language during contemporaneity, paying attention on the one hand to transversalities and mingling with other domains of the plastic arts, and, on the other, to a whole reinvention of traditional techniques, development of new techniques and use of new materials.
In second place will be developed a set of experimental approaches to the textile object that, considering the diversity of techniques and materials integrated in the universe of contemporary tapestry, include the strands of weaving, construction / assembling and mixed techniques as well as dyeing and printing techniques. The exploration of these contents will take into consideration not only the physical characteristics of the materials (traditional or new materials) but also the plastic and aesthetic potential of the techniques involved.
Thirdly, an attempt will be made to apply the technical and formal knowledge acquired previously to the conception and development of a Textile Art project integrated into a scenic space accompanied by its soundscape. Here, besides an understanding and adaptation of materials and specific technical processes of the textile universe to previously defined models, we will try to contribute to the creation of particular and original languages, based on the main guidelines of artistic practices in contemporary times.
The planned programme contents adjust to the objectives on the assumption that it is intended to give students an updated and critical perspective on the contemporary soundscape. They allow the analysis of the national contemporary panorama and the main themes and problems associated with the current landscape of sound and image. They aim to equip students with skills for the development of a project in this area, materialized through the construction of a sound product.
Teaching methodologies
In the development of this curricular unit, active methodologies will be privileged, based on the realization of work sessions that contemplate, first, the presentation and previous discussion of the problems generated by contemporary textile practices - supported by the audiovisual means at disposal - second, practical experimentation of techniques and materials and, finally, the subsequent development of individual or group projects.
The work will be developed around two main work blocks: a first block in which the students will carry out a first approach to Textile Art through experiences with different techniques and materials; a second block occupied by the conception of a project, which will try to conciliate the knowledge about scenography and soundscape with the execution of an experimental tapestry piece.
The whole working process will be documented in a logbook that shows the paths taken, developed or abandoned, plastic, artistic and conceptual references that underpin the processes and options taken as well as the successive stages of construction of the tapestry and its implementation in space.
Each class will consist of two parts: the first part will consist of an expository section in plenary, during which a presentation of the main concepts will be made, followed by the projection of excerpts of plastic and/or sound objects illustrative of the concepts previously discussed, for analysis and collective discussion; in the second part, it is expected the active and creative participation of students and practical monitoring of the various stages of the proposed work.
The journey undertaken in this curricular unit will be subject to a continuous and individualized guidance either through tutorials or through reflection sessions, analysis, debate and evaluation of work processes and results obtained.
Demonstration of the teaching methodologies coherence with the curricular unit's intended learning outcomes
Considering the technical and plastic specificities of the textile universe, on the one hand, and, on the other, the transversality that the tapestry may assume in terms of artistic practices, the syllabus to be explained during the Course Unit of Artistic Technologies seeks to address a double aspect of the acquisition of skills in the specific field of techniques and materials, in close relationship with the modalities of plastic thinking in general, both with regard to two-dimensional and three-dimensional practices.
In this sense, the contents are developed around three fundamental axes:
Firstly, the approach to the major guidelines of a renewal of textile language during contemporaneity, paying attention on the one hand to transversalities and mingling with other domains of the plastic arts, and, on the other, to a whole reinvention of traditional techniques, development of new techniques and use of new materials.
In second place will be developed a set of experimental approaches to the textile object that, considering the diversity of techniques and materials integrated in the universe of contemporary tapestry, include the strands of weaving, construction / assembling and mixed techniques as well as dyeing and printing techniques. The exploration of these contents will take into consideration not only the physical characteristics of the materials (traditional or new materials) but also the plastic and aesthetic potential of the techniques involved.
Thirdly, an attempt will be made to apply the technical and formal knowledge acquired previously to the conception and development of a Textile Art project integrated into a scenic space accompanied by its soundscape. Here, besides an understanding and adaptation of materials and specific technical processes of the textile universe to previously defined models, we will try to contribute to the creation of particular and original languages, based on the main guidelines of artistic practices in contemporary times.
The planned programme contents adjust to the objectives on the assumption that it is intended to give students an updated and critical perspective on the contemporary soundscape. They allow the analysis of the national contemporary panorama and the main themes and problems associated with the current landscape of sound and image. They aim to equip students with skills for the development of a project in this area, materialized through the construction of a sound product.
Assessment methodologies and evidences
The Continuous Assessment process will focus on:
Component 1(Individual): Commitment and Participation (20%).
Expressed by the student's performance, embodied in a participative and committed attitude in the different tasks developed in class.
Component 2 (Group): Project (80%)
Expressed in the conception and execution of a project that includes plastic and sound components:
a) Elaboration of a project (10%)
b) Construction of sound and plastic objects (35%)
c) Public presentation (materials, performance, animation of urban spaces, installations, among others.) (15%)
d) Portfolio (20%)
The sum of the weighted values of components 1 and 2 will define the classification in the curricular unit, assigned on a scale of 0 to 20.
Penalty: for each day of delay, in relation to the deadline set by the teacher, the final mark will be penalised by 0.5 points for each day of delay.
Assessment/instruments
The process of Continuous Assessment will focus on:
Component 1(Individual): Commitment and Participation (20%).
Expressed by the student's performance, embodied in a participative and committed attitude in the different tasks developed online and participation in forums.
Component 2 (Group): Project (80%)
Expressed in the conception and execution of a project that includes plastic and sound components:
a) Development of a project (creation of a script) (10%)
b) Sketches and/or construction of sound and plastic objects (drawing, colour studies, choice of materials and construction of a model) (50%)
c) Portfolio (compilation of all the previous documents followed by an individual reflection) (20%)
Attendance system
Each student is expected to attend at least two thirds of the classes scheduled and to participate in the proposed activities, carrying out the scheduled assignments. Students who have the status of student worker or association leader and are unable to attend the scheduled sessions, should negotiate their form of assessment with the teacher, in accordance with the Attendance and Evaluation Policy, during the first 15 days of classes. Failure to negotiate with the teacher within this period will result in the student having to take the final exam.
Assement and Attendance registers
| Description |
Type |
Tempo (horas) |
End Date |
| Attendance (estimated) |
Classes |
0 |
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Total: |
0 |
Bibliography
AA.VV. (s/d). Abakanowicz. New York: Abbeville Press.
AA.VV. (1985). La Nouvelle Tapisserie. Paris: Gallimard.
AA.VV. (1998). 50 anos de Tapeçarias de Portalegre. Lisboa: Fundação Calouste Gulbenkian.
Castro, E.M. (1985). Introdução ao Desenho Têxtil. Lisboa: Editorial Estampa.
Chetwynd, H. (1979). A tecelagem. Queluz: Celditor.
Coffinet,J., Pianola,M. (1971). La Tapisserie. Genève: Les Editions de Bonvent.
Hendy, David, Noise ¿ A Human History of Sound and Listening, London: 2013, Profile books.
Langlois, N., PERRIER,M. (1974). La Tapisserie. Creation-Execution. Ottawa: Les Editions de l´Home.
Leavy, P. (ed.) (2018). Handbook of Arts-Based Research. New York: The Guilford Press.
Ribeiro, Luís Cláudio, O Mundo é Uma Paisagem Devastada pela Harmonia, Lisboa: 2011, Vega.
Santos, J. (2010). Fotografia – Luz, Exposicão, Composicão, Equipamento. V.N.Famalicão: Centro Atlântico.
Santos, J. (2015). Fotocomposição, Princípios, Técnicas e Inspirações. Para Criar Fotografias Únicas. V.N.Famalicão. Centro Atlântico.
Thomas,M. ; Manguy,C.; Pommier,S. (1985). L’Art Textile. Genève: Skira.
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