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Workshop I - Multimedia

Code: AMI     Acronym: AMI

Classification Keyword
OFICIAL Fine Arts/Multimedia

Instance: 2019/2020 - A Ícone do Moodle

Active? Yes
Responsible unit: Fine Arts Department
Course/CS Responsible: Fine Arts

Cycles of Study/Courses

Acronym No. of Students Study Plan Curricular Years Credits UCN Credits ECTS Contact hours Total Time
AP 32 Official Study Plan 2011 2 - 24 288 648

Teaching Staff - Responsibilities

Teacher Responsibility
André Rangel Macedo

Teaching - Hours

Theoretical and practical : 8,00
Type Teacher Classes Hour
Theoretical and practical Totals 1 8,00
André Rangel Macedo 8,00

Teaching language

Suitable for English-speaking students


To develop skills applied to the manipulation, separation, combination and modification of different concepts, materials and techniques, in order to turn students into catalysts and / or transforming agents of media, space and time.

To foster the impact that reflective practice has on students' knowledge, and at the same time, increase the recognition it has as a curricular protocol in the academic context.

To understand the properties and characteristics of concepts, materials and techniques as a fundamental component of contemporary artistic production.

To combine poiesis and aesthesis in artistic processes and artistic systems where thought and reflection are inseparable from action, that is, where theory is inseparable from practice, stating precisely the unity (union), the breadth and reciprocity of theory and practice.

Demonstrate and experience the variability, intermediality and transmediaity of the processes of contemporary artistic creation.

To experiment and discuss new forms of hybrid expression that are not constrained to genres agreed and recognized as installation sound, video installation, interactive installation, performance, among others.

Learning outcomes and competences

In Atelier Multimédia I, students must master and disseminate the fusion of different techniques of presentation, representation and transmutation - digital and analogical - as well as the dynamics of changes and transformations that alter the form and function of the existing means by exploring their elasticity and plasticity. Thus, by fostering research in action and research through practice in a creative process, it is possible to construct, acquire and transmit knowledge in a hybrid language.

Students must demonstrate mastery of procedural and transformative activities resulting in works of contemporary art capable of provoking movements of various qualities and amplifying human action.

Working method



- Philosophy of art, theory and practice, reflective practice.

- Disambiguation of the concepts Mixed Media, Intermedia, Multimedia, New Media, Hypermedia and Moistmedia.

- Art and multimedia, historical review and background.

- Contemporary art. Commentary and discussion of works of art by recognized contemporary authors.

- Technologies and techniques, as indispensable means to the process of artistic creation, as well as their importance from an epistemic point of view, in the perception and the construction of knowledge.

- Combinations of any means available for artistic expression - biological, analogue, electronic and/or digital.

- The semantic potential of concepts, materials and techniques with which contemporary works of art materialize and the dialectic inherent in the artist's dialogue with the concepts and materials that he uses, or rejects, in the 'doing' of artistic experiences.

- Hybrid expression forms and fluidity in the fusion of analog and digital media.

- Students will be given access to modern programming languages, computers and microcontrollers, so that they can also be used as means in the process of multimedia artistic creation.

Mandatory literature

Kahn, D.; Noise, Water, Meat: A History of Sound in the Arts, MIT, 1999

Complementary Bibliography

Baker, G.; Entr’acte, 2003
Barton, B.; Subjectivity [] Culture [] Communications [] Intermedia: A Meditation on the“ impure interactions” of Performance and the“ in-between” Space of Intimacy in a Wired World., 2008
Bennett, P., & O’Modhrain, S. ; Towards Tangible Enactive Interfaces, 2007 (In Proceedings of ENACTIVE/2007)
Benjamin Walter; The^work of art in the age of mechanical reproduction. ISBN: 978-0-141-03619-9
Bongers, B.; Interactivation - Towards an E-cology of People, Our Technological Environment, and the Arts., 2006
Breder, H., & Busse, K.-P. (Eds.); Intermedia: Enacting the Liminal. , Books On Demand., 2005
Christensen, R. C.; The Art of Noise after Futurism, Nordic Network of Avant-Garde Studies.
Cseres, J.; In Between as a Permanent Status: Milan Adamčiak’s Version of Intermedia., Leonardo Music Journal, 2009
Corrigan, R. W.; The First Ten Years. The Tulane Drama Review, 10(4), 1966
Eskilson, S.; Thomas Wilfred and Intermedia: Seeking a Framework for Lumia, Leonardo, 2003
Foster, H.; Dada Mime., 2003
Frank, P.; The Arts in Fusion: Intermedia Yesterday and Today, H. Breder & K.-P. Busse , 2005
Glusberg, J.; From Leonardo to Intermedia Revolution, 1980
Foster, S.; The Signifying Body: Reaction and Resistance in Post-modern Dance., Theatre Journal, 1985
Fornäs, J.; Passages Across Thresholds: Into the Borderlands of Mediation., 2002 (Convergence: The International Journal of Research into New Media Technologies.)
Fornäs, J., Klein, K., Ladendorf, M., Sundén, J., & Sveningsson, M. ; Into Digital Borderlands. In digital borderlands cultural studies of identity and interactivity on the internet., New York: Peter Lang., 2002
Hertz, P.; Synesthetic Art: An Imaginary Number?, Leonardo, 1999
Higgins, D.; Intermedia. The Something Else NEWSLETTER, 1966
Higgins, D.; Intending. The Something Else NEWSLETTER, 1966
Higgins, D.; Boredom and Danger, The Something Else NEWSLETTER, 1968
Higgins, D.; The Origin of Happening., American Speech, 1976
Higgins, D.; The New Humanism, PAJ: A Journal of Performance and Art, 1979
Higgins, D.; Horizons, Roof Books., 1998
Higgins, D., & Higgins, H. ; Intermedia, Leonardo, 2001
Higgins, D.; Manifestos - Great Bear Pamphlet by Something Else Press., Something Else Press., 1966
Higgins, D., & Zurbrugg, N. ; Looking Back, PAJ: A Journal of Performance and Art, 1999
Higgins, H.; Intermedial Perception or Fluxing Across the Sensory, The International Journal of Research into New Media Technologies, 2002
Kaplan, J. A., Hendricks, B., Hendricks, G., Higgins, H., & Knowles, A.; Flux generations., Art Journal, 2000

Teaching methods and learning activities

Lectures, demonstrations, discussions, workshops and presentations of the work done.

It is proposed to the students the exploration of iterative methodological processes, in which the methodology itself is continuously analyzed, reconsidered and redesigned to respond to the needs of each new moment in the process of artistic creation, that is, a creation process that integrates, shapes and determines the methodology and in which the methodology may not determine the creation process.


Max, Proccessing e Arduino IDE

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Designation Weight (%)
Participação presencial 20,00
Trabalho prático ou de projeto 80,00
Total: 100,00

Amount of time allocated to each course unit

Designation Time (hours)
Elaboração de projeto 240,00
Estudo autónomo 120,00
Frequência das aulas 288,00
Total: 648,00

Eligibility for exams

Presence in more than 70% of classes and positive average of classifications of the projects developed.

Calculation formula of final grade

The final classification is calculated by the following formula: (Attendance) * 10% + (Weighted average of the classifications of the works developed) * 90%
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