Drawing and Performativity

Code:

DPN1

Acronym:

DPN

Keywords
Classification	Keyword
OFICIAL	Drawing

Instance: 2021/2022 - 2S

Active?	Yes
Web Page:	http://desenhoeperformatividade.blogspot.pt/
Responsible unit:	Desenho
Course/CS Responsible:	Master in Fine Arts

Cycles of Study/Courses

Acronym	No. of Students	Study Plan	Curricular Years	Credits UCN	Credits ECTS	Contact hours	Total Time
MAP	12	Plano de Estudos do MAP_Publicação em DR de 31 de agosto de 2020	1	-	6	45	162

Teaching language

Suitable for English-speaking students

Objectives

To explore the creative potentialities of transferences of actions between drawing and other performance fields.

To develop experimental and critical skills to analyze creative processes motivated by the used of drawing in performance contexts.

To identify the features and strategies that foster the emergence of drawing as a performative act in contemporary art, as well as the understanding of the performative act as drawing.

To support a more coherent and self-critic practice-based research that explores drawing in its performative dimension.

Learning outcomes and competences

Knowledge of the factors and strategies underlying the emergence of drawing as a performative act in contemporary art.

Capacitity of rhetorical analysis of images and drawing processes in contemporary art.

Capacity of conceptualization, organization, instruction and documentation of performative actions through drawing.

Skills in the development of experimental projects exploring the interconnections between drawing and performative contexts

Working method

Presencial

Pre-requirements (prior knowledge) and co-requirements (common knowledge)

Drawing previous experience at the level of a first cycle of studies.
Art and/or professional experience in performance contexts relevant for the course's field.

Program

' Performative ' is an increasingly infiltrated various areas of human thought and activity term . It is now that the idea of discipline was to the eighteenth and nineteenth centuries . This results in hegemony of the breadth of the term , marked by internal contradictions : what it means in the philosophy of language or business jargon is radically different from its use in the artistic context . If , at one end , is marked by the sign of authority , efficiency and productivity , the other is marked by the use of rhetorical action , direct experience and process. This exponential interest in the ' performative ' as globalized concept has perverse effects . The most visible is the tendency to standardize everything under one conceptual umbrella , without recognizing that the contradictions of the term is what best characterizes it, thus losing the specificity that it assumes when manifested in areas situated on the margins of business organization , models of cultural performance or technological efficiency .
But this interest has also created new angles of vision on what , not being performance in the ontological sense, is often perceived as a performative act , as with the design , their pictures , and procedures. Indeed , the confluence between the drawing and the domains of performativity is indicative of frictions between the various fields that have adopted the term . But also shows a dimension which is inherent and specific to the drawing.
These seminars are intended to be a space for experimentation and reflection on the performative act of interference in the motivations and strategies of contemporary design . This influence is traced here in two senses :
One is practical , and refers to situations in which the designs are extensions of performative contexts .
The other is rhetorical, and fits cases where the drawing means to act , or act as means : instructions , documents , dedications , or as a substitute for performative acts that the artist does not want or can not perform effectively , thereby asserting itself as the place of registration of a virtual performance .

The program is structured so based on the articulation of these two senses modules . Namely :

1. Drawing's rethorical function: deviant processes and impertinent practices.
2. Performance, performative and performativity. Somatic and linguistic extensions of the performative act.
3. Transference of actions between performative fields: drawing as a mean, tool and language of direct intervention.
4. Transference from image to act: drawing as instruction and protocol.
5. Transference from act to image: drawing as record, notation and trace. Documentation and notation strategies of the performative act.
6. Biological and semiotic aspects of gestures in drawing. Action perception and motor contagion.
7. Drawings of a present body.
8. Fictitious games with time: playing with duration and order in the processes of drawing.
9. Studio based practices

Mandatory literature

Butler Cornelia H.; After image. ISBN: 0-262-52262-4

Teaching methods and learning activities

-Classes based on an expository component and exploratory individual and group exercises, based on creative problem solving.

- Commented readings.

- Critical discussion and peer review of the work.

- Collaboration in the course’s blog (http://desenhoeperformatividade.blogspot.pt/).

-Production of collective and individual documents, structuring the exploratory exercises and their

communicability to the outside.

The evaluation is based on the participation in the seminars, through the exploratory exercises, and a final work:

Workshop on Transferences of use (10%);
Performance Rethorics (20%);
Workshop on Drawing as instruction (10%);
Workshop on drawing as documentation (10%);
Workshop on drawing as presence (10%)
Note: Each student can choose one of the workshops 1,3,4 or 5 as am opcional one. In the event of attendance at all of them, the final classification takes into account the workshops with the best evaluation.

Final work (50%).
The final work includes an experimental practice documented in a portfolio (70%), a presentation "viva voce" and a written report (30%).
Students can decide to present, instead of the experimental practice , a written paper of 2500 - 3500 words in the same theme.

keywords

Humanities > Arts > Fine arts > Plastic arts
Humanities > Arts > Fine arts > Drawing

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Designation	Weight (%)
Participação presencial	50,00
Trabalho de campo	35,00
Trabalho escrito	15,00
Total:	100,00

Amount of time allocated to each course unit

Designation	Time (hours)
Elaboração de projeto	40,00
Estudo autónomo	40,00
Frequência das aulas	45,00
Trabalho escrito	37,00
Total:	162,00

Eligibility for exams

Frequency depends on the participation in the classes and on the final work. This final work is based on a practice that questions, explores and personalizes, in student's research project assumptions, the multiple meanings of the performative in the field of drawing, supported by a critical report and a viva voce presentation in seminar (alternatively, students can decide to present a paper of 2,500 words, in the same context)
The critical report is based on the compilation and organization of the material collected during the process of planning and performing the final work, and its corresponding theoretical and contextual review.
The presentation viva voce should map the relationships between individual motivations, strategies and key-references with the report and the theoretical contents of the course.
rences of practical work, report, and the theoretical content covered in the seminars

Calculation formula of final grade

Participation in the workshop and seminar "Transfers of use" - up to 10%
Participation in the worhop and seminar "Rethorics of Performance" - up to 20%
Participation in the workshop and seminar"Transfer image-act" - up to 10%
Participation in the workshop and seminar"Transfer act-image" - up to 10%
Participation in the workshop and seminar"Drawing a present body" - up to 10%
Final work and critical report- up to 50%