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Generative and Interactive Practices

Code: PGI01     Acronym: PGI

Keywords
Classification Keyword
CNAEF Fine Arts

Instance: 2022/2023 - 2S 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 13 Plano de estudos de LAP_publicaçao em DR de 24/05/2021 2 - 6 60 162
3
4

Teaching Staff - Responsibilities

Teacher Responsibility
André Rangel Macedo

Teaching - Hours

Theoretical and practical : 4,00
Type Teacher Classes Hour
Theoretical and practical Totals 1 4,00
André Rangel Macedo 4,00

Teaching language

Suitable for English-speaking students

Objectives

At the end of this course, students should know / be able to:

- Identify works of art that result from generative processes and interactive works of art.

- Recognize and understand processes and strategies used by other authors on generative and interactive works of art.

- Acquire basic understanding and learn about programming - computers and microcontrollers - so that they can integrate it in the conception and execution of generative and interactive artistic projects.

- Know, identify and select, by their usability, which are the appropriate mediums to build interfaces for interactive artistic systems.

- Think and act in the fields of generative and interactive art.

Learning outcomes and competences

Thought and practice in the fields of concpetion and executiona of generative and/or interactive artisitc systems.

Working method

Presencial

Program

Contents in the areas of image, sound, information technology and physical computing, and their practice allow students to build knowledge and competence to think, operate, separate, combine, process and transform different media to develop artistic work, as catalytic agents in the fields of generative and interactive art.

 

In this CU, acknowledged works of generative and interactive art are presented and discussed; computational tools, that allow the conception and production of multidimensional compositions that break with bias of the pre-existing space-time language, are introduced; algorithmic and stochastic systems for artistic composition are explored which allow the development of alternative systems (methods and processes) resulting in aesthetic movements with different levels of unpredictability; different computer vision systems are explored; micro-controllers are programmed for integration in physical computing systems that allow the control of actuators and sensors; interactive art is produced that explores human-machine interaction, combining the physical and the digital.

Mandatory literature

Galanter, P. ; What is generative art? Complexity Theory as a Context for Art Theory, New York: Interactive Telecommunications Program, New York University., 2003

Complementary Bibliography

Miguel Carvalhais; Towards a model for artificial aesthetics
Miguel Carvalhais; Art and computation. ISBN: 978-90-828935-5-7
Chen, W.; Interactive Installation Art & Design, Artpower International, 2020
Lechner, P. ; Multimedia Programming Using Max/MSP and TouchDesigner, 2014
Margolis, M. ; Arduino Cookbook, Van Duuren Media, 2012
Parker, J. R. ; Generative Art: Randomness as an Artistic Tool, Durvile, 2019
Pearson, M. ; Generative Art: A Practical Guide Using Processing , Manning Publications., 2011
Reas, C., & McWilliams, C. ; Form+Code in Design, Art, and Architecture (Design Briefs) (1st ed.), Princeton Architectural Press, 2010
Stern, N. ; Interactive Art and Embodiment: The Implicit Body as Performance (Arts Future Book), Gylphi Limited, 2013
Taylor, G. ; Step by Step: Adventures in Sequencing with Max/MSP , Cycling ’74, 2018

Teaching methods and learning activities

Seminars, demonstrations, discussions, workshops and classes to produce and present the students works.


The presentation, comment and discussion of acknowledge works in the domains of generative and interactive art guarantee students awareness and ability to identify works produced in these fields. Practice with new computational tools, algorithms and the exploration of physical computing and computer vision systems ensure that students can recognize and understand the processes and strategies chosen by other authors, understand the programming of generative artistic systems, and select and use the appropriate means to build interfaces for interactive artistic systems. The production of basic experiences in the fields of generative and interactive art allows the expansion of students' competence to think and act in these two fields.


The teaching methodology consists on: sessions of expose and practical experimentation of the concepts and techniques listed in the syllabus; sessions for presenting the work assignments; sessions to monitor and guide the development and execution of students' responses to the assignments; preliminary, intermediate and final presentation sessions - between peers - for discussion, comment and evaluation of the projects, their research, execution and presentation.


During the semester, students respond to 3 work assignments, a first assignment within the scope of generative art, a second assignment within the scope of interactive art and a third assignment self-directed by the student himself.


Software

Arduino IDE
Processing
Max

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Designation Weight (%)
Participação presencial 30,00
Trabalho prático ou de projeto 70,00
Total: 100,00

Amount of time allocated to each course unit

Designation Time (hours)
Elaboração de projeto 60,00
Estudo autónomo 42,00
Frequência das aulas 60,00
Total: 162,00

Eligibility for exams

Attendance to 75% of the classes and positive evaluation of the work.

Calculation formula of final grade

Work develped by the students 75%, presentattion and documentation of the work 25%.
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