Modelling and Multiples

Code:

MM500

Acronym:

MM

Instance: 2010/2011 - 1S

Active?	Yes
Responsible unit:	Sculpture 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
DC	0	Licenciatura em Design de Comunicação	3	-	4,5	64	121,5
			4

Teaching language

Portuguese

Objectives

To promote on a pluridisciplinar perspective the involvement of students in articulated production projects, following methodologies that favour the objective study of the phenomenon related to contemporary practices of multiples production, through knowledge able to be acquired by practical experience and theoretical formation.

Program

The public controversy in EUA regarding the exhibition «Rodin Rediscovered» at the National Gallery of Art (Washington), in the Summer of 1981, may serve as first anchor to the critical problematisation of originality in art and to the concepts of matriz and multiple and related technological environment. The question is somewhat solved in the work “The Originality of the Avant-gard and Other Modernist Myths”, from 1985, written by the north American historian Rosalind Krauss, advising since now the reading of this text (whose reading we strongly advise).
The subject of “Models and Multiples” is naturally guided to the realization of autonomous small scale research projects that respect the principles of those concepts, being expected the production of prototypes and any kind of edition. The technological environments will be of free choice by the students, although the students are totally responsible regarding technical skills that overcome the capacity of the school technicians. In order to improve the assistance to the projects on technological fields not indicated in our study plan, and to promote/ stimulate the adoption of new technologies, with no prejudice of using and optimizing school own resources, the present program proposal for the subejct accepts the possibility of articulation with different structures (academic and others) that objectively constitute formation places, that favour the technical involvement and the gain in experience potentially preferred by our students, with the respective pedagogical background. Such methodology allows the opening to the social environment through convenes, on a perspective of enlarged formation of our students on practical and conceptual perspectives. In this way, in a first phase, the student presents, in the defined timing, a clarifying proposal of artistic practice that he wishes to develop during the semester, compulsory on continuous evaluation regime. If there is an interest in developing the curricular work in a different place than FBAUP, the student must, under the same schedule, present an admission report, adequately organized, in which he justifies the learning needs in order to continue the artistic enunciate that he intends to develop. The attendance/orientation of the project will occur preferably during the timetable previewed for the subject, and in addition the hours previewed to student assistance. The teacher must coordinate and regulate the methodologies that respect and interpret as inherent ideas to each project, providing orientation on bibliography and specific artistic experiences.

Mandatory literature

Benjamin Walter; The^work of art in the age of mechanical reproduction. ISBN: 978-0-141-03619-9

Teaching methods and learning activities

Organized and orientated according to the “Regulamento do Regime de Estudos e de Avaliação” from FBAUP.

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Description	Type	Time (hours)	Weight (%)	End date
Attendance (estimated)	Participação presencial	80,00
	Total:	-	0,00

Eligibility for exams

Evaluation is continuous and constant throughout the course and respects its planned schedule.
It is expected from the student: correct implementation of the proposed working methods; strict compliance with the proposed work plan; attendance and punctuality; application of observation skills through different types of drawing; understanding of the constructive attitudes of drawing; understanding the different ways of drawing and representational systems; acquaintance with the historical heritage of drawing; ability to organize and systematize the work; involvement and ability to work individually; capacity for reflection and self-criticism.

Calculation formula of final grade

According to the regulations (Regulamento do regime de Estudos e de Avaliação da FBAUP), the evaluation of the theoretical – practical subjects is continuous, without prejudice of combination with other types of evaluation. There is no presence registration but class attendance must provide qualitative and quantitative information at any moment besides the fixed dates of evaluation. The referred information is assured through the regular development of the practical works and the relative theoretical reflection. Because of continuous evaluation characteristics (distributed evaluation, with no final exam), are factors of evaluation/ final classification the presence of the student in the teaching/ working rooms, the performance and concretization capacity, nature and originality of the project(s) and related reading of the procedures and consummation strategies.

Examinations or Special Assignments

The students may choose one of the modalities, being free relatively to the work of Models and Multiples. If the option falls on the first modality, the student must develop at least three sketches on small scale, relatively to an eventual work project for public space, gallery or museum, accompanied by the description or descriptive memory, clearly enough to identify the object to produce in real size, without forgetting the morphological study of the place and conditions of installation. If the option is formultiples, the student must present a minimum of five exercises, including prototype or original matrix. For both modalities, the students select the technological environments that best fit the nature and sensibility of the objects to be produced. It is important to mention that this last option is somewhat flexile if it happens that we don’t fix the multiple as natural copy of the original, but instead as something that participates in a same idea or nature, from a body or ideal matrix, as for this reason a part of a whole that constitutes different elements or states, of the same thing. Anyway, for both modalities, the exercises must seek the small scale and elect always the rupture of the traditional means (attitudes and also matters) as a decisive factor in the prosecution of originality.

Classification improvement

By repeating the course in the next school year

Observations

AA.VV. (1990).Alberto Giacometti. Madrid: Museo Nacional Centro de Arte Reina Sofia/ Ministério da Cultura.
AA.VV. (1997). Las casas del alma: Maquetas arquitectónicas de la antigüedad.
Barcelona: Fundación Caja de Arquitectos.
AA.VV. (2008?).Aplicação de materiais de últimageração à fundição escultórica com a utlização de molde químico. Emprego de Poliestireno Expandido como molde gaseificável. Lisboa: FBAUL.
AA.VV. (2008?).Ensaios sobre reprodutibilidade. Lisboa: FBAUL.
AA.VV. (2006).Rodin y la revolución de la escultura. De Camille Claudel a Giacometti. Barcelona: Fundació “La Caxia”.
AA.VV. (1999).Siah Armajani. Madrid: MNCARS.
BENJAMIN, W. (1992). Sobre arte, técnica, linguagem e política. Lisboa: Relógio d'gua, 1992. (Antropos). (COTA: 1 BENJ 8 - ISBN 972-708-1770 na Biblioteca da FBAUP).
BENJAMIM, W. (2008). Work of art in the age of mechanical reproduction. London: Penguin Books. (COTA: 1 BENJ 8 ISBN 978-0-141-03619-9. naBiblioteca da FBAUP).
CALVINO, I. (1993). As Cidades Invisíveis. Lisboa: Editorial Teorema.
FOSTER, H. (2005). Mestre Construtor. Intervalo. Lisboa: Vendaval-Diatribe. Nº 1.
HIGUCHI, T. (1988). The Visual and Spatial Structure of Landscapes. MIT Press.
HUGHES, A. & ERICH 1974).The Language of Sculpture. London: Thames and Hudson.
KRAUSS, R. E. (1998). Caminhos da Escultura Moderna. São Paulo: Martins Fontes.
KRAUSS, R. E. (1996). La originalidade de la vanguarda y otros mitos modernos. Madrid: Alianza Editorial.
MALRAUX, A. (S/ data). As Vozes do Silêncio. Lisboa: Livros do Brasil. 1º Vol.
TUCKER, W. (, R. (ed.). (1997). Sculpture and its reproductions. London: Reakion Books Ltd.
ZEVI, B. (1996). Saber ver a arquitectura. São Paulo: Martins Fontes. (Colecção a).