Sound and Image Scapes
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Recommended Prior Knowledge
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Objectives
The contemporary digital picture is characterized by an intense and diverse audio and visual production, often combined, resulting in objects and creative emanations that populate and reorganize our daily environments, creating new sound and imagery landscapes. These are expressed through classical and newer artistic and media languages, but also through emerging modes of communication, translating into events such as concerts, performances, multimedia shows, films, rehearsal films, photographs, exhibitions, installations, games, djing and vjing, live cinema, urban space animation, media art, locative media, guerrilla arts, among others, presented in presence or on screens, or by combining the two possibilities.
In any area of professional knowledge and mastery, it is essential today to understand this scenario of image production, because it is necessary to recognize and decode the surrounding stimuli and codes of meaning, but also, and predominantly, because professionals are also urged, to build communication products with these characteristics in their diverse areas of activity (pedagogical materials, objects of information and journalistic and business communication, products of sociocultural intervention, etc.). In this context, the UC proposes the following learning objectives:
1. Recognize and analyse the contemporary modalities of symbolic production mentioned above;
2. Provide students with instruments aimed at recognizing and understanding those modes of symbolic production, as well as the mechanisms for the construction of an object that can be framed there, given the clear identification of an objective of institutional or personal expression and intended for multiple uses and contexts (artistic, educational, business, social intervention);
3. Design, execute and produce sound and visual landscapes through the elaboration of a project;
4. Integrate arts and technology into the production of original community content that stimulates and values creativity. -
Teaching Methods
Each class will consist of two parts.
The first part will be composed by an expository section in plenary, during which a presentation of the main concepts will be made, followed by the projection of excerpts of sound objects and imagery illustrating the concepts previously discussed, for analysis and collective discussion.
In the second part, it is foreseen the active and creative participation of the students and the practical accompaniment of the several stages of the proposed work. -
Internship(s)
Não
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Syllabus
1. Sound and imagery landscapes: panorama and framing 2. Topics on artistic and media languages
2. Modalities of communication and media
3. Intermediation and Trans mediation
4. Arts, technologies and creativity -
Content Explanation
The syllabus foreseen fit the objectives in the assumption that it is intended to give students an updated and critical perspective on the sound landscape and contemporary imagery, different theoretical positions on the theme and consolidated and emerging modes of expression. The syllabus foreseen allows the analysis of the national and international contemporary scene and the main themes and problems associated with the current sound and image landscapes. They also aim, fundamentally, to provide students with skills for the elaboration of a project in this area, achieved through the construction of a sound and / or imagery product.
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Methodology Explanation
The teaching methodology adopted in the first part aims to develop the ability to reconcile the theoretical reflection with its practical application in concrete examples, allowing to contribute to the deepening of the understanding of the studied concepts. The methodology adopted in the second part of the class is intended to allow students to test the connections between theory and its application in an ongoing work.
The realization and participation in activities promotes the acquisition of skills in the construction of a sound and imagery landscape. -
Responsible Lecturer(s)
Marta Sofia da Luz Marcos Pinho Alves - 2.º Semester
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Bibliography
Alves, M. P. (2017), Cinema 2.0: Modalidades de Produção Cinemática do Tempo do Digital. Covilhã: LabCom IPF. \nCoyle, R. (2010), Drawn to Sound. Animation Film Music and Sonicity. London: Equinox Publishing Ltd.\nDalle Vache, A. (2012), Film, Art, New Media. New York: Palgrave Macmillan.\nDeuze, M.; Prenger, M. (2018), Making Media: Production, Practices, and Professions. Amsterdam: Amsterdam University Press\nKaye, N. (2007). Multi-Media: Video, Installation, Performance. London: Routledge.\nKinder, M.; e McPherson, T. (ed.) (2014). Transmedia Frictions: The Digital, the Arts, and the Humanities. \nOakland: University of California Press.\nLeavy, P. (ed.) (2018). Handbook of Arts-Based Research. New York: The Guilford Press.\nManovich, L. (2002). The Language of New Media. Cambridge: MIT Press.\nMirzoeff, N. (2016). How to See the World: An Introduction to Image, From Self-Portraits to Selfies, Maps to Movies, And More. New York: Basic Books.\nMollaghan, A. (2015). The Visual Music Film. New York: Palgrave Macmillan.\nShaw, J.; e Weibel, P. (ed.) (2003). Future Cinema: The Cinematic Imagery After Film. Cambridge: MIT Press.\nThornton, S. (2003). Club Cultures. Music, Media and Subcultural Capital. Cambridge: Polity Press. \n \n\n\n
Course details
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Code
SIESE11
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Teaching Mode
PRESENCIAL
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ECTS
5.0
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Duration
Semestrial
Conteúdo atualizado em 21/03/2025 15:46
CONTACTS
Escola Superior de Educação
Campus do IPS, Estefanilha
2914-504 Setúbal, Portugal
Telephone: +351 265 710 800
E-mail: info@ese.ips.pt
Academic Services: suporte.ips.pt
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