Fátima Oliveira Caiado - English Academic and Professional Curriculum Vitae - 2015

ENGLISH CURRICULUM VITAE
NAME AND SURNAMES: FTIMA MARIA GOMES DE OLIVEIRA CAIADO

MARITAL STATUS: Divorcie
DAUGHTER OF: GISELA PEREIRA GOMES DE OLIVEIRA (mother) and ARTUR PEREIRA DE OLIVEIRA (father).
OFFSPRING: JOO OLIVEIRA DE BRITO CAIADO - 21 years old; MARIA OLIVEIRA DE BRITO CAIADO - 17 years old)
DATE/ PLACE OF BIRTH: 8 May 1967 (48th years old), Marinha Grande, Portugal
NACIONALITY: Portuguese
PORTUGUESE (EUROPEAN UNION) PASSPORT: Passport number H500133, valid till 16-01-2016, issued by Governo
Civil de Lisboa, with USA touristic Visa (Visa R/Type B1/Clase B2) valid till 27th March 2017 (Issuing Post Name
Nassau/ Issue Date: 29th march 2007); Control Number: 20070870390002.
PORTUGUESE IDENTITY CARD: Citizen card number 07614833-5ZZ7, valid till 16-02-2016, issued by the Lisbon
Identification Office
ADRESS: Avenida Senhora do Monte da Sade, 505,
Postal Code/ City: 2765-452 Monte Estoril
Country: PORTUGAL
Tel.: (Country Code) 351/ (mobile phone number) 918 046 212
Email (personal: aviajante1@gmail.com
INDEX:
I. SCIENTIFIC ACCOMPLISHMENTS ................................................................................................................................................................................................ 3
I.1. EDUCATION AND TRAINING. ................................................................................................................................................................................................. 3
I.2. SCIENTIFIC OR ARTISTIC PRODUCTION, IN PARTICULAR THE ONE PUBLISHED IN BOOKS OR OTHER TYPE OF PUBLICATIONS.. .................. 6
I.2.1. SCIENTIFIC PRODUCTION. ..................................................................................................................................................................................... 6
I.2.1.1. EDUCATIONAL SCOPE TEXTS. ......................................................................................................................................................... 6
I.2.1.2. TECHNICAL PUBLICATIONS OF SCIENTIFIC AND TECHNOLOGICAL DIVULGATION................................................................ 7
I.2.2. ARTISTIC PRODUCTION PORTFOLIUM ............................................................................................................................................................. 7
I.2.2.1. ARTISTIC PRODUCTION WORK AND REFERENCES IN CATALOGUES, MAGAZINES AND CULTURAL AGENDAS... ......... 7
I.2.2. EXHIBITION PARTICIPATION AS AN AUTHOR. .................................................................................................................................................... 7
1.2.2.1. SOLO SHOWS. .................................................................................................................................................................................... 7
1.2.2.2. COLECTIVE SHOWS. .......................................................................................................................................................................... 7
I.3. RECOGNITION BY THE SCIENTIFIC COMMUNITY.. ............................................................................................................................................................ 8
I.3.1. TEACHER EVALUATION BEIRA INTERIOR UNIVERSITY (Covilh Portugal). ............................................................................................. 8
I.3.2. RESEARCH SCHOLARSHIPS / GRANTS.. ............................................................................................................................................................. 8
I.3.3. AWARDS... ................................................................................................................................................................................................................ 8
I.4. SCIENTIFIC ORIENTATION/ CO-ORIENTATION OF MASTER DEGREE (2nd CYCLE) STUDENTS. ................................................................................. 9
1.4.1. SCIENTIFIC ORIENTATION ACADEMIC YEAR 2013/2014 .......................................................................................................................................... 9
1.4.1.1. SCIENTIFIC ORIENTATION ACADEMIC YEAR 2013/2014. ...................................................................................................................................... 9
1.4.1.2. SCIENTIFIC CO-ORIENTATION ACADEMIC YEAR 2013/2014............................................................................................................................... 10
1.4.2. SCIENTIFIC ORIENTATION ACADEMIC YEAR 2012/2013. .............................................................................................................................................. 10
1.4.2.1. SCIENTIFIC CO-ORIENTATION ACADEMIC YEAR 2012/2013. .................................................................................................................................... 10
1.4.3. SCIENTIFIC ORIENTATION ACADEMIC YEAR 2011/2012 ............................................................................................................................................... 11
1.4.3.1. SCIENTIFIC CO-ORIENTATION - ACADEMIC YEAR 2010/2011. ..................................................................................................................................... 11
1.4.4. SCIENTIFIC ORIENTATION - ACADEMIC 2009/2010. .......................................................................................................................................................... 12
I.5. PARTICIPATION IN MASTER DEGREE PUBLIC DEFENCE JURY... ...................................................................................................................................... 13
I.5.1. AS ARGUER BEIRA INTERIOR UNIVERSITY (Covilh, Portugal) - 2011/2012. ............................................................................................. 13
I.5.2. AS ARGUER BEIRA INTERIOR UNIVERSITY (Covilh, Portugal) - 2010/2011.. ............................................................................................ 13
I.6. SCIENTIFIC EVENTS ORGANIZATION/ PARTICIPATION. ................................................................................................................................................. 13
II. TEACHING SKILLS. ...................................................................................................................................................................................................................... 13
II.1. TEACHING ACTIVITY IN HIGHER EDUCATION INSTITUTIONS. CURRICULAR UNITS (CUs) TAUGHT/ REGENCIES. ................................................... 13
II.1.1. ACADEMIC YEAR 2014/ 2015 CURRICULAR UNITS TAUGHT/ REGENCIES BEIRA INTERIOR UNIVERSITY (Covilh, Portugal) AS
INVITED ASSISTANT PROFESSOR ............................................................................................................................................................................................... 13
II.1.2. ACADEMIC YEAR 2013/2014 CURRICULAR UNITS TAUGHT/ REGENCIES BEIRA INTERIOR UNIVERSITY (Covilh, Portugal) AS INVITED
ASSISTANT PROFESSOR ............................................................................................................................................................................................................... 14
II.1.3. ACADEMIC YEAR 2012/2013 CUs TAUGHT/ REGENCIES BEIRA INTERIOR UNIVERSITY (Covilh, Portugal) / AUTONOMOUS UNIVERSITY
OF LISBON (Portugal) AS INVITED ASSISTANT PROFESSOR). .............................................................................................................................................. 14
II.1.4. ACADEMIC YEAR 2011/2012 CUs TAUGHT/ REGENCIES BEIRA INTERIOR UNIVERSITY (Covilh, Portugal) / AUTONOMOUS UNIVERSITY
OF LISBON (Portugal) AS INVITED ASSISTANT PROFESSOR ............................................................................................................................................... 14
II.1.5. ACADEMIC YEAR 2010/2011 CUs TAUGHT/ REGENCIES - IADE-U (Institute of Art, Design and Enterprise University) ESD (Higher
Education School of Design) - Santos, Lisbon - Portugal as Assistant Professor with integral dedication ......................................................................... 14
II.1.6. ACADEMIC YEAR 2009/2010 CUs TAUGHT/ REGENCIES - IADE-U (ESD) as Assistant Professor with integral dedication .............................. 14
II.1.7. ACADEMIC YEAR 2008/2009 CUs TAUGHT/ REGENCIES - IADE-U (ESD) as Assistant Professor with integral dedication .............................. 15
II.1.8. ACADEMIC YEAR 2003/2004 CUs TAUGHT/ REGENCIES - ISEC (HIGHER EDUCATION INSTITUTE OF EDUCATION AND SCIENCES), Lumiar Lisbon, Portugal) as Assistant Professor (Polytechnic rank) with integral dedication .............................................................................................................. 15
II.1.9. ACADEMIC YEAR 2002/2003 CUs TAUGHT/ REGENCIES - ISEC - as Assistant Professor (Polytechnic rank) with integral dedication. ..................... 15
II.1.10. ACADEMIC YEAR 1995/96 CUs TAUGHT - ESTGAD (Higher Education School of Management, Art & Design Polytechnic Institute of Leiria),
Caldas da Rainha, Portugal- as Equivalent to the Second Triennial Assistant (Polytechnic rank). .............................................................................................. 15
II.2. CONCEPTION OF NEW COURSES/ REORGANIZATION OF COURSES AND STUDY PROGRAMMES ALREADY FUNCTIONING/ CONCEPTION OF
NEW CURRICULAR UNITS. ............................................................................................................................................................................................................. 15
III. OTHER RELEVANT ACTIVITIES.. ............................................................................................................................................................................................... 16
III.1. UNIVERSITY MANAGEMENT ACTIVITIES.. .......................................................................................................................................................... 16
III.1.1. 2011/2015 UNIVERSITY MANAGEMENT ACTIVITIES BEIRA INTERIOR UNIVERSITY (UBI) (Covilh, Portugal). ............................... 16
III.1.2. 2008/2010 UNIVERSITY MANAGEMENT ACTIVITIES IADE-U (Institute of Art, Design and Enterprise University) ESD (Higher
Education School of Design) - Santos, Lisbon - Portugal ............................................................................................................................................................. 16
III.2. OTHER PROFISSIONAL ACTIVITIES GRAPHIC (COMMUNICATION) DESIGNER.. ................................................................................................... 16
III.3. FOREIGN LANGUAGES SKILLS.. ........................................................................................................................................................................................... 16
IV. END NOTES (includes syllabus of taught Curricular Units). .................................................................................................................................................. 17
I. SCIENTIFIC ACCOMPLISHMENTS:
I.1. EDUCATION AND TRAINING.
YEARS
DURATION/
ISSUE DATE:
MONTH/DAY/YEAR
CERTIFICATE/ DIPLOMA/
NATIONAL OFFICIAL
TRANSCRIPT OF
SUBJECTS
ACADEMIC DEGREE
WITH
SPECIALIZATION
ISSUER
INSTITUTION
FINAL CLASSIFICATION(S)/ CREDITS/ SCORE
Spanish PhD in Fine Arts Doctoral programme Plasticity, technique and concept by the Complutense University of Madrid (Country: Spain)
(European Union) - School of fine Arts Fine Art and Restoration Department
2005
Certificate issued in
06/07/2005
Certificate of Equivalence of
the Spanish degree of
Doctor (PhD) in Fine Arts to
the Portuguese Degree of
Doctor (PhD) in Fine Arts
(Painting)
Equivalence obtainedDoctor degree (PhD) in

Fine Arts (Painting ) by
the School of fine Arts
of the University of
Lisbon
University of
Lisbon
(Portugal)
School of Fine
Arts University
of Lisbon
(Portugal)
Gives the right to work in Portugal on an equal footing to a

the Portuguese PhD in Fine Arts (Major: Painting) title.
2002
Diploma issued in
07/16/2002
PhD in Fine Arts Doctoral

programme Plasticity,
technique and concept
Doctor degree (PhD) in

Fine Arts - programme
Plasticity, technique
and concept
Theses
title1:
Comparative study of
painting (fine arts)
higher
education
teaching
in
the
European
Union:
France,
United
Kingdom and Spaini
Juan Carlos I,
King of Spain
and in Majesty
name the Rector
of the
Complutense
University of
Madrid (Country:
Spain) - School
of Fine Arts
Fine Art and
Restoration
Department
Excellent Cum Laude by Unanimity2 (Sobresaliente Cum

Laude por unanimidad Spanish/ Excelente com louvor,
por unanimidade - Portuguese) maximum score
attributable
1992/94
07/26/1994
Sufficiency in research
Certificate (includes Official
Spanish Transcript of PhD in
Fine Arts Subjects and it
means accomplishing, in
the two year credits PhD,
36 credits, from which 32
are mandatory, and
obtaining approval of theses
project and title in the
Doctoral (PhD) programme
Plasticity, technique and
concept
Sufficiency in
research Certificate in
the Doctoral (PhD)
programme
Plasticity, technique
and concept
Complutense
University of
Madrid (Country:
Spain) - School
of Fine Arts
Fine Art and
Restoration
Department
Official Spanish Transcript of PhD in Fine Arts Subjects

(Semester Curricular Units) approved and classification
obtained:
- The decontextualisation process of figuration since "Les
demoiselles d'Avignon" till Francis Bacon triptychs, II (4
credits/ Classification: Excellent Sobresaliente3maximum score attributable);
- Materials and techniques for artistic airbrushing I & II" (4
credits/ Classification: Excellent);
-" Flexible supports for painting and drawing. Paper, I (4
-" Symmetry and mirror images : Study and representation
on the plane I" (4 credits/ Classification: Excellent) this
subject belonged to the Doctor (PhD) degree in Drawing;
-"Restoration techniques of contemporary painting II (4
credits - Classification: Approved Aprobado)
- The decontextualisation process of figuration since "Les
demoiselles d'Avignon" till Francis Bacon triptychs, I (4
-" The great painters of the eighteenth century and their
aesthetic concepts, I" (4 credits/ Classification:
Remarkable Notable);
-" Study and technical documentation of easel painting" (4
credits/ Classification: Remarkable);
- "Restoration techniques of contemporary painting I (4
credits - Classification Approved).
Original Spanish title: Estudio comparativo de la Enseanza Superior de Pintura dentro de la Comunidad Europea: Francia, Reino Unido y Espaa.)
REMARKS:
- Sobresaliente is the qualification mention for a mark between 9,0-10 points - in the Spanish scale of classification that goes from 5 (approved) till 10 points.
- In the Portuguese system it corresponds to a mark between 18,0-20 points (in a classification that goes from 10 (approved) till 20 points); In the USA (GPA score system) =
between 3,5 - 4; In the USA (F till A+ score system) = between A- and A+; In the USA (0 to 100 score system) = between 90 - 100; In the UK = 1 point (in the 3 to 1 score system)
or 70%-100% (in the 40%-100% score system);
3 REMARKS: Spanish approved qualifications versus quantifications of the Portuguese, North American, and United Kingdom score systems are:
- Aprobado 5,0-6,9 points (between 10,0 -14 points in the Portuguese score system)- traduced, above, into English, as Approved; In the USA (GPA score system) = between
1,0 e 2,5; In the USA (F till A+ score system) = between D and C+; In the USA (0 to 100 score system) = between 61 and 79; In the UK =s 2.2 in the 3 to 1 score system, or
50%-59% in the 40%-100% score system;
- Notable 7,0 -8,9 points (between 15-18 points in the Portuguese score system) - traduced, above, into English, as Remarkable; In the USA (GPA score system) = between
2,6 and 3,6; In the USA (F till A+ score system) = between B- and A-; In the USA (0 to 100 score system) = between 80 and 95; In the UK = 2,1 points in the 3 to 1 score system
or 60%-69% in the 40%-100% score system;
- Sobresaliente 9,0 -10 points (between 18,0-20 points in the Portuguese score system) - traduced, above, into English, as Excellent; In the USA (GPA score system) =
between 3,5 - 4; In the USA (F till A+ score system) = between A- and A+; In the USA (0 to 100 score system) = between 90 -100; In the UK = 1 point in the 3 to 1score system
or 70%-100% in the 40%-100% score system;
1
2
I.1. EDUCATION AND TRAINING
YEARS
DURATION/
Issue date:
month/day/year
Certificate/ Diploma/
National Official Transcript
of Subjects
ACADEMIC DEGREE
WITH
SPECIALIZATION
ISSUER
INSTITUTION
Portuguese Bachelor Degree - Graduation Degree (1st Cycle, pre Bologna Process - 5 years course) in Fine Arts (Major: Painting) by the School of Fine
Arts of the University of Lisbon (Country: Portugal) (European Union)
1992
09/25/1992
Equivalence certificate by
the Spanish Education and
Science Ministry to the
Portuguese Bachelor Degree
- Graduation Degree (1st
Cycle, pre Bologna Process 5 years course) in Fine Arts
(Major: Painting)
Equivalence by the
Spanish Education and
Science Ministry to the
Portuguese Bachelor
Degree - Graduation
Degree in Fine Arts
Spanish Education
and Science
Ministry4 (City:
Madrid; Country:
Spain)
Gives the right to work in Spain on an equal footing to a

Spanish citizen with the same title.
1991 (end date)

Diploma issued in
01/23/1992
Bachelor Degree Diploma Graduation Degree (1st

Cycle, pre Bologna Process 5 years course) in Fine Arts
(Major: Painting)
Bachelor Degree Graduation Degree in

Fine Arts (Major:
Painting) (1st Cycle, pre
Bologna Process - 5
years course)
School of Fine Arts

(E.S.B.A.L.) of the
University of Lisbon
14 points (MERITORIOUS)5
1986-91
12/30/1991
Official Portuguese Transcript

of Bachelor Degree
Certificate of Fine Arts
Subjects (1st Cycle, pre
Bologna Process - 5 years
course in Fine Arts - Major:
Painting)
Official Portuguese
Transcript of Bachelor
Degree Certificate of
Fine Arts Subjects (1st
Cycle, pre Bologna
Process - 5 years course
in Fine Arts - Major:
Painting)
School of Fine Arts

(E.S.B.A.L.) of the
University of Lisbon
Official Portuguese Transcript of Bachelor in Fine Arts

Subjects (annual Curricular Units) approved and
classification obtained:
1st year:
Art History 14 points;
Introduction to Plastic Arts and Design 11
points;
Visual Communication 16 points;
Descriptive Geometry 15 points;
2nd year:
Contemporary Art History I 15 points
Geometry and rigorous representation
techniques 13 points
Engraving 13 points;
Drawing 13 points;
Plastic Arts 15 points;
Anatomy 19 points;
Aesthetic introduction 12 points;
3rd year:
Drawing 16 points:
Models (Human Figure) 19 points;
Painting 12 points;
Photography 13 points,
Aesthetic I 14 points;
Contemporary Art History II 15 points;
Visual Form 14 points;
4th year:
Drawing 15 points;
Composition 14 points,
Painting 14 points;
Aesthetic II 14 points;
Portuguese Art History 13 points;
5th year:
Painting 15 points;
Art Studies 13 points;
Sociology 16 points;
Psychology 14 points
1989/90
3 months duration
ERASMUS6 in the Norwich

Institute of Art and Design,
Norwich, United Kingdom
ERASMUS
Norwich Institute of
Art and Design,
Norwich, UK
ERASMUS in the Norwich Institute of Art and Design,

Norwich, United Kingdom.
Ministerio de Educacin y Ciencia (Madrid, Espaa).

REMARKS:
a) 14 points in the Portuguese score system: In the USA (GPA system) = 2,3 -2,5; In the USA (F till A+ score system) = C+; In the USA (0 to 100 system) = 77-79; In the UK =
2.2 point in the 3 to 1 score system or 50%-59% in the 40%-100% score system;
b) BOM is the qualification name in the Portuguese system. It has been translated into English, as Meritorious.
4
5
I.1. EDUCATION AND TRAINING
YEARS
DURATION/
Issue date:
month/day/year
Certificate/ Diploma/
National Official Transcript
of Subjects
ACADEMIC DEGREE
WITH
SPECIALIZATION
ISSUER
INSTITUTION
Fine Art Higher Education Access and Fire Arts and Techniques (Ceramics and metals) Course - Vocational/Professional secondary education 2 year
course (10th 11th years) by the Secondary School Antnio Arroio, Portugal
1985/86
Higher Education Access
Higher Education
Secondary School Access average to higher education - 18,2 points
Certificate issued Average Score Certificate
Access Average Score
Antnio Arroio
(Portuguese system: approval from 10 to 20)
in 06/30/1986
(includes vocational
(includes vocational
(City: Lisbon;
Classifications:
component of access 10th
component of access
Country: Portugal) 12th year marks:
and 11th secondary
10th and 11th secondary
(former nineteenth
Frequency. National Examination
education years -, and 12th
education years -, and
century decorative Art History
16
14
year frequency and national
12th year frequency and
applied - arts
Drawing
20
19
examination scores) (USA
national examination
school)
Descriptive Geometry 19
19
level K12 12 years till the
scores) (USA level K12
final of secondary education) 12 years till the final of
secondary education)
1985
Fire Arts and Techniques
Fire Arts and
Secondary School Average of vocational component of access to higher
Certificate issued (Ceramics and metals)
Techniques (Ceramics
Antnio Arroio
education (10th and 11th year subjects average) - 17 points
in 08/09/1985
Course Certificate and metals) Course (City: Lisbon;
Vocational/Professional
Vocational/ Professional
Country: Portugal)
secondary education 2 year
secondary education 2
(former nineteenth
course (10th 11th years)
year course (10th 11th
century decorative
years average)
applied - arts
school)
1983/85 (course Official Portuguese Transcript Fire Arts and
Secondary School Official Portuguese Transcript of Fire Arts and Techniques
duration)
of Fire Arts and Techniques
Techniques Course
Antnio Arroio
Course Subjects (annual subjects) approved and
Certificate issued Course Subjects Certificate - Subjects classification (City: Lisbon;
classification obtained 10th and 11th year subjects average:
in 08/09/1985
Country: Portugal)
Portuguese 13 points;
secondary education 2 year
secondary education 2
(former nineteenth
Philosophy 16 points,
course (10th 11th years)
year course (10th 11th
century decorative
English 15 points;
years)
applied - arts
Mathematics 18 points;
school)
Physics and Chemistry 16 points;
Visual Arts History 16 points,
Descriptive Geometry 16 points;
Design Theory 17 points;
Materials Technology and Behaviour 17 points;
Drawing, project and workshop techniques 17
points;
European Union Students Exchange Program.
I.2. SCIENTIFIC OR ARTISTIC PRODUCTION, IN PARTICULAR THE ONE PUBLISHED IN BOOKS OR OTHER TYPE OF
PUBLICATIONS.
SCIENTIFIC
I.2.1. SCIENTIFIC PRODUCTION
- AUDIO/VISUAL AND ELECTRONIC/DIGITAL MATERIALS:

A. CAIADO, Ftima. OnLibVADH - Online Library in Visual Arts as Digital humanities https://sites.google.com/site/onlibvadh.7
A.a. Two publications (written in Spanish), published at - OnLibVADH - https://sites.google.com/site/onlibvadh):
A.a.a. Caiado, F. (2010). New technologies" - implications for higher education in fine arts (painting). The use of new tools. Centers and research projects in
French, English and Spanish art schools8. Pages. 176721299. CAIADO, Ftima. OnLibVADH - Online Library in Visual Arts as Digital humanities
https://sites.google.com/site/onlibvadh
A.a.b. Caiado, F. (2010). Database bibliographies and sites useful for a researcher in the area of arts education, focusing on higher education in the arts and
implementation of new technologies of audiovisual and computer10. 531 pages11. CAIADO, Ftima. OnLibVADH - Online Library in Visual Arts as Digital humanities
https://sites.google.com/site/onlibvadh
B. Seven publications (published in 2014)12 in ResearchGate - http://www.researchgate.net/profile/Fatima_Caiado. In the 8th June 2015, the number
of views and downloads were: PUBLICATIONS Source - https://www.researchgate.net/profile/Fatima_Caiado :
7
291
1,208
0
View stats
PUBLICATIONS
Views
Downloads
Citations
B.a. Caiado, F. (2014): PhD Theses Spanish Abstract: Comparative study of painting (fine arts) higher education teaching in the European Union: France, United
Kingdom and Spain13. 2002. http://www.redined.mec.es/oai/indexg.php?registro=014200300078. Article: Estudio comparativo de la Enseanza Superior de
Pintura dentro de la Comunidad Europea: Francia, Reino Unido y Espaa (click to access hyperlink). Available from: ResearchGate:
https://www.researchgate.net/publication/39156060_Estudio_comparativo_de_la_Enseanza_Superior_de_Pintura_dentro_de_la_Comunidad_Europea_Francia
_Reino_Unido_y_Espaa
B.b. Caiado, F. (2014). Table of Contents of the main 4th parts PhD Theses (except appendices): Comparative study of painting (fine arts) higher education
teaching in the European Union: France, United Kingdom and Spain. 2002. Dataset: INDICETOTAL (click to access hyperlink). ResearchGate:
https://www.researchgate.net/publication/260012441_INDICETOTAL
B.c. Caiado, F. (2014). New technologies" - implications for higher education in fine arts (painting). The use of new tools. Centers and research projects in
French, English and Spanish art schools. Pages. 17672129. Dataset: PARTECUARTANUEVASHERRTECNFRANCIAESPANAUK (click to access hyperlink).
ResearchGate: https://www.researchgate.net/publication/260012197_PARTECUARTANUEVASHERRTECNFRANCIAESPANAUK
B.d. Caiado, F. (2014). Database bibliographies and sites useful for a researcher in the area of arts education, focusing on higher education in the arts and
implementation of new technologies of audiovisual and computer. 531 pages. Dataset: BASEDATOSBIBILOGRAFIAYSITESUTILIDADINVESTIGADOR (click to
access hyperlink). ResearchGate: https://www.researchgate.net/publication/260012277_BASEDATOSBIBILOGRAFIAYSITESUTILIDADINVESTIGADOR
B.e. Caiado, F. (2014). DATABASE OF FINE ARTS (PAINTING) HIGHER EDUCATION INSTITUTIONS IN FRANCE14. 531 pages. Dataset:
BASEDATOSFRANCIA (click to access hyperlink). ResearchGate: https://www.researchgate.net/publication/260012285_BASEDATOSFRANCIA
B.f. Caiado, F. (2014). DATABASE OF FINE ARTS (PAINTING) HIGHER EDUCATION INSTITUTIONS IN SPAIN15. 1043 pages. Dataset:
BASEDATOSESPANHA (click to access hyperlink). ResearchGate: https://www.researchgate.net/publication/260012438_BASEDATOSESPANHA
B.g. Caiado, F. (2014). DATABASE OF FINE ARTS (PAINTING) HIGHER EDUCATION INSTITUTIONS IN THE UNITED KINGDOM16. 1024 pages.
Dataset: BASEDATOSREINOUNIDO (click to access hyperlink). ResearchGate:
https://www.researchgate.net/publication/260012286_BASEDATOSREINOUNIDO
I.2.1.1. EDUCATIONAL SCOPE TEXTS.

- Notes/theory support for the Visual Arts didactics Curricular Unit from the Master Degree in Visual Arts teaching in the 3th cycle basic education (K7-K8 from
11 to 14 years old) and in secondary education (K10-K12 from 14-17 years old) - VOLUME I: Plastic child expression versus Modern Art (The cases of Nave
Art, ART BRUT, Outsider Art and psychopathological Art). 703 pages.
- Notes/theory support for the Communication Semiotics (Visual Communication) Curricular Unit (for Design 1st cycle Degree and Communication Sciences
Degree 1st cycle Degree 3th YEAR - variants : Journalism , Advertising and Marketing , Public Relations);
This free access online database/library, created by the author, is intended to gather all contributions and contributors to research & development in the area of Visual Arts, from
all countries and in all languages; in three main domains: 1. CREATIVE PROJECTS AND IMPLEMENTED ONES; 2. TEACHING & LEARNING; 3. RESEARCH &
DEVELOPMENT. In all areas of the Visual Art domain understood, in the context of this online library, as multisensory (including Kinetic and synaesthesia) approaches, not only
the stimulus of vision but all senses from the point-of-view of all the media and audiovisual and new technologies contributions, from the point of view of the producer or viewer:
Architecture - Project; Urbanism; Landscape; Design -industrial; equipment; product; multimedia; communication; graphic; fashion; Fine Arts - Painting; Sculpture; Drawing; Mixed
Media; Installation; Performance; Multimedia Arts; Interactive Arts including the expressive resource to Augmented reality; Virtual reality; Sound & Image video mapping or other
installations in the Public Arts Urban Art, Land Art and Video Art; Videogames and digital games including Concept Art; Cinema (animated movies; science-fiction movies;
experimental cinema; author cinema).
8 Original title in Spanish: Nuevas tecnologas - repercusiones en la enseanza superior de artes plsticas (pintura). La utilizacin de nuevas herramientas. Centros y proyectos
de investigacin en las escuelas de arte francesas, inglesas y espaolas.
9 IV PART, from the PhD Theses with the title: Comparative study of painting (fine arts) higher education teaching in the European Union: France, United Kingdom and Spain.
2002.
10 Original title in Spanish: Base de datos sobre bibliografas y sites de utilidad para un investigador en el rea de la enseanza de las artes, enfocado a la enseanza superior de las bellas
artes y aplicacin de nuevas tecnologas de los audiovisuales y de la informtica.
11 One of the 4 data bases, from the PhD Theses.
12 Also from the PhD Theses and including the two former ones published on OnLibVADH.
13 Original title in Spanish: Estudio comparativo de la Enseanza Superior de Pintura dentro de la Comunidad Europea: Francia, Reino Unido y Espaa. 2002
14 Original title in Spanish: BASE DE DATOS DE INSTITUCIONES DE ENSEANZA SUPERIOR DE BELLAS ARTES (PINTURA) EN FRANCIA.
15 Original title in Spanish: BASE DE DATOS DE INSTITUICIONES DE ENSEANZA SUPERIOR DE BELLAS ARTES (PINTURA) EN ESPAA.
16 Original title in Spanish: BASE DE DATOS DE INSTITUICIONES DE ENSEANZA SUPERIOR DE BELLAS ARTES (PINTURA) EN EL REINO UNIDO.
7
I.2.1.2. TECHNICAL PUBLICATIONS OF SCIENTIFIC AND TECHNOLOGICAL DIVULGATION.

- Functioning rules of the Master Degree in Visual Arts teaching in the 3th cycle basic education (K7-K8 from 11 to 14 years old) and in secondary education
(K10-K12 from 14-17 years old) ii of Beira Interior University (Covilh Portugal)
- Guiding documents for writing work placement file/ work placement (stage) report for the Master Degree in Visual Arts teaching in the 3th cycle basic education
(K7-K8 from 11 to 14 years old) and in secondary education (K10-K12 from 14-17 years old): - Guidance/ guidelines for the redaction of the work placement
file; - Guidance/ guidelines for the redaction of the work placement (stage) report;
I.2.2. ARTISTIC PRODUCTION PORTFOLIUM

PAINTERS PORTFOLIUM [ONLINE it doesnt includes all works URL: http://pt.scribd.com/mariacaiado]
I.2.2.1. ARTISTIC PRODUCTION WORK AND REFERENCES IN CATALOGUES, MAGAZINES AND CULTURAL AGENDAS.
2008 - Caras e Decorao (Portuguese decoration magazine), October 2008, article Dias de Evaso, pages.49-60 dedicated to House n 101 (magazine cover)
whose interior decoration project belongs to Isabel S Nogueira (Text Author: Teresa Mafalda; Production: Manuela Freitas; Photography: Moutinho/ pages.52-53 Ftima Caiado Nascimento de Vnus - 3x (200x100cm) - triptych photograph.
Mxima Interiores (Portuguese interior decoration magazine), February 2008, number 83, page.67, Ftima Caiado work - A sereia sobreviveu (Mermaid did
survived).
2004 Cultural Lisbon Agenda, from June 2004 and July 2004 with an image of one of Ftima Caiados works in hers solo exhibition Horror Vacui/ Amor Infiniti
9arte Gallery (9arte.com) Lisbon - Portugal 24 de June - 23 de July.
- Guia Expresso, Todos os espetculos (Cultural agenda from Expresso newspaper), July 3 - 9, with another image of one of Ftima Caiados works in hers solo
exhibition Horror Vacui/ Amor Infiniti 9arte Gallery (9arte.com) Lisbon - Portugal 24 de June - 23 de July.
2003 - Revista Grafik (artes visuais), Number 12 November/December 2003: - Cover: Colective Mural conducted with the students of "Artistic Expression"
curricular unit ( Expresso Plstica) in I.S.E.C. (Higher Education Institute of Education and Sciences Lisbon) with Ftima Caiado Project and article Colagens com Chagall Projecto docente (Collages with Chagall) speaking about the creation and production of the collective mural; - Article regarding the
painting work of Ftima Caiado by herself;
2001 Exhibition Catalogue Lugar aos Jovens (Giving youngsters a place) in Valbom Art Gallery, May-Juin, Av. Conde Valbom, n 89-A, 1050-067 LISBON,
with one of the Works exposed and C.V.
1992 Catalog Exhibition/ Competition - Art critic of Master Painter Lima de Freitas, regarding the 1st prize obtained by Ftima Caiado work - Cenas da Vida dos
Anjos ("Scenes from the Life of Angels" - within the 1st Fidelidade Prize of Young Painters, 1992 work cover of the catalogue;
- Cultural Lisbon Agenda image of the work and mention of the 1st Prize Fidelidade Young Painters, October, page39;
- Cover with Ftima Caiados winning work, and article in the Jornal do Mediador (newspaper), number 56, year 10, December 1992, page7, from Insurance
Company Fidelidade , where it appears photos of the 1st prize delivery and respective Press clippings from the dally newspapers - DN Magazine (April 5); Pblico
(October 29); Correio da Manh (November 1) and Cultural Agenda of the Town Council of Lisbon, October 1992;
1991 Catalog Exhibition/ Competition organised by Coimbra Secretary of State for Culture 1st National Painting Exhibition. Coimbra Civilian government
Portugal.
1990 - Catalog Exhibition/ Competition organised by the Insurance Company Fidelidade - "Prmio Fidelidade Jovens Pintores 1990" (Young Painters Fidelidade
Prize 1990) where appears Ftima Caiados selected work H sempre mais algum (There is always someone else).
1989 - Catalog Exhibition/ Competition - "Jovem Pintura Portuguesa" (Young Portuguese painting) Presidency of the Council of Ministers, Lisbon Secretary of
State for Culture, Almada Negreiros Art Gallery Lisbon (Poprtugal) with a photograph of Ftima Caiados selected work .
I.2.2. EXHIBITION PARTICIPATION AS AN AUTHOR.

1.2.2.1. SOLO SHOWS.
2010 Sculptor Joaquim Correia Museum Exhibition title: Cerzideiras- , Marinha Grande (Portugal9, December 5th January 31 https://www.facebook.com/media/set/?set=a.153854794665997.40569.110625638988913 ;[click images to see slideshow]
2009 - Art Gallery So Francisco - Exhibition title: "Prantos sob vus, coqueterias, timidez e outros encantos." (Tears under veils, coquetries, shyness and other
charms February 28th April 11th - Rua Ivens, 40, Lisbon (Portugal) - http://pt.scribd.com/doc/13539401/PaintingFATIMACAIADOExhibitionNowPortugal
2002 /2008 Represented in the Virtual Art Gallery 9arte.com;
2007 Lapa Gallery Painting and Drawing exhibition - Rua das Trinas, n88, Lisbon-Portugal.
2004 Art Gallery 9arte (9arte.com) Exhibition title: Horror Vacui/Amor Infiniti Avenida d. Luis - Lisbon-Portugal ; June 24th July 23th; .
1989 - "O ESBOO" Bar - Exhibition title: "Basta" (Enough) - Lisbon (Alfama) Portugal.
1.2.2.2. COLECTIVE SHOWS

2008 Arte Lisboa (Lisbon Contemporary Art Fair) - So Francisco Art Gallery - FIL, Parque das Naes, Lisbon (Portugal);
2002 /2008 - 9arte.com Colective Show on Sacramento Gallery Calada do Sacramento, n. 44/46, Lisbon (Portugal);
2001 Valbom Art Gallery Exhibition title: Lugar aos Jovens (A place to youngsters) - May-June, Av. Conde Valbom, n. 89-A, Lisbon (Portugal);
1994 Art Gallery "Expo 94" exhibition - Madrid (Spain);
- Lions Club of Maia exhibition Maia Forum, Porto (Portugal);
1993 - Exhibition/ Competition - BCM Prize National Young Artists Contest - Revelations 93 - Cooperativa Arvore October 8-27th, Porto (Portugal);
- Art Gallery Arte e mania exhibition May 20th-August 31st, Lisbon (Portugal);
1992 - Exhibition/ Competition - "XVIII Prmio Nacional de Pintura "Enrique Ginestal" (18th National Painting Prize "Enrique Ginestal") Municipal House of Culture,
December 28th (1992) - January 22th (1993) - Talavera de la Reina, Spain Painter Antnio Lopez as member of the juries contest;
- Obtained de 1st prize in the Competition/ Exhibition - "Prmio Fidelidade Jovens Pintores 1992" (Young Painters Fidelidade Prize 1992) - biennale prize
promoted by the Insurance company Fidelidade with exhibition in several Portuguese cities: Lisbon (October, 1992); Porto (November, 1993); Viseu (February, 1993);
- X Exposicion/ Concurso de Artes Plsticas "Festividad de Santo Domingo de la Calzada 1992" (10th Visual Arts Exhibition/ Competition Santo Domingo
de la Calzada Festivity) - Colegio de Ingenieros de Caminos, Canales y Puertos, May 11st 23th - Calle Almagro, 42, Madrid (Spain) - Painter Antnio Lopez as
member of the juries contest;
- "Doze anos de Arte..." (Twelve years of Art) - Exhibition of the Painting Municipal Collection Municipal Gallery of Amadora Town Council, April 1992,
Amadora (Portugal);
1991 - Exhibition/ Competition - Secretaria de Estado da Cultura de Coimbra (Coimbra Secretary of State for Culture) - work selected was offered by the author to
remain in the installations, Coimbra (Portugal);
1990 - Exhibition/ Competition "Prmio Fidelidade Jovens Pintores 1990" (Fidelidade Young Painters Contest promoted by Fidelidade Insurance Company
exhibition in the National Library of Lisbon, Porto, Coimbra and vora (the work was bought by Fidelidade Insurance Company);
- "Erasmus Students" Exhibition - Norwich Institut of Art and Design - Norwich (United Kingdom);
- Municipal Gallery of Amadora Town Council (17th works exposed), Amadora (Portugal);
1989 - Exhibition/ Competition "Jovem Pintura Portuguesa" (Young Portuguese Painting Lisbon Secretary of State for Culture, Lisbon (Portugal);
- Visual Arts Exhibition: Students from Lisbon Higher Education School of Fine Arts - Vila Franca de Xira Town Council, Vila Franca de Xira (Portugal);
- Exhibition title: "Era uma vez..." (Once upon a time) two artists show Art gallery of the Lisbon Higher Education School of Fine Arts (E.S.B.A.L.), (interview
with Raul Duro on RTP Portuguese Radio Television).
1988 - "Plurais e diferentes, outros Volumes, novas Cores" (Plural and different, other volumes, new colors) Exhibition - Espiral Gallery and Palcio do Egipto
Oeiras (Portugal);
1987 - Clube dos Empresrios Exhibition Lisboa (Portugal).
I.3. RECOGNITION BY THE SCIENTIFIC COMMUNITY.

I.3.1. TEACHER EVALUATION BEIRA INTERIOR UNIVERSITY (Covilh Portugal)
RAD17
2014 In accordance with

(Teacher Evaluation Rules of Beira Interior University), and referring to the academic years of - 2nd semester 2010-11; 2011-12
and 2012-2013 Global appreciation: BOM (GOOD);
I.3.2. RESEARCH SCHOLARSHIPS / GRANTS

1996-2000 Fellow of the Praxis XXI scholarship program, of the European Community, managed by JNICT18, actual FCT (Foundation for Science and Technology)
during four years to accomplish the PhD Program in the School of fine Arts of the Complutense University of Madrid (Spain) and the theses -Comparative study of
painting (fine arts) higher education teaching in the European Union: France, United Kingdom and Spain;
1994 - Fellow of the Scholarship Program of the Spanish Ministry of Foreign Affairs in cooperation with the Portuguese Ministry of Foreign Affairs;
1989/90 - Fellow of ERASMUS Scholarship Program to attend, during three months the Painting Degree Course in the Norwich Institute of Art and Design (United
Kingdom) March 6th- June 6th.
I.3.3. AWARDS.
2005 Premio Extraordinario de Doctorado (Extraordinary PhD Prize) granted by the School of Fine Arts of the Complutense University of Madrid (Spain) academic
year 2001-2002 Competition with Diploma that distinguishes the PhD theses that have obtained the classification of Sobresaliente Cum Laude por Unanimidad
(Excellent Cum Laude by unanimity);
1992 - First Prize in the Painting biennale Competition/ Exhibition - "Prmio Fidelidade Jovens Pintores 1992" (Fidelidade Young Painters Prize, 1992) -, promoted by
Insurance Company Fidelidade;
1986/87 - Honorable mention (Prmio IN AMOREIRAS) for the research work done in the Curricular Unit, Anatomy, in the Lisbon Higher Education School of
Fine Arts (E.S.B.A.L. now School of Fine Arts of the University of Lisbon), with the title A mmica do palhao ( The Clown mimicry).
17
18
Regulamento de Avaliao Docente da UBI.

Junta Nacional de Investigao Cientfica e Tecnolgica.
I.4. SCIENTIFIC ORIENTATION/ CO-ORIENTATION OF MASTER DEGREE (2nd CYCLE) STUDENTS.

1.4.1. SCIENTIFIC ORIENTATION ACADEMIC YEAR 2013/2014
PORTUGUESE PEDAGOGIC WORK PLACEMENT REPORTS Master Degree in Visual Arts teaching in the 3th cycle basic education (K7-K8 from
11 to 14 years old) and in secondary education (K10-K12 from 14-17 years old) BEIRA INTERIOR UNIVERSITY (Covilh, Portugal)
NOVO, Srgio Manuel Pereira - Supervised Teaching Practice. Drawing A (year 12th)/ Visual Education (Year 9th). IMPORTANCE OF EDUCATION THROUGH
THEATRE IN THE NATIONAL CURRICULA19. CAIADO, F. (scientific advisor); PEREIRA, J. (pedagogical advisor Secondary School Campos Melo, Covilh).
BORGES, Melissa Ins Sousa - Supervised Teaching Practice. Visual Education (Year 8th). CONSTRUCTION GAMES AS A PROJECT VS. CREATIVE
STRATEGY IN DESIGN TEACHING.20 CAIADO, F. (scientific advisor); TRIGUEIROS, J.P. (pedagogical advisor Secondary School with 3rd cycle basic
education Quinta das Palmeiras, Covilh).
CARVALHO, Vera Catarina de Brito Moreira de - Supervised Teaching Practice. Visual Education (Year 8th). ART THERAPY AND PROJECTIVE TESTS IN
ARTISTIC EDUCATION. CAIADO, F. (scientific advisor); TRIGUEIROS, J. P. (pedagogical advisor Secondary School with 3rd cycle basic education Quinta
das Palmeiras, Covilh).
1.4.1.1. SCIENTIFIC ORIENTATION ACADEMIC YEAR 2013/2014

WORK PLACEMENT REPORTS MASTER DEGREE IN MULTIMEDIA DESIGN BEIRA INTERIOR UNIVERSITY (Covilh, Portugal)
CNOVAS, Andrea Work Placement Report. BABY APP.21 CAIADO, F. (scientific advisor).
1.4.1.2. SCIENTIFIC CO-ORIENTATION ACADEMIC YEAR 2013/2014

PORTUGUESE PEDAGOGIC WORK PLACEMENT REPORTS Master Degree in Visual Arts teaching in the 3th cycle basic education (K7-K8 from 11 to 14
years old) and in secondary education (K10-K12 from 14-17 years old) BEIRA INTERIOR UNIVERSITY (Covilh, Portugal)
VICENTE, Andrea Sofia Evangelista Ferreira Monteiro de Carvalho - Supervised Teaching Practice. Drawing A (year 12th)/ Visual Education (Year 9th).
EDUCATION THROUGH ARCHITECTURE22. PAIVA, F. (scientific advisor); CAIADO, F. (scientific co-advisor); PEREIRA, J. (pedagogical advisor Secondary
School Campos Melo, Covilh).

GIL, Sara Sofia Garcia Supervised Teaching Practice. Visual Education (Year 7th). CREATIVITY DEVELOPMENT. FOCUS ON THE DYSLEXIC STUDENT
AND HYPERACTIVE STUDENT.23 CAIADO, F. (scientific advisor); TRIGUEIROS, J. P. (pedagogical advisor Secondary School with 3rd cycle basic
education Quinta das Palmeiras, Covilh).
SILVA, Vera Lcia Francisco da - Supervised Teaching Practice. Visual Education (Year 9th). INDISCIPLINE (RE)SOLUTION STRATEGIES.24 CAIADO, F.
(scientific advisor); TRIGUEIROS, J. P. (pedagogical advisor Secondary School with 3rd cycle basic education Quinta das Palmeiras, Covilh).
FREIRE, Sofia Nobre - Supervised Teaching Practice. THE WORK OF ART AS PEDAGOGICAL RESOURCE. Visual Education (year 8th)25. CAIADO, F.
FERREIRA, Catarina Isabel da Silva TIFFANY STAINED GLASS IN THE TEACHING OF VISUAL ARTS. REPORT OF TEACHING EXPERIENCES.26
CAIADO, F. (scientific advisor); FIDALGO, Ana (pedagogical advisor Secondary School Campos Melo, Covilh).
NUNES, Maria Cristina Duarte Gomes Patrcio Mesquita Supervised Teaching Practice. Visual Education (year 9th). Drawing A (year 11th). EMOTIONAL
INTELLIGENCE27. CAIADO, F. (scientific advisor); PEREIRA, J. M. (pedagogical advisor Secondary School Campos Melo, Covilh).
S, Eliana Fontes Fernandes Supervised Teaching Practice. Descriptive Geometry A (Year 11th). MEDITATION AS ARTISTIC PRACTICE UNLOCKER [IN
ARTS WORKSHOP (YEAR 12TH)]28. CAIADO, F. (scientific advisor); FIDALGO, Ana (pedagogical advisor Secondary School Campos Melo, Covilh).
VICENTE, Pedro Miguel de Carvalho - Supervised Teaching Practice. CREATIVITY EXPRESSION, DEVELOPMENT AND EVALUATION. Visual Education
(year 9th). Drawing A (year 11th).29 CAIADO, F. (scientific advisor);.); PEREIRA, J. M. (pedagogical advisor Secondary School Campos Melo, Covilh).
LOPES, Beatriz Fernanda Madeira - Supervised Teaching Practice. Descriptive Geometry A (year 11th). Arts Workshop (year 12 th). PHOTOGRAPHY.
APPROPRIATIONS AND DECONSTRUCTIONS IN VISUAL ARTS AND ITS TEACHING. 30 CAIADO, F. (scientific advisor); FIDALGO, Ana (pedagogical
advisor Secondary School Campos Melo, Covilh).
SILVA, Maria da Luz de Jesus dos Santos - Supervised Teaching Practice. Descriptive Geometry A (year 11th). Arts Workshop (year 12 th). EATING THE
ART.31 CAIADO, F. (scientific advisor); FIDALGO, Ana (pedagogical advisor Secondary School Campos Melo, Covilh).
LOPES, Joo Pedro Baptista da Fonseca Supervised Teaching Practice. DATABASE FOR THE TEACHING OF DRAWING. Drawing A 8year 12th). Visual
Original Portuguese title: Prtica de Ensino Supervisionada. Desenho A (12 ano) / Educao Visual (9 ano). Importncia da Educao pelo Teatro no currculo nacional".
Original Portuguese title: Prtica de Ensino Supervisionada. Educao Visual (8ano). Jogos construtivos como estratgia de projeto vs. criativa no ensino do Design."
21 Original Portuguese title: "Relatrio de Estgio." Baby App.
22 Original Portuguese title: "Prtica de Ensino Supervisionada. Desenho A (12 ano) Educao Visual (9 ano). Educao pela Arquitectura
23 Original Portuguese title: O DESENVOLVIMENTO DA CRIATIVIDADE. ENFOQUE NO ALUNO DISLXICO E NO ALUNO HIPERATIVO.
24 Original Portuguese title: Prtica de Ensino Supervisionada. Educao Visual (9Ano). INDISCIPLINA - ESTRATGIAS DE (RE)SOLUO.
25 Original Portuguese title: Prtica de Ensino Supervisionada. A OBRA DE ARTE COMO RECURSO PEDAGGICO. Educao Visual (8 ano).
26 Original Portuguese title: VITRAL TIFFANY NO ENSINO DAS ARTES VISUAIS. RELATO DE EXPERINCIAS DIDTICAS.
27 Original Portuguese title: Prtica de Ensino Supervisionada. Educao Visual (9 ano). Desenho A (11). INTELIGNCIA EMOCIONAL.
28 Original Portuguese title: Prtica de Ensino Supervisionada. Geometria Descritiva A (11ano). A MEDITAO COMO DESBLOQUEADORA DA PRTICA ARTSTICA [EM
OFICINA DE ARTES (12ano)].
29 Original Portuguese title: Prtica de Ensino Supervisionada. EXPRESSO, DESENVOLVIMENTO E AVALIAO DA CRIATIVIDADE. Educao Visual (9 Ano). Desenho A
(11 Ano).
30 Original Portuguese title: Prtica de Ensino Supervisionada. Geometria Descritiva A (11 Ano). Oficina de Artes (12 Ano). A FOTOGRAFIA. APROPRIAES E
DESCONSTRUES NAS ARTES VISUAIS E SEU ENSINO.
31 Original Portuguese title: Prtica de Ensino Supervisionada. Geometria Descritiva A (11 Ano); Oficina das Artes (12 Ano); COMER A ARTE.
19
20
Education (year 8th).32 CAIADO, F. (scientific advisor); BRANCO, Lus A. (pedagogical advisor Secondary School with 3rd cycle basic education of Fundo).
VARANDAS, Paula Sofia dos Santos Supervised Teaching Practice. Visual Education (year 8th). Drawing A (year 12th). FROM GARBAGE TO THE WORK
OF ART. RE-USE AS A RESOURCE IN VISUAL ARTS.33 CAIADO, F. (scientific advisor); BRANCO, Lus A. (pedagogical advisor Secondary School with 3rd
cycle basic education of Fundo).
FERNANDES, Sara Patrcia Sousa - Supervised Teaching Practice. Drawing A (year 12th) and Visual Education (Year 8th). ART THERAPY CONTRIBUTIONS
TO VISUAL ARTS TEACHING.34 CAIADO, F. (scientific advisor); BRANCO, Lus A. (pedagogical advisor Secondary School with 3rd cycle basic education of
Fundo).
FERNANDES, Andreia Rodrigues - Supervised Teaching Practice. Descriptive Geometry A (year 11th). GIFTED CHILDREN - AFFECTIVE AND SOCIAL
WORLD.35 CAIADO, F. (scientific advisor); SANTOS, Jos M. (pedagogical advisor Secondary School with 3rd cycle basic education of Amato Lusitano,
Castelo Branco).
SILVA, Cludia Manuela Nunes da Supervised Teaching Practice. Descriptive Geometry A (year 11th). LUPA (URBAN LABORATORY THROUGH ART)
AN EDUCATION SERVICE FOR CASTELO BRANCO. 36 CAIADO, F. (scientific advisor); SANTOS, Jos M. (pedagogical advisor Secondary School with 3rd
cycle basic education of Amato Lusitano, Castelo Branco).
BATISTA, Maria Alice Monteiro Supervised Teaching Practice. Descriptive Geometry A (year 10th). VISUAL ANTROPOLOGY A SCHOLAR PROJECT.37
CAIADO, F. (scientific advisor); SANTOS, Jos M. (pedagogical advisor Secondary School with 3rd cycle basic education of Amato Lusitano, Castelo
Branco).
1.4.2.1. SCIENTIFIC CO-ORIENTATION ACADEMIC YEAR 2012/2013

POMBO; Ana Ins Henriques Alves Supervised Teaching Practice. Drawing A (year 12th). Visual Education (year 8th). INTEGRATING THE FILM / VIDEO IN
TEACHING.38 DIOGO, Vasco Gabriel (scientific advisor); CAIADO, F. (scientific co-advisor); BRANCO, Lus A. (pedagogical advisor Secondary School with
3rd cycle basic education of Fundo).
PRAZERES, Simone Martins dos Supervised Teaching Practice. Drawing A (year 11th). Visual Education (year 9th). ART-MOTHER. ONE ARCHETYPAL
ENTELECHY.39 PAIVA, F. (scientific advisor); CAIADO, F. (scientific co-advisor); PEREIRA, J. (pedagogical advisor Secondary School Campos Melo,
Covilh).

ALVES, David Manuel Cascais Supervised Teaching Practice. Descriptive Geometry A (year 10th). Arts Workshop (year 12 th). DINAMIC GEOMETRY
SOFTWARE, NEW METHODOLOGIES OF TEACHING/LEARNING.40 CAIADO, F. (scientific advisor); FIDALGO, Ana (pedagogical advisor Secondary
School Campos Melo, Covilh).
LAPA, Bruno Miguel Martins Supervised Teaching Practice. Arts Workshop (year 12 th). Descriptive Geometry A (year 10th). WORK OF ART
PEDAGOGICAL RESOURCE.41 CAIADO, F. (scientific advisor); FIDALGO, Ana (pedagogical advisor Secondary School Campos Melo, Covilh).
OLIVEIRA, David Pires Supervised Teaching Practice. Descriptive Geometry A (year 10th). Arts Workshop (year 12 th). TECHNICAL PROCEDURAL SKILLS
ACQUISITION INPACT ON THE (RE)CREATION OF IMAGES [IN ARTS WORKSHOP].42 CAIADO, F. (scientific advisor); FIDALGO, Ana (pedagogical
advisor Secondary School Campos Melo, Covilh).
FLORINDO, Bruno Ricardo Costa Supervised Teaching Practice. Drawing A (years 10th and 12th). THE PRESENCE OF HUMAN FIGURE IN PORTUGUESE
PAINTING.43 CAIADO, F. (scientific advisor); PEREIRA, J. M. (pedagogical advisor Secondary School Campos Melo, Covilh).
SARAIVA, Cludia Isabel Gregrio Ramos Supervised Teaching Practice. Drawing A (years 10th and 12th). PROJECT METHODOLOGY IN-OF DESIGN.44
CAIADO, F. (scientific advisor); PEREIRA, J. M. (pedagogical advisor Secondary School Campos Melo, Covilh).
QUADRADO, Ana Cristina Gonalves Supervised Teaching Practice. Art & Design (year 8th). EXPRESSIVE EDUCATION. THE VISUAL ARTS BEYOND
THEIR SELF.45 CAIADO, F. (scientific advisor); TRIGUEIROS, J. P. (pedagogical advisor Secondary School with 3rd cycle basic education Quinta das
Palmeiras, Covilh).
PIGNATELLI, Francesco Supervised Teaching Practice. Art & Design (year 8th). EDUCATIONAL PARADIGM: PROJECT METHODOLOGY.46 CAIADO, F.
Original Portuguese title: Prtica de Ensino Supervisionada. BASE DE DADOS PARA O ENSINO DO DESENHO. Desenho A (12ano). Educao Visual (8ano).
Original Portuguese title: Prtica de Ensino Supervisionada. Educao Visual (8 Ano). Desenho A (12 Ano). DO LIXO OBRA DE ARTE. REUTILIZAO COMO RECURSO
EM ARTES VISUAIS.
34 Original Portuguese title: Prtica de Ensino Supervisionada. Desenho A (12 ano) e Educao Visual (8 ano). ARTE TERAPIA. CONTRIBUTOS PARA O ENSINO DAS ARTES
VISUAIS.
35 Original Portuguese title: Prtica de Ensino Supervisionada. Geometria Descritiva A (11 ano). CRIANAS SOBREDOTADAS - MUNDO AFETIVO E SOCIAL.
36 Original Portuguese title: Prtica de Ensino Supervisionada. Geometria Descritiva A (11 ano). LUPA (LABORATRIO URBANO PELA ARTE) - UM SERVIO EDUCATIVO
PARA CASTELO BRANCO.
37 Original Portuguese title: Prtica de Ensino Supervisionada Geometria Descritiva A (10 Ano). ANTROPOLOGIA VISUAL UM PROJETO ESCOLAR.
38 Original Portuguese title: Prtica de Ensino Supervisionado. Desenho A (12 ano). Educao Visual (8 ano). INTEGRAR O CINEMA/VDEO NO ENSINO.
39 Original Portuguese title: Prtica de Ensino Supervisionada. Desenho A (11 Ano) e Educao Visual (9Ano). ARTE-ME: UMA ENTELQUIA ARQUETPICA.
40 Original Portuguese title: Prtica de Ensino Supervisionada. Geometria Descritiva A (10 ano). Oficina de Artes (12 ano). PROGRAMAS DE GEOMETRIA DINMICA. NOVAS
METODOLOGIAS DE ENSINO/APRENDIZAGEM.
41 Original Portuguese title: Prtica de Ensino Supervisionada. Oficina de Artes (12 ano). Geometria Descritiva A (10 ano). OBRA DE ARTE - RECURSO PEDAGGICO.
42 Original Portuguese title: Prtica de Ensino Supervisionada. Geometria Descritiva A (10ano). Oficina de artes (12ano). AQUISIO DE COMPETNCIAS TCNICOPROCEDIMENTAIS - IMPACTO NA (RE-) CRIAO DE IMAGENS [EM OFICINA DE ARTES].
43 Original Portuguese title: Prtica de Ensino Supervisionada. Desenho A (10 e 12 Anos). A PRESENA DA FIGURA HUMANA NA PINTURA PORTUGUESA.
44 Original Portuguese title: Prtica de Ensino Supervisionada. Desenho A (10 e 12 Anos). METODOLOGIA PROJECTUAL NODO DESIGN.
45 Original Portuguese title: Prtica de Ensino Supervisionada. Arte e Design (8 Ano). EDUCAO EXPRESSIVA. AS ARTES VISUAIS PARA ALM DE SI.
46 Original Portuguese title: Prtica de Ensino Supervisionada. Arte e Design (8 ano). PARADIGMA EDUCATIVO: A METODOLOGIA PROJETUAL.
32
33
10
PEREIRA, Mrcia Sofia Oliveira Supervised Teaching Practice. URBAN ART. A RESOURCE IN VISUAL EDUCATION (YEAR 7TH) TEACHING.47 CAIADO, F.
JESUS, Ana Sofia Gomes de Supervised Teaching Practice. Visual Education (year 7th). TEACHING OF DRAWING, THROUGH EDUCATING THE VISION,
IN THE 3RD CYCLE OF BASIC EDUCATION.48 CAIADO, F. (scientific advisor); TRIGUEIROS, J. P. (pedagogical advisor Secondary School with 3rd cycle
basic education Quinta das Palmeiras, Covilh).
AMARO, Alda Figueira Supervised Teaching Practice. COGNITIVE DEVELOPMENT VS. VISUAL EDUCATION (YEAR 9TH). CAVALIERE AND ISOMETRIC
PERSPECTIVES RECREATED BY OPTICAL ILLUSIONS.49 CAIADO, F. (scientific advisor); TRIGUEIROS, J. P. (pedagogical advisor Secondary School with
3rd cycle basic education Quinta das Palmeiras, Covilh).
AFONSO, Carla Sofia Pereira Supervised Teaching Practice. Descriptive Geometry A (year 10th). CREATIVITY IN TEACHING.50 CAIADO, F. (scientific
advisor); TRIGUEIROS, J. P. (pedagogical advisor Secondary School with 3rd cycle basic education Quinta das Palmeiras, Covilh).
RIBEIRO, Rita Andreia Andrade Aragonez Cabeas Supervised Teaching Practice. Visual Education (year 7th). THE PLAYFUL AS METHODOLOGICAL
RESOURCE.51 CAIADO, F. (scientific advisor); TRIGUEIROS, J. P. (pedagogical advisor Secondary School with 3rd cycle basic education Quinta das
Palmeiras, Covilh).
MAGALHES, Romeu Pereira de Supervised Teaching Practice. Drawing A (year 11th). THEORIES OF MOTIVATION. RELEVANCE OF EMOTIONS AND
COGNITIONS IN EDUCATION.52 CAIADO, F. (scientific advisor); BRANCO, Lus A. (pedagogical advisor Secondary School with 3rd cycle basic education of
Fundo).
SERRA, ngela Cristina Catarino Supervised Teaching Practice. Drawing A (year 11th). TECHNICAL AND PERCEPTUAL PRINCIPLES IN HUMAN FIGURE
DRAWING.53 CAIADO, F. (scientific advisor); BRANCO, Lus A. (pedagogical advisor Secondary School with 3rd cycle basic education of Fundo).
SOUSA, Bruno Miguel Balegas de Supervised Teaching Practice. Drawing A (year 11th). UNBLOCKING IN DIRECT OBSERVATION DRAWING.54 CAIADO,
F. (scientific advisor); BRANCO, Lus A. (pedagogical advisor Secondary School with 3rd cycle basic education of Fundo).
CARDOSO, Ana Sofia Neto Pinto (Autor) Supervised Teaching Practice. Descriptive Geometry (year 11th). DESCRIPTIVE GEOMETRY IN TEACHING:
HISTORICAL APPROACH.55 CAIADO, F. (scientific advisor); SANTOS, Jos M. (pedagogical advisor Secondary School with 3rd cycle basic education of
Amato Lusitano, Castelo Branco).
MARTINS, Mrcio Joo Carapinha Supervised Teaching Practice. Computer Assisted Drawing (year 11th). Design, Multimedia and Audiovisuals (year 12 th).
WE TEACH IN THE TWENTY-ONE CENTURY WITH UPDATES OF NINETEEN CENTURY.56 CAIADO, F. (scientific advisor); MORO, Maria da Conceio
(pedagogical advisor Secondary School with 3rd cycle basic education of Amato Lusitano, Castelo Branco).
OLIVEIRA, Ana Catarina Teixeira de Supervised Teaching Practice.Descriptive Geometry (year 11th). SPATIAL SKILL IN DESCRIPTIVE GEOMETRY. 57
CAIADO, F. (scientific advisor); SANTOS, Jos M. (pedagogical advisor Secondary School with 3rd cycle basic education of Amato Lusitano, Castelo
Branco).
1.4.3.1. SCIENTIFIC CO-ORIENTATION - ACADEMIC YEAR 2010/2011

PORTUGAL, Ana Maria Chaves Ferreira Supervised Teaching Practice. General Course of Visual Arts. Art & Design (year 7th). Visual Education (year 8th). 58
CAIADO, F. & BACELAR, A. (scientific advisors); TRIGUEIROS, J. P. (pedagogical advisor Secondary School with 3rd cycle basic education Quinta das
Palmeiras, Covilh).
CARVALHO, Isabel Maria da Cruz Supervised Teaching Practice. Third Cycle of Basic Education. Visual Education (year 7th).59 CAIADO, F. & BACELAR, A.
(scientific advisors); TRIGUEIROS, J. P. (pedagogical advisor Secondary School with 3rd cycle basic education Quinta das Palmeiras, Covilh).
MENDES, Antnio Ferreira Supervised Teaching Practice. General Course of Visual Arts. Visual Education (year 8th).60 CAIADO, F. & BACELAR, A. (scientific
advisors); TRIGUEIROS, J. P. (pedagogical advisor Secondary School with 3rd cycle basic education Quinta das Palmeiras, Covilh).
PEREIRA, Catarina Isabel dos Reis Supervised Teaching Practice. Scientific-humanistic Course of Visual Arts. Descriptive Geometry (year 11th). Arts
Workshop (year 12th).61 CAIADO, F. & BACELAR, A. (scientific advisors); FIDALGO, Ana (pedagogical advisor Secondary School Campos Melo, Covilh).
MARQUES, Joana Raquel de Jesus Berto Martinho Supervised Teaching Practice. Scientific-humanistic Course of Visual Arts. Descriptive Geometry (year
11th). Arts Workshop (year 12th).62 CAIADO, F. & BACELAR, A. (scientific advisors); FIDALGO, Ana (pedagogical advisor Secondary School Campos Melo,
Covilh).
JERNIMO, Pedro Miguel Monteiro Supervised Teaching Practice. Scientific-humanistic Course of Visual Arts. Descriptive Geometry (year 11th). Arts
Workshop (year 12th).63 CAIADO, F. & BACELAR, A. (scientific advisors); FIDALGO, Ana (pedagogical advisor Secondary School Campos Melo, Covilh).
Original Portuguese title: Prtica de ensino supervisionada. ARTE URBANA. UM RECURSO NO ENSINO - EDUCAO VISUAL (7 ANO).
Original Portuguese title: Prtica de Ensino Supervisionada. Educao Visual (7 Ano). ENSINO DO DESENHO, PELA EDUCAO DO OLHAR, NO TERCEIRO CICLO DO
ENSINO BSICO.
49 Original Portuguese title: Prtica de Ensino Supervisionada. DESENVOLVIMENTO COGNITIVO VS. EDUCAO VISUAL (9ANO). PERSPECTIVAS CAVALEIRA E
ISOMTRICA RECRIADAS POR ILUSES PTICAS.
50 Original Portuguese title: Prtica de Ensino Supervisionada. Geometria Descritiva A (10 Ano). CRIATIVIDADE NO ENSINO.
51 Original Portuguese title: Prtica de Ensino Supervisionada. Educao Visual (7 Ano). O LDICO COMO RECURSO METODOLGICO
52 Original Portuguese title: Prtica de Ensino Supervisionada. Desenho A (11Ano). TEORIAS DA MOTIVAO. RELEVNCIA DAS COGNIES E EMOES NO ENSINO.
53 Original Portuguese title: Prtica de Ensino Supervisionada. Desenho A (11 ano). PRINCPIOS TCNICOS E PERCEPTIVOS NO DESENHO DE FIGURA HUMANA.
54 Original Portuguese title: Prtica de Ensino Supervisionada. Desenho A (11Ano). DESBLOQUEIO NO DESENHO DE OBSERVAO DIRECTA.
55 Original Portuguese title: Prtica de Ensino Supervisionada. Geometria Descritiva A (11 ano). A GEOMETRIA DESCRITIVA NO ENSINO: ABORDAGEM HISTRICA.
56 Original Portuguese title: Prtica de Ensino Supervisionada. Desenho Assistido por Computador (11 ano). Design, Multimdia e Audiovisuais (12 ano). ENSINAMOS NO SC.
XXI COM UPDATES DO SC. XIX.
57 Original Portuguese title: Prtica de Ensino Supervisionada. Geometria Descritiva A (11 ano). A HABILIDADE ESPACIAL NA GEOMETRIA DESCRITIVA.
58 Original Portuguese title: PRTICA DE ENSINO SUPERVISIONADA. CURSO GERAL DE ARTES VISUAIS. ARTE E DESIGN (7. ANO). EDUCAO VISUAL (8. ANO).
59 Original Portuguese title: Prtica de Ensino Supervisionada. Terceiro Ciclo do Ensino Bsico. Educao Visual (7 ano).
60 Original Portuguese title: Prtica de Ensino Supervisionada. Curso Geral de Artes Visuais. Educao Visual, 8 Ano.
61 Original Portuguese title: Prtica de Ensino Supervisionada. Curso Cientfico-Humanstico de Artes Visuais. Geometria Descritiva A (11 Ano). Oficina de Artes (12 Ano).
62 Original Portuguese title: Prtica de Ensino Supervisionada. Curso Cientfico-Humanstico de Artes Visuais. Geometria Descritiva A (11 ano). Oficina de Artes (12 ano).
63 Original Portuguese title: Prtica de Ensino Supervisionada. Curso Cientfico-Humanstico de Artes Visuais. Geometria Descritiva A (11 ano). Oficina de Artes (12 ano).
47
48
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FERNANDES, Lus Miguel Mendes Supervised Teaching Practice. Scientific-humanistic Course of Visual Arts. Drawing A (year 10th).64 CAIADO, F. &
BACELAR, A. (scientific advisors); BRANCO, Lus A. (pedagogical advisor Secondary School with 3rd cycle basic education of Fundo).
CUNHA, Diana Isabel Rio Gomes da Supervised Teaching Practice. Scientific-humanistic Course of Visual Arts. Drawing A (year 10th).65 CAIADO, F. &
BACELAR, A. (scientific advisors); BRANCO, Lus A. (pedagogical advisor Secondary School with 3rd cycle basic education of Fundo).
MAIA, Ftima Maria da Silva Supervised Teaching Practice. Scientific-humanistic Course of Visual Arts. Drawing A (year 10th).66 CAIADO, F. & BACELAR, A.
(scientific advisors); BRANCO, Lus A. (pedagogical advisor Secondary School with 3rd cycle basic education of Fundo).
CHAMBINO, Paulo Jorge Antunes Supervised Teaching Practice. Scientific-humanistic Course of Visual Arts. Descriptive Geometry (year 11th).67 CAIADO, F.
& BACELAR, A. (scientific advisors); NUNES, Anbal C. (pedagogical advisor Secondary School with 3rd cycle basic education of Amato Lusitano, Castelo
Branco).
MORGADO, Eugnia Margarida de Figueiredo Supervised Teaching Practice. Scientific-humanistic Course of Visual Arts. Descriptive Geometry (year 11 th).68
CAIADO, F. & BACELAR, A. (scientific advisors); NUNES, Anbal C. (pedagogical advisor Secondary School with 3rd cycle basic education of Amato
Lusitano, Castelo Branco).
MARTINS, Antnio Pedro Bastos Nunes Supervised Teaching Practice. Scientific-humanistic Course of Visual Arts. Descriptive Geometry (year 11th).69
MARTINS, Snia Catarina dos Santos Monteiro Supervised Teaching Practice. Scientific-humanistic Course of Visual Arts. Descriptive Geometry (year 11 th).70
REIS, Vtor Manuel Serrano Supervised Teaching Practice. Visual Education Third Cycle of Basic Education Years 7th and 9th.71 CAIADO, F. & BACELAR,
A. (scientific advisors); GIL, Maria Graa (pedagogical advisor Secondary School with 3rd cycle basic education of Afonso de Paiva, Castelo Branco).
CORREIA, Tnia Sofia Gomes Supervised Teaching Practice. General Course of Visual Arts. Visual education (years 7 th and 9th).72 CAIADO, F. & BACELAR,
A. (scientific advisors); GIL, Maria Graa (pedagogical advisor Secondary School with 3rd cycle basic education of Afonso de Paiva, Castelo Branco).
ALVES, Cristina Frade Supervised Teaching Practice. Visual Education Third Cycle of Basic Education Years 7th and 9th.73 CAIADO, F. & BACELAR, A.
(scientific advisors); GIL, Maria Graa (pedagogical advisor Secondary School with 3rd cycle basic education of Afonso de Paiva, Castelo Branco).
1.4.4. SCIENTIFIC ORIENTATION - ACADEMIC 2009/2010

IADE (INSTITUTE OF ART & DESIGN) - ESCOLA SUPERIOR DE DESIGN (HIGHER EDUCATION SCHOOL OF DESIGN)
FONSECA, Ctia Alexandra da Costa - Project Report: Alice in Wonderland. A synaesthesic Child book. Master Degree in Design and Visual Culture. IADE-U
(Institute of Art, Design and Enterprise University) ESD (Higher Education School of Design).74
I.5. PARTICIPATION IN MASTER DEGREE PUBLIC DEFENCE JURY.

I.5.1. AS ARGUER BEIRA INTERIOR UNIVERSITY (Covilh, Portugal) - 2011/2012
FERREIRA, Joana Filipa Cordeiro - Supervised Teaching Practice. Visual and Technological Education in the Second Cycle of Basic education (year 6 th). Work
Placement Report. Master Degree in Visual and Technological Education. 75
ALVES, Paulo Teles - Supervised Teaching Practice. Visual and Technological Education in the Second Cycle of Basic education year 5th. Work Placement
Report. Master Degree in Visual and Technological Education.76
ESTEVES, Tiago Joo Freire - Work Placement Report: Ramada Parish Community Center. Master Degree in Multimedia Design.77
SALDANHA, Ctia Marlia Martins Project Report: Childrens Book: The Plains Learn all the magic of this world. Master Degree in Multimedia Design.78
DUARTE, Eunice Project Report: Infography as informative Design: Brief study of Parkinson desease. Master Degree in Multimedia Design.79
Original Portuguese title: Prtica de Ensino Supervisionada. Curso Cientfico-Humanstico de Artes Visuais. Desenho A (10 Ano).
Original Portuguese title: Prtica de Ensino Supervisionada. Curso Cientfico-Humanstico de Artes Visuais. Desenho A (10 Ano).
66 Original Portuguese title: Prtica de Ensino Supervisionada. Curso Cientfico-Humanstico de Artes Visuais. Desenho A (10 Ano).
67 Original Portuguese title: Prtica de Ensino Supervisionada. Curso Cientfico-Humanstico de Artes Visuais.. Geometria Descritiva A (11. ano).
71 Original Portuguese title: Prtica de Ensino Supervisionada. Educao Visual 3. Ciclo do Ensino Bsico - 7. e 9. Anos.
72 Original Portuguese title: Prtica de Ensino Supervisionada. Curso Geral de Artes Visuais. Educao Visual (7 e 9 Anos).
73 Original Portuguese title: Prtica de Ensino Supervisionada. Educao Visual 3. Ciclo do Ensino Bsico - 7. e 9. Anos.
74 Original Portuguese title: Relatrio de Projeto: Alice no Pas das maravilhas. Um livro infantil sinestsico. Mestrado em Design e Cultura Visual. IADE-U (Instituto de Arte, Design
e Empresa Universitrio) ESD (Escola Superior de Design).
75 Original Portuguese title: Prtica de Ensino Supervisionada, Educao Visual e Tecnolgica no Ensino Bsico (6 Ano). Relatrio de Estgio. Grau de Mestre em Ensino da
Educao Visual e Tecnolgica.
76 Original Portuguese title: Prtica de Ensino Supervisionada, Educao Visual e Tecnolgica no 2 Ciclo do Ensino Bsico - 5 Ano. Relatrio de Estgio. Grau de Mestre em
Ensino da Educao Visual e Tecnolgica.
77 Original Portuguese title: Relatrio de Estgio: Centro Comunitrio Paroquial da Ramada. Grau de Mestre em Design Multimdia.
78 Original Portuguese title: Relatrio de Projecto: Livro Infantil. Os Avies - Aprende toda a magia deste Mundo. Grau de Mestre em Design Multimdia.
79 Original Portuguese title: Relatrio de Projecto: Infografia como Design Informativo: Breve estudo da Doena de Parkinson. Grau de Mestre em Design Multimdia.
64
65
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I.5.2. AS ARGUER BEIRA INTERIOR UNIVERSITY (Covilh, Portugal) - 2010/2011.

GUERRA, Manuel Pereira Rodrigues - Work Placement Report: RELATIONSHIP BETWEEN FORM AND EMPTINESS, WITH FANTASY AND IMAGINATION.
EMPTINESS IS FORM, FORM IS EMPTINESS. Master Degree of Visual Arts Teaching in the Third Cycle of Basic education and in Secondary Education. 80
BRAZ, Ftima Maria Vilela Medeiros Costa Rego Supervised Teaching Practice: Visual and Technological education in Basic education. Work Placement
Report. Master Degree in Visual and Technological Education.81
SANTOS, Filipa Raquel Bolota Velho Dinis - Work Placement Report. Master Degree in Multimedia Design.82
COSTA, Catarina Alexandra das Neves - Work Placement Report. Master Degree in Multimedia Design.83
PROENA, Joo Pedro Duarte - Project Report: Conception of na Electronic Catalogue for Alcriestor Enterprise. Master Degree in Multimedia Design.84
CATARINO, Bruno Alexandre - Project Report: Academic Websites. Production, Design and Development. Master Degree in Multimedia Design. 85
FERRAZ, Marta Filipa Morais -. Project Report: Interactive Posters Design targeted to children use; A tool with activities to foster learning. Master Degree in
Multimedia Design.86
I.6. SCIENTIFIC EVENTS ORGANIZATION/ PARTICIPATION

Coordination/ Moderation - Annual Conference of University of Beira Interior (Covilh, Portugal) DESIGNA 2013 INTERFACE - www.designa.ubi.pt.
Moderation - Annual Conference of University of Beira Interior (Covilh, Portugal) DESIGNA 2012 THINKING DESIGN FROM SUSTAINABILITY87 www.designa.ubi.pt.
Member of the National Scientific Advisory Committee - 5th UNIDCOM/IADE INTERNATIONAL CONFERENCE 1,2,3 October 2009, and DOCTORAL TACTICS
WORKSHOP 30 September 2009 http://www.iade.pt/40iade40/peoplescientific.html
II. TEACHING SKILLS.

II.1. TEACHING ACTIVITY IN HIGHER EDUCATION INSTITUTIONS.
CURRICULAR UNITS (CUs) TAUGHT/ REGENCIES.
II.1.1. ACADEMIC YEAR 2014/ 2015 CURRICULAR UNITS TAUGHT/ REGENCIES BEIRA INTERIOR UNIVERSITY (Covilh,
Portugal) AS INVITED ASSISTANT PROFESSOR88
1 Semester CUs:
- HISTRIA DA ARTE E DO DESIGN (Art & Design History iii) - Regent/ Teacher 1st Cycle (Bachelor) in Fashion Design 1st year/ 3 weekly contact hours +
1 hour (h) tutorial orientation (OT);
- HISTRIA DA ARTE (Art History iv) Regent/ Teacher 1st Cycle (Bachelor) in Industrial design - 1st Year / 3 weekly contact hours + 1 h OT; 1st Cycle
(bachelor) in Multimedia Design - 1st Year / 3 weekly contact hours + 1 h OT; 1st Cycle (Bachelor) in Communication Sciences - 1st Year / 3 weekly contact
hours + 1 h OT;
II.1.2. ACADEMIC YEAR 2013/2014 CURRICULAR UNITS TAUGHT/ REGENCIES BEIRA INTERIOR UNIVERSITY (Covilh, Portugal)
AS INVITED ASSISTANT PROFESSOR
Annual CU: ESTGIO PEDAGGICO (Pedagogic Work Placement v) Regent/ Teacher Master Degree in Visual Arts teaching in the 3th cycle basic
education (K7-K8 from 11 to 14 years old) and in secondary education (K10-K12 from 14-17 years old) (MEAV) 2nd Year 2 weekly contact hours;
2 Semester CUs:
- MOVIMENTOS ARTSTICOS CONTEMPORNEOS (Contemporary Artistic Movements vi) Regent/ Teacher 1st Cycle (Bachelor) in Multimedia Design
1st year/ 4 weekly contact hours; 1st Cycle (Bachelor) in Fashion Design 1st year/ 4 weekly contact hours;
- MOVIMENTOS DE ARTE ACTUAIS (Actual Art Movements vii) Regent/ Teacher Master Degree (2nd Cycle) in Multimedia Design 1st year/ 2 weekly
contact hours + 1h OT.
Original Portuguese title: RELATRIO DE ESTGIO: RELAO ENTRE FORMA E VAZIO, COM FANTASIA E IMAGINAO. O VAZIO FORMA, A FORMA VAZIO. Grau
de Mestre em Ensino das Artes Visuais no 3 ciclo do Ensino Bsico e no Ensino secundrio.
81 Original Portuguese title: Prtica de Ensino Supervisionada: Educao Visual e Tecnolgica no Ensino Bsico. Relatrio de Estgio. Grau de Mestre em Ensino da Educao
Visual e Tecnolgica.
82 Original Portuguese title: "RELATRIO DE ESTGIO. Grau de Mestre em Design Multimdia.
83 Original Portuguese title: "RELATRIO DE ESTGIO. Grau de Mestre em Design Multimdia.
84 Original Portuguese title: Relatrio de Projecto: "Concepo de um Catlogo Electrnico para a Empresa Alcriestor". Grau de Mestre em Design Multimdia.
85 Original Portuguese title: Relatrio de Projecto: Stios Web Acadmicos. Produo, Design e Desenvolvimento. Grau de Mestre em Design Multimdia.
86 Original Portuguese title: Relatrio de Projecto: Design de psteres interactivos para crianas: Uma ferramenta com actividades de auxlio aprendizagem. Grau de Mestre em
Design Multimdia.
87 Original Portuguese title: PENSAR O DESIGN A PARTIR DA SUSTENTABILIDADE.
88 Professora Auxiliar Convidada (Portuguese).
80
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II.1.3. ACADEMIC YEAR 2012/2013 CUs TAUGHT/ REGENCIES BEIRA INTERIOR UNIVERSITY (Covilh, Portugal) /
AUTONOMOUS UNIVERSITY OF LISBON89 (Portugal) AS INVITED ASSISTANT PROFESSOR
- BEIRA INTERIOR UNIVERSITY (Public University):

Annual CU: ESTGIO PEDAGGICO (Pedagogic Work Placement) Regent/ Teacher MEAV 2nd Year 2 weekly contact hours;
1st Semester CUs:
- WORKSHOP DE ARTES VISUAIS (Visual Arts Workshop viii) - Regent/ Teacher MEAV 1st Year/ 3 weekly contact hours;
- DIDCTICA DAS ARTES VISUAIS I (Visual Arts Didactics I ix) - Regent/ Teacher MEAV 1st Year/ - 4 weekly contact hours;
2nd Semester CUs:
- DIDCTICA DAS ARTES VISUAIS II (Visual Arts Didactics II x) - Regent/ Teacher MEAV 1st Year/ 3 weekly contact hours;
- MOVIMENTOS ARTSTICOS CONTEMPORNEOS (Contemporary Artistic Movements) Regent/ Teacher 1st Cycle Multimedia Design 1st year/ 4
weekly contact hours; 1st Cycle Fashion Design 1st year/ 4 weekly contact hours;
- AUTONOMOUS UNIVERSITY OF LISBON (Private University):
2nd Semester CU: SEMITICA DA COMUNICAO (Communication Semiotics) Regent/ Teacher 1st Cycle in Marketing and Public Relations / 1st Cycle
in Advertising and Communication (variants : Journalism , Advertising and Marketing , Public Relations)90 3rd year/ 3 weekly contact hours;
II.1.4. ACADEMIC YEAR 2011/2012 CUs TAUGHT/ REGENCIES BEIRA INTERIOR UNIVERSITY (Covilh, Portugal) /
AUTONOMOUS UNIVERSITY OF LISBON91 (Portugal) AS INVITED ASSISTANT PROFESSOR
- BEIRA INTERIOR UNIVERSITY (Public University):

Annual CU: ESTGIO PEDAGGICO (Pedagogic Work Placement) Regent/ Teacher MEAV 2nd Year 2 weekly contact hours;
1st Semester CUs:
- WORKSHOP DE ARTES VISUAIS (Visual Arts Workshop) Regent/ Teacher MEAV 1st year/ 3 weekly contact hours;
- WORKSHOP EM ARTES VISUAIS E TECNOLGICAS (Visual and Technological Arts Workshop) Regent/ Teacher - Master Degree in Visual and
Technological Education (MEVT) 1st year/ 4 weekly contact hours;
- DIDCTICA DAS ARTES VISUAIS I (Visual Arts Didactics I) Regent/ Teacher - MEAV 1st year/ 4 weekly contact hours;
- DIDCTICA DAS ARTES VISUAIS (Visual Arts Didactics) - Regent/ Teacher - MEVT 1st year/ 4 weekly contact hours;
2nd Semester CUs:
- DIDCTICA DAS ARTES VISUAIS II (Visual Arts Didactics II) Regent/ Teacher MEAV 1st year 3 weekly contact hours;
- MOVIMENTOS ARTSTICOS CONTEMPORNEOS (Contemporary Artistic Movements) Regent/ Teacher 1st cycle Multimedia Design 1st year 3
weekly contact hours; 1st cycle Fashion Design 1st year 3 weekly contact hours;
- AUTONOMOUS UNIVERSITY OF LISBON (Private University):
2nd Semester CU: SEMITICA DA COMUNICAO (Communication Semiotics) Regent/ Teacher 1st Cycle in Marketing and Public Relations / 1st Cycle
in Advertising and Communication (variants : Journalism , Advertising and Marketing , Public Relations)92 3rd year/ 3 weekly contact hours;
II.1.5. ACADEMIC YEAR 2010/2011 CUs TAUGHT/ REGENCIES - IADE-U (Institute of Art, Design and Enterprise University)
ESD (Higher Education School of Design)93- Santos, Lisbon - Portugal as Assistant Professor with integral dedication94.
CUs taught:
- WORKSHOP DE ARTES VISUAIS (Visual Arts Workshop) Regent/ Teacher Master Degree in Visual Arts teaching in the 3th cycle basic education (K7-K8
from 11 to 14 years old) and in secondary education (K10-K12 from 14-17 years old) (MEAV) 1st year 3 weekly contact hours;
- DESENHO E COMUNICAO VISUAL (Drawing and Visual Communication) Regent/ Teacher 1st cycle in Design 1st year (1st and 2nd semesters) 5
weekly contact hours;
- SEMITICA E COMUNICAO (Semiotics and Communication) - Teacher - 1st cycle in Design 1st year (2nd semester)/ 2 weekly contact hours;
- HISTRIA E PRTICAS DO DESENHO (Drawing History and Practices) Teacher Master Degree (2nd Cycle) in Visual Culture - 1st year (1st semester)/ 2h
II.1.6. ACADEMIC YEAR 2009/2010 CUs TAUGHT/ REGENCIES - IADE-U (ESD) as Assistant Professor with integral dedication
Curricular Units:
- DESENHO E COMUNICAO VISUAL (Drawing and Visual Communication) Regent/ Teacher 1st cycle in Design 1st year (1st and 2nd semesters) 5
- SEMITICA E COMUNICAO (Semiotics and Communication) - Teacher - 1st cycle in Design 1st year (2nd semester)/ 2 weekly contact hours;
- WORKSHOP DE ARTES VISUAIS (Visual Arts Workshop) Regent/ Teacher Master Degree in Visual Arts teaching in the 3th cycle basic education (K7-K8
from 11 to 14 years old) and in secondary education (K10-K12 from 14-17 years old) (MEAV) 1st year 3 weekly contact hours;
- HISTRIA E PRTICAS DO DESENHO (Drawing History and Practices) Teacher Master Degree (2nd Cycle) in Visual Culture - 1st year (1st semester)/ 2h
89 UNIVERSIDADE
90
AUTNOMA DE LISBOA (Portuguese).

LICENCIATURA EM MARKETING E RELAES PBLICAS and LICENCIATURA EM PUBLICIDADE E COMUNICAO (variantes: Jornalismo; Publicidade e Marketing;
Relaes Pblicas) (Portuguese).
91 UNIVERSIDADE AUTNOMA DE LISBOA (Portuguese).
92 Licenciatura em Marketing e Relaes Pblicas and Licenciatura em Publicidade e Comunicao (variantes: Jornalismo; Publicidade e Marketing; Relaes Pblicas)
(Portuguese).
93 Original Portuguese title: Relatrio de Projeto: Alice no Pas das maravilhas. Um livro infantil sinestsico. Mestrado em Design e Cultura Visual. IADE-U (Instituto de Arte, Design
e Empresa Universitrio) ESD (Escola Superior de Design).
94 Professor Auxiliar em dedicao integral (Portuguese).
14
II.1.7. ACADEMIC YEAR 2008/2009 CUs TAUGHT/ REGENCIES - IADE-U (ESD) as Assistant Professor with integral dedication
Curricular Unit:
DESENHO E COMUNICAO VISUAL (Drawing and Visual Communication) Regent/ Teacher 1st cycle in Design 1st year (1st and 2nd semesters) 5
II.1.8. ACADEMIC YEAR 2003/2004 CUs TAUGHT/ REGENCIES - ISEC (HIGHER EDUCATION INSTITUTE OF EDUCATION AND
SCIENCES)95, Lumiar - Lisbon, Portugal) as Assistant Professor (Polytechnic rank) with integral dedication 96.
Curricular Units:
- EXPRESSO PLSTICA (Plasticity Expression) Regent/ Teacher 3rd year (annual) of the Bachelor Degree of Kindergarten Education97 - ISEC ScientificPedagogical Unity of Educational Sciences98.
- EXPRESSO PLSTICA (Plasticity Expression) Regent/ Teacher 2nd year (semester) of the Bachelor Degree of 1st Cycle (Primary/ elementary) of Basic
Education Teachers99 - ISEC Scientific-Pedagogical Unity of Educational Sciences.
- COMUNICAO VISUAL E ESTTICA (Visual Communication and Aesthetics) Regent/ Teacher 3rd year (semester) 3 weekly hours - Two-Stage
Bachelor degree in Design and Graphic Production100.
- PSICOLOGIA DAS FORMAS (Forms Psychology) Regent/ Teacher 3rd year (semester) 3 weekly hours Two-Stage Bachelor degree in Design and
Graphic Production.
II.1.9. ACADEMIC YEAR 2002/2003 CUs TAUGHT/ REGENCIES - ISEC - as Assistant Professor (Polytechnic rank) with integral dedication
Curricular Units:
- EXPRESSO PLSTICA (Plasticity Expression) Regent/ Teacher 3rd year (annual) of the Bachelor Degree of Kindergarten Education - ISEC ScientificPedagogical Unity of Educational Sciences.
- EXPRESSO PLSTICA (Plasticity Expression) Regent/ Teacher 2nd year (semester) of the Bachelor Degree of 1st Cycle (Primary/ elementary) of Basic
Education Teachers101 - ISEC Scientific-Pedagogical Unity of Educational Sciences.
- COMUNICAO VISUAL E ESTTICA (Visual Communication and Aesthetics) Regent/ Teacher 3rd year (semester) 3 weekly hours - Two-Stage degree
in Design and Graphic Production.
- PSICOLOGIA DAS FORMAS (Forms Psychology) Regent/ Teacher 3rd year (semester) 3 weekly hours Two-Stage degree in Design and Graphic
Production.
II.1.10. ACADEMIC YEAR 1995/96 CUs TAUGHT - ESTGAD (Higher Education School of Management, Art & Design Polytechnic
Institute of Leiria)102, Caldas da Rainha, Portugal- as Equivalent to the Second Triennial Assistant103 (Polytechnic rank)
Curricular Units taught (from 1st September 1995 till 13th March 1996 position from which had to abdicate because of incompatibility with the Scholarship
of Praxis XXI European Union Exchange Program for PhD (Doctoral Degree) conclusion):
- PINTURA E ESCULTURA (Painting and Sculpture) Teacher 1st year (annual) Bachelor Degree in Plasticity Arts Painting and Sculpture104.
- DESENHO II (Drawing II) Teacher 2nd year (annual) Bachelor Degree in Plasticity Arts Painting and Sculpture
II.2. CONCEPTION OF NEW COURSES/ REORGANIZATION OF COURSES AND STUDY PROGRAMMES ALREADY
FUNCTIONING/ CONCEPTION OF NEW CURRICULAR UNITS.
2013/2014 BEIRA INTERIOR UNIVERSITY (Covilh, Portugal)
2014 Self-evaluation of the Master Degree in Visual Arts teaching in the 3th cycle basic education (K7-K8 from 11 to 14 years old) and in secondary
education (K10-K12 from 14-17 years old) (MEAV), as its Director (from 2011-2014) and member of its Scientific Council, with a new study planxi proposal in
accordance to the new DecreeLaw 79/2014 (from 14 May) - in submission for approval/ evaluation of A3ES (Portuguese Evaluation of Higher Education
Agency). It included the conception of new Curricular Units:
- ARTE TERAPIA NA ESCOLA / COMUNIDADE (Art Therapy in School / Community xii) - 6 ECTS (European Credit Transfer System);
- INVESTIGAO EM ENSINO ARTSTICO / ARTE NA EDUCAO MTODOS QUALITATIVOS (Research in Artistic Teaching/ Art in Education
Qualitative Methods xiii) - 5 ECTS;
- INVESTIGAO EM ENSINO ARTSTICO / ARTE NA EDUCAO MTODOS QUANTITATIVOS (Research in Artistic Teaching/ Art in Education
Quantitative Methods xiv) - 5 ECTS;
2014 Member of the Committee of Conception of a new Master Degree (2nd Cycle) of Design and Development of digital Games105 - already approved by
A3ES -, and personal conception of the syllabus of CU CONCEPT ART FOR DIGITALxv GAMES106 -6 ECTS - TP-64h UBI;
2013 Online republication of CUs syllabus of the Master Degree in Visual Arts teaching in the 3th cycle basic education (K7-K8 from 11 to 14 years old) and
in secondary education (K10-K12 from 14-17 years old) (Portuguese107/ English)- for obtaining the European Community LABEL ECTS;
Instituto Superior de Educao e Cincias (Portuguese).
Professora Adjunta, em dedicao integral (Portuguese).
97 Licenciatura de Educao de Infncia (Portuguese).
98 Unidade Cientfico-Pedaggica de Cincias da Educao (Portuguese).
99 Licenciatura de Professores do 1 ciclo do Ensino Bsico (Portuguese).
100 Licenciatura Bietpica em Design e Produo Grfica (Portuguese).
101 Licenciatura de Professores do 1 ciclo do Ensino Bsico (Portuguese).
102 ESCOLA SUPERIOR DE TECNOLOGIA E GESTO, ARTE E DESIGN INSTITUTO POLITCNICO DE LEIRIA (Portuguese) .
103 Equiparado a Assistente do Segundo Trinio (Portuguese).
104 Licenciatura em Artes Plsticas (Portuguese).
105 MESTRADO EM Design e Desenvolvimento de Jogos Digitais (Portuguese). Link for this Degree Course and each CU syllabus.
https://www.ubi.pt/Curso.aspx?CodigoCurso=971(Portuguese version);
106 Arte de Conceito para Jogos Digitais (Portuguese). Link for CU syllabus https://www.ubi.pt/Unidade_Curricular.aspx?Codigo=11153 (Portuguese version);
95
96
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III. OTHER RELEVANT ACTIVITIES.

III.1. UNIVERSITY MANAGEMENT ACTIVITIES.
III.1.1. 2011/2015 UNIVERSITY MANAGEMENT ACTIVITIES BEIRA INTERIOR UNIVERSITY (UBI) (Covilh, Portugal)
1. Positions in the university bodies and organizational units:
- Member of the Scientific Council of the School of Arts and Letters108 Communication and Arts Department109;
- Member of the Pedagogical Council of the School of Arts and Letters;
- Member of LabCOM.IFP (R&D Laboratory/ R&D Unit of the School of Arts and Letters of UBI);
2. Positions / sub-units / courses coordination:
- Course Director and member of the Scientific Council of the Master Degree in Visual Arts teaching in the 3th cycle basic education (K7-K8 from 11 to 14
years old) and in secondary education (K10-K12 from 14-17 years old);
- Member of the Scientific Council of the Master Degree (2nd Cycle) in Visual and Technological Education;
- Member of the Scientific Council of the 1st Cycle in Multimedia Design;
3. Other positions/ tasks:
- Member of qualifications crediting, as: Director and Scientific Council member of the Master Degree in Visual Arts teaching in the 3th cycle basic education
(K7-K8 from 11 to 14 years old) and in secondary education (K10-K12 from 14-17 years old); Scientific Council member of the Master Degree (2nd Cycle) in
Visual and Technological Education; Scientific Council member of the 1st Cycle in Multimedia Design;
- Provision of advices, relative to reports appreciation under ECDU (Statutes of University Teachers Career110) Law;
- Member of the annual Timetable Committee.
III.1.2. 2008/2010 UNIVERSITY MANAGEMENT ACTIVITIES IADE-U (Institute of Art, Design and Enterprise University) ESD
(Higher Education School of Design) - Santos, Lisbon - Portugal
1. Positions in the university bodies and organizational units:
1.2. Member of the Scientific Council of IADE-U (ESD);
1.3. Member of UNIDCOM (R&D Laboratory/ R&D Unit of the School of Arts and Letters of IADE-U (ESD).
III.2. OTHER PROFISSIONAL ACTIVITIES GRAPHIC (COMMUNICATION) DESIGNER.

1989/92 Graphic (Communication) Designer - Litografia Gisarte, Packaging and Offset Impression over Paper Industry, Lda. - Marinha Grande, Portugal.
1989/90 Graphic (Communication) Designer - Ayer Portugal, Advertising Lda.- Avenida da Liberdade; Lisbon - Portugal (October 1989 - February 1990).
III.3. FOREIGN LANGUAGES SKILLS.

- English - fluent (speech, understanding, writing) 7 years Public Schools ;
- French - fluent (speech, understanding, writing) 4th year of Alliance Franaise (Leiria, Portugal);
- Spanish fluent (speech, understanding, writing) Spanish as Foreign Language Higher Diploma111 (Instituto Cervantes Lisbon, Portugal) maximum level of
Spanish Studies for foreigners;
- German basic (speech, understanding, writing) - 2 years Secondary School Engineer Accio Calazans Duarte Marinha Grande, Portugal Public School;
SIGNATURE
________________________________________________________________________
FTIMA MARIA GOMES DE OLIVEIRA CAIADO
April 2015
URL for portuguese version: https://www.ubi.pt/Curso.aspx?CodigoCurso=913;

Faculdade de Artes e Letras (Portuguese).
109 Departamento de Comunicao e Artes;
110 Estatuto da Carreira Docente Universitria (Portuguese).
107
108
111
Diploma Superior de Espanhol como Lngua Estrangeira (Portuguese).
16
IV: END NOTES:

i
ABSTRACT OF THE PHD THESES - Comparative study of painting (fine arts) higher education teaching in the European Union: France, United
Kingdom and Spain:
To describe fine art education through centuries focusing on the various contemporary proposals for higher education in fine arts (painting) in Spain, France and
UK, establishing a comparison (detecting what is common, complementary and new paradigms of visual arts education).
Started by the literature review in themes such as the training of the fine artist worldwide and over the centuries, it will focus on the area of the European Union,
especially when regarding contemporary offer of this vocational training and specifically the teaching of painting.
The bibliography consists of: books, dissertations, theses, ministerial legislation and state studies regarding the higher education of Fine Arts; documents of the
higher education institutions regarding the organization of the study plan of Fine Arts courses and description of the programs (syllabus) for each subject
(Curricular Unit) that composes the curriculum painting course; articles, case studies, investigations, reports, vocational training reformulation proposals of
institutions/ European foundations focused on teaching in/ through the visual arts at an higher education level, or researchers/ professionals considered as a
reference. In all this bibliographic references are also considered the research methodologies used, besides content, in order to obtain insight to the
understanding of old and new paradigms of fine art teaching/ learning. The search of the State of Art (contemporary offer of painting higher education) is
limited/ focused on Spain, the UK and France. It proceeds to obtain a list of the colleges in order to develop a database of institutions that offer the area of Fine
Arts (Painting) and to help organizing/ classifying the information obtained (three databases have been constructed one for each country). The chock between
Fine Arts and New Media Arts has been considered in terms of how higher education institutions were facing this confrontation, what challenges were
considering and how this was materialised in training (theoretical and practical) offers (this reflection was being made differently in France comparing with UK
both contributions have been detected and described a 4th database has been constructed in order to organise all contributions/ contributors to this question,
being the UK, the country that offered more infrastructures/ human resources). As main conclusions, considering what is common and what is complementary/
contrasting in these three countries: Drawing, as subject, is still an important tool in the basis of painters (visual artists) training; the fame of many art schools
depends on the existence, between faculty members, of renowned national and international artists. In France there is a worry on approaching the community to
the school of art, also in order to sensitize and prepare it to the reception of the work of art, and so offering, inside their installations, playful trainings (no worry in
obtaining an academic degree) facing the acquisitions of skills in art production and culture, both for children and adults. In the UK there are many possibilities,
through majors, minors, and optional curricular units of combining careers, specialities, options not only in between arts, but also other areas of knowledge often
away from schools of art (so the professional profile, of the UK students, after obtaining a degree, is very colourful and was the one that influenced the bologna
paradigm, in terms of courses flexibility and duration). UK art schools, through the degree Show, in which important art gallery owners attend, every year, take
an important step into guarantying the integrations of their graduates in the art market. .In France and UK is visible an investment in new technologies of
information and communication, in new ways of teaching and learning, but also regarding their implications, as promising artistic tools (France tends to
centralize laboratories/ research units in some art schools, while in the UK, that investment is made in art schools nationwide). Theoretical Reflection upon this
new technologies and new ways of producing art is also encouraged in both countries. In Spain, although not all the art schools offer and specialization in
painting, there is still a strong commitment to teach traditional painting (visual arts) techniques (restoration departments are inside art schools). Anyway, there is
a general worry in articulating, in the visual artist training, the traditional workshop apprenticeship with the acquisition of info literacy regarding the inclusion of
the dimension of sound, image, body, time, multisensory stimuli.
In terms of sequence, the theses text, has been organised in four parts (each one with its respective Appendix, besides the already mentioned four databases):
FIRST PART: DEFINITION OF THE PROBLEM OF RESEARCH AND RESPECTIVE METHODOLOGICAL APPROACH. Pages 1-55.
SECOND PART: TEACHING OF PAINTING IN EUROPE TILL THE END OF THE TWENTY CENTURY. Pages 68-1270.
THIRD PART: INTERNATIONAL ORGANIZATIONS DEDICATED TO RESEARCH IN VISUAL ARTS EDUCATION & TRAINING, AND
RESPECTIVE ACTIVITIES (RESEARCH, CONFERENCES AND PUBLICATIONS) - "STATE OF THE ART". Pages 1361-1761
FOURTH PART: "NEW TECHNOLOGIES" - IMPACT ON FINE ARTS HIGHER EDUCATION (PAINTING). THE USE OF NEW TOOLS. CENTERS AND
RESEARCH PROJECTS IN FRENCH, ENGLISH AND SPANISH ART SCHOOLS. Pages 1767-2161.
Master Degree in Visual Arts teaching in the 3th cycle basic education (K7-K8 from 11 to 14 years old) and in secondary education (K10-K12
from 14-17 years old) syllabus course description: Mandatory 2nd Cycle to teach, in Portugal, in recruitment group 600 Visual Arts education in middle
and secondary schools. Before this degree the student must have obtained, at least 120 ECTS (what corresponds to a 1 st cycle) in Visual Arts, Design,
Architecture, Cinema; Media Arts and Decorative Arts. This specific Master Degree includes a one year Internship in a middle and secondary school, where the
student is supervised by a teacher of that school (Pedagogical Supervisor) in one, or several, of his classes (the student as to assist to the pedagogic supervisor
classes, plan and teach his own classes and being conducted, observed, evaluated by this teacher) and, simultaneously, by a supervisor of UBI (Scientific
Supervisor) that as to assist, in that school, at least, to 6 classes conducted by the student, besides orienting the planning, design of research plan and writing of
the mandatory Pedagogical Work Placement Report, that contains theoretical investigation (history and State of the Art) about a theme, or problem, relevant to
the pedagogy/ didactics of visual arts (as any other Master dissertation) and an obligatory component of action (applied) research in the subject-stage of
education in which the student is doing his internship, that it can be in any of the following subjects of recruitment group 600 Visual Arts Education:
a) Visual Education (subject of 7th, 8th and 9th years 3rd Cycle of basic Education), or other optional subjects offered per school, also in this stage of teaching;
b) Subjects of the specific component of visual arts education, of Secondary Education grade (10th, 11th e 12th years), that include the offer of the two
following education systems of visual arts, in which is mandatory this master degree to being authorised to teach (although MEAV graduates can also teach in
Professional Courses, and CETs Courses of Technological Education):
ba) SCIENTIFIC-HUMANISTIC COURSES OF SCIENCES AND TECHNOLOGIES (that include the subjects of Drawing B and Descriptive Geometry B) and
SCIENTIFIC-HUMANISTIC COURSES OF VISUAL ARTS, that include the subjects of Drawing A (mandatory-triennial); Descriptive Geometry A (optionalbiennial); Arts History and Culture (optional-biennial); Arts Workshop (optional-annual); Multimedia Workshop B (optional-annual); Materials and technologies
(optional-annual);
bb) SPECIALISED ARTISTIC EDUCATION VISUAL AND AUDIOVISUAL ARTS AREA COURSES, in Antnio Arroio Secondary School (Lisbon), Arts and
Image Institute (Lisbon) and Soares dos Reis Secondary School (Porto), that include the following subjects: Drawing A (mandatory triennial); Arts History and
Culture (optional-biennial); Design Theory (optional-biennial); Arts Management (optional-biennial); Construction Projects Workshop (triennial Architecture
Drawing Course - Arts and Image Institute); Multimedia Products Workshop (triennial Interactive Image Course - Arts and Image Institute);and Project and
Technologies (with three progressive levels of specialization (10th year initiation; 11th and 12th year progressive two year specialization) whose chosen visual
arts area commands the respective course:
bba) AUDIOVISUAL COMMUNICATION COURSE, with specializations in Film and Video; in Light; in Sound; in Multimedia; and as an option offer of Soares
dos Reis School specialization in 3D Animation and Modelling;
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bbb) COMMUNICATION DESIGN COURSE, with specializations in Graphic design and in Multimedia;
bbc) PRODUCT DESIGN COURSE, with specializations in Ceramics, in Jewellery and in Textiles;
bbd) ARTISTIC PRODUCTION COURSE, with specializations in Plasticity Realization of the Spectacle (set design, props and costumes), in Ceramics, in
Jewellery and in Textiles.
Other Occupational profiles for MEAV graduates (besides - Teachers of middle and upper school - Portuguese recruitment group [600] VISUAL
ARTS): - Editors Assessors and individual authors of didactic resource materials for the Visual Arts teaching; - Cultural Assessors of Public and Private
companies (museums, foundations, etc., Education and Cultural Ministries) regarding Visual Arts activities.
CU - ART & DESIGN HISTORY SYLLABUS:
Learning outcomes (knowledges, skills and competencies to be developed by students):
Appoint/ Identify/ Classify/ Locate styles-vanguards of the CU syllabus at the level of artistic concepts, historical and social contexts and technologies inherent
to the modernist, avant-garde till postmodernist works
Correlate conceptually (similarity/ differentiation) periods, styles, authors, works, and the twentieth century design
Understanding the historical accumulation in the design act as a seek for cultural and expressive references in design practice
Understand design issues, related to historical-social changes, in the transition to industrial modernism and socio-cultural issues in the design practice
reflection as an act of project
Mastering the Art History code
Adopt individual research methods using established parameters for research
Communicate correctly in writing research results / elaborated reflections, respecting scientific methodology
Use various resources for information.
Syllabus:
- DESIGN REASONS From craft design to industrial production -first designers. "Decorative" Art Movements: Art Nouveau Art Deco versus.
- PIONEERS OF MODERN DESIGN - John Ruskin and William Morris (Arts & Crafts) / Russian Constructivism and Whuthemas; Suprematism; Neo-plasticism
or De Stijl / Heir of constructivist currents: Minimalism
- MODERN DESIGN - BAUHAUS - The first school of Design: Bauhaus Weimar / Bauhaus Dessau; HFG Ulm; US-New Bauhaus Chicago/ Black Mountain
College;
- CURRENT Expressionists: Die Brcke; Der Blaue Reiter; Abstract Expressionism; German Neo-expressionism;
Cubism / FUTURISM / DADA/ SURREALISM
- ART IN MOTION - KINETIC REVOLUTION: OP-ART (50-60 years) / KINETIC ART (60-70 years)
- BREAKING THE ARTS BORDERS - FLUXUS / HAPPENING/ BODY-ART/ PERFORMANCE ART/ ART INSTALLATION - video installation
- POSTMODERNISM (Lyotard) and POP ART / NEO-BAROQUE (Calabrese) / Transvanguarda (Bonito Oliva)
Demonstration of syllabus consistency with the objectives of the course:
Analyzing and discussing concepts and artistic issues, also through conceptual correlations between works of different movements/ authors and various arts,
provide the student's ability to review, on objects of art and design, the weight of cultural heritage and innovation features, contributing to the enrichment of their
visual culture, and empower assimilation and reformulation of these influences on his own work as a designer. At the same time the student develops the ability
to, also in writing, present his research results/ elaborated reflections, respecting scientific methodology, increasing their vocabulary, analysis/ synthesis
capacity and conceptual critical approach of the works of others and informed justification (arguments) developing research skills that will be useful both in the
act of design, as in the act of substantiation and description of their own productions
Teaching & learning methodologies (including evaluation):
Classes based on the exposure of syllabus contents, complemented by the critical reading (students) of texts, books and support material in multimedia format
(movies, documentaries, books, etc.) published in Moodle. The student should prepare two theoretical research essays (historical and descriptive): 1st - a
movement (of the CU syllabus) 50%; 2nd - An artist/ designer/ architect/ filmmaker (necessarily different from the movement approached in the 1st work) 50%.
70% attendance, to classes, is mandatory.
Students are instructed to seek, by themselves, dissertations and doctoral theses on the WWW, on their research topic of choice (in foreign languages that they
dominate), in addition to E-books, documentaries, online information provided by museums, art centers and university research centers, to confront at least
three distinct legitimate resources to develop their research essay.
Demonstration of the consistency of teaching methodologies with learning outcomes:
To foster the understanding of art phenomenon, the enrichment of students visual culture, the assimilation and reformulation of historical influences, the
empowerment as an innovative designer and as a 1st cycle degree student with the required professional-academic profile, contributes:
a) Theoretical lectures, further education through Moodle and two compulsory research essays, seek to articulate the development of visual communication
(images of works and kinaesthetic / multisensory ways of didactic communication PowerPoint, documentaries, etc.) with verbal/written communication using
the proper codes of multiple disciplines (including art history), in an interdisciplinary context;
b) Analysis and discussion of artistic concepts (addressing fundamental issues of modernist and postmodernist art, design and architeture), historical and socialcultural contexts, conceptual correlations between works of different movements/authors.
The learning outcomes are the assessment criteria for assessing research work.
More specifically, in their research essay, students should:
1st RESEARCH ESSAY- AN ART MOVEMENT:
- Take care to address the influence of the movement in the various Visual Arts - Architecture; Fine Arts (Painting and Sculpture); Design (in their various fields graphic / communication / media / industrial / equipment / product / fashion); Cinema; Photography;
- Choose one of the fields and deepen it more;
- Identify the most important artists of the movement and the most paradigmatic works that belong to the same, describing their characteristics;
- Do not forget to contextualize it, in time and space, stressing what might have had an impact on it.
2nd RESEARCH ESSAY - AN ARTIST/ DESIGNER /ILLUSTRATOR/ ARCHITECT/ FILMMAKER /ART PHOTOGRAPHER - RELATED TO THE CU SYLLABUS
- of a different movement covered in the 1st essay, which involves defining the characteristics of the (s) movement (s) in which the artist/designer/architect falls.
The student must make an exhaustive survey of all the work of the chosen artist and give a description of the most paradigmatic.
THE RESEARCH WORK SHOULD HAVE AS MANDATORY STRUCTURE: TITLE and <caption [if applicable]>; TABLE OF CONTENTS; INTRODUCTION;
ADOPTED METHODOLOGYS; THEORETICAL BACKGROUND (including STATE OF THE ART) ; DEVELOPMENT; CONCLUSIONS; BIBLIOGRAPHY: Only
books/online publications and referring Web sites. At a minimum, the student must present three books in his bibliography. The APA rules for citations and
references are the reference; APPENDIX (All documents that complement the main text (eg, the biography of artists) and can break the reading of it).
Main Bibliography:
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Argan, G.C. & Fagilio, M. (1994). Guia de Histria da Arte. Lisboa: Ed. Estampa.
Barral i Altet, Xavier (2003). Histria da Arte. Lisboa: Edies 70.
Denis, R. C. (2000). Uma Introduo Histria do Design. So Paulo: Editora Edard Blcher lda.
Gombrich, E.H. (2008). The Story of Art. New York: Phaidon.
Heskett, J. (2004). Industrial Design. London: Thames an Hudson
Hauffe, T. (1998). Design a Concise History. London: Laurence King Publishing Ltd.
Maldonado, T. (1999). Design Industrial. Lisboa: Edies 70
Pevsner, N. (1991). Pioneers of Modern Design. London: Penguin Books
Raizman, D. (2004). History of Modern Design. London: Laurence King Publishing Ltd.
Upjon, E. M., Wingert, P. S. & Mahler, J. G. (1987). Histria Mundial da Arte. Lisboa: Bertrand Editora.
Wlfflin, H. (1996). Conceitos fundamentais de Histria da Arte. So Paulo: Martins Fontes.
CU - ART HISTORY SYLLABUS:
Appoint/ Identify/ Classify/ Locate styles-vanguards of the CU syllabus at the level of artistic concepts, historical and social contexts and technologies inherent
to the modernist, avant-garde till postmodernist works
Understanding the historical accumulation in the design act as a seek for cultural and expressive references in design practice
Understand design issues, related to historical-social changes, in the transition to industrial modernism and socio-cultural issues in the design practice
reflection as an act of project
Adopt individual research methods using established parameters for research
Communicate correctly in writing research results / elaborated reflections, respecting scientific methodology
Use various resources for information
Syllabus:
A. CAVE PAINTINGS and NEOLITHIC ARCHITECTURE.
B. ANTIQUE ART: Egypt; Mesopotamia; Persia; Crete and the Aegean world; GREECE- architecture and sculpture as structure and configuration of the Polis;
ROME- art as the Empire expansion engine
C. ART of Christianity: Early Christian Art; Byzantine art: the "iconoclastic question" and Christian orthodoxy in the East; Medieval Art: Romanesque / Gothic
D. CLASSICISM AND BAROQUE - correlation with H. Wlfflin, Neo-Baroque Age -Omar Calabrese and Baroque - Severo Sarduy - RENAISSANCE;
BAROQUE; NEOCLASSICISM; ROMANTICISM
E. Last naturalistic/ realistic paradigm - IMPRESSIONISM
F. POST-IMPRESSIONISTS
G. "DECORATIVE" ART MOVEMENTS: ART NOUVEAU & ART DECO versus MODERN DESIGN PIONEERS - John Ruskin and William Morris (Arts &
Crafts) / Russian Constructivism; Suprematism; Neo-plasticism
I. MODERN DESIGN - Bauhaus Weimar/ Bauhaus Dessau; HFG Ulm; US-New Bauhaus Chicago/ Black Mountain College
J. EXPRESSIONISTS CURRENTS
L. CUBISM / FUTURISM / DADA/ SURREALISM
(movies, documentaries, books, etc.) published in Moodle.
The student should prepare two theoretical research essays (historical and descriptive): 1st - a movement (of the CU syllabus) 50%; 2nd - An artist/ designer/
architect/ filmmaker (necessarily different from the movement approached in the 1st work) - 50%.
(images of works and kinesthetic/ multisensory ways of didactic communication PowerPoint, documentaries, etc.) with verbal/written communication using the
proper codes of multiple disciplines (including art history), in an interdisciplinary context;
b) Analysis and discussion of artistic concepts (addressing fundamental issues of modernist and postmodernist art, design and architeture), historical and socialcultural contexts, conceptual correlations between works of different movements/authors.
2nd RESEARCH ESSAY- AN ARTIST/ DESIGNER /ILLUSTRATOR/ ARCHITECT/ FILMMAKER /ART PHOTOGRAPHER - RELATED TO THE CU SYLLABUS
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- Of a different movement covered in the 1st essay, which involves defining the characteristics of the (s) movement (s) in which the artist/designer/architect falls.
Main Bibliography:
Argan, G. C. & Fagilio, M. (1994). Guia de Histria da Arte. Lisboa: Ed. Estampa.
Barral i Altet, X. (2003). Histria da Arte. Lisboa: Edies 70.
Denis, R. C. (2000), Uma Introduo Histria do Design. So Paulo: Editora Edard Blcher lda.
Gombrich, E.H. (2008). The Story of Art. New York: Phaidon.
Heskett, J. (2004). Industrial Design. London: Thames and Hudson
Maldonado, T. (1999). Design Industrial. Lisboa. Edies 70.
Pevsner, N. (1991). Pioneers of Modern Design. London. Penguin Books
Wlfflin, H. (1996). Conceitos fundamentais de Histria da Arte. So Paulo: Martins Fontes.
CU - PEDAGOGIC WORK PLACEMENT SYLLABUS:
Deepens disciplinary skills demanded by the Portuguese official teaching Plan in articulation with the interests-needs of recruitment national group [600]-VA
TEACHER; Realizes Pedagogical Work Placement in Cooperation School; Implements in PWP the research started in VAD I & II; Defines-articulates themesobjectives-projects-strategies of T/L that will enable reflection-autonomous-collaborative-innovation,skills/abilities;Demonstrates investigations scientificpedagogical strategies in function of T/L practices; Uses planning as a guide for action adjusting it; Gives an action sequence that brings motivation and active
learning; Stimulates creativity-critical thinking-self-confidencecuriosity; Evaluates his own action through dialogue and analysis of student work and classes
observation; Documents reflection about teacher practice with didactic resources, observation accounts, student work; Participates-Proposes extra-curricular
activities; Writs-publicly defends, the Work Placement Report
Syllabus:
Do the Pedagogical Work Placement; Elaborate a Process-folio of all activities done during the work placement: Personal account of the discipline official Plan,
including: learning outcomes; content/syllabus; skills/abilities (knowledge-contents; attitudes; capacities); T/L methodologies; Evaluation MethodologiesCriteria/Planned Activities-Evaluation Elements/Bibliographic References regarding the official program; School orientations: Annual Activities Plan; Class
Educative-Curricular Plan; Annual discipline Plan; Trimester Plan; Class-to-class or Work Unit(s) Plans; Working schedule of all work placement activities;
accounts of teaching in context; class observation of other teachers in-action; Teaching-Tutor written accounts; reunions accounts; Development-PES
implementation of research work, initiated in VAD I&II; Write the Final Pedagogical Work Placement Report.
CU-Pedagogical Work Placement-supervises the redaction of the Final Account Report that will include education situations observation-cooperation; allows
planning-teaching-evaluation inside/outside the school; promotes a critic-reflexive posture in face of challenges-processes-performance with a multicultural
perspective (didactic-curricular-psychological); deepens disciplinary skills of National Curricula in articulation with VA; promotes critical intervention en
pedagogical contexts with a transforming vision of scholar pedagogy; incentivises a research-cooperative culture; promotes integration of cultural-ethics-social
dimensions; contributes to school-community interaction; articulates skills acquired in scientific-pedagogical-didactic-social-professional domains, previously and
on the CUs of this Teaching Master of Educational sciences domain, including qualitative and quantitative research methodologies and, specifically, historystate of the art knowledge of VA Pedagogy-Didactics.
EVA. ELE: Realization of PWP under the supervision of a UBI and cooperating school-teacher; Elaboration of a process-folio of the PWP; Development of an
R&D work about pedagogical/didactic problems of T/L in VA; Write-Public defend the WP Report; PWP-WPR ASS.CRIT.:ADEQUATION TO PRACTICE
CONTEXTSKnows-problematizes in order to draw-develop relevant action plans regarding situational variables; PRACTICE ORIENTED-Defines action
themes-objectives-strategies that derive from T/L in VA practice observation-analysis and contribute to its understanding-improvement; ETHICALCONCEPTUAL VALIDITY-in actual-relevant assumptions, oriented to inclusive practices, favouring educational success; RESEARCH SERVING PEDAGOGYappeals to pedagogical investigation strategies that will support understanding-improvement of VA T/L practices; FORMATIVE POTENTIALArticulates its own
project-objectives with professional practice, developing reflexion-autonomy-cooperation-creativity-innovation capacities.
Pedagogical Work Placement (PWP) and Work Placement Report (WPR), supervised by UBI and Cooperation school teachers, allow: To define-articulate T/L
learning outcomes (contents; T/L strategies; evaluation methodologies) that will allow the development of skills/abilities (knowledge transmission; self-reflection.
autonomy, cooperation, creativity-innovation, R&D) in pedagogic practice; Relevant ethical-conceptual frameworks success-oriented of the T/L process;
Demonstration of scientific-pedagogic-didactic investigation strategies in order to understand and ameliorate T/L practices; Using teaching planning as a guide
for action, adjusting it to the development of students learning skills; Mobilize-deepening relevant multidisciplinary-didactic knowledge in order to implement the
action plan - scientific validity; Articulates decisions with official regulation documents and T/L context; Integrates in action planning the "learning to learn"
dimension; Action sequencing in order to motivate and allow active learning; Promoting participation and negotiation of knowledges-experiences-decisions;
Integrating students in self-reflection practices about their own T/L process and stimulates creativity-critic abilities-self-confidencecuriosity; Understandevaluating his own action in order to position himself - what will I do? Why? With what implications? Framing it by the action context, Recollecting information in
order to understand/evaluate the action (dialogues with students, class observation, student work analysis, inquires, etc.); Identifying dilemmas and constraints
of T/L practices suggesting and implementing adequate actions; Evaluating his own professional progression; Accountability for his own rights-duties-choices;
Maintaining an overture attitude in face of dialogue-sharing and cooperation; Demonstrating intellectual honesty; Reflecting (oral/written) about his/others
professional practice and the contexts in which it occurs; Documenting his reflection with practice materials (pedagogical, observation accounts or registry,
investigation data, student work...); Revealing self-questioning abilities upon pedagogical contexts; Seeing school-community as a space of inclusive education
and social intervention in order to obtain an holistic student able of a democratic citizenship; Participating in construction-development-evaluation of the work
placement, developing activities planned by others and planning-implementing-evaluating his own activities proposals; Attentiveness to articulation of distinct
teaching levels (vertical and horizontal content-skills organization); Collaborating with all the elements of the educative process allowing the creationdevelopment of mutual respect relationships; Valuing school as a social structure allowing cultural-social development of students-community relationships,
cooperating with external institutions and participating in its projects; Communicating conclusions-knowledge-thinking skills clearly
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Main Bibliography:
Alarco, I. & Tavares, J (2007). Superviso e prtica pedaggica - uma perspectiva de desenvolvimento e aprendizagem.
Almeida, L.A. & Freire, T. (1997). Metodologia de Investigao em Psicologia e Educao.
Best, J. & KAHN, J. (1986). Research in education.
Bogdan, R. & Biklen, S. (1994). Investigao qualitativa em educao, uma introduo teoria e aos mtodos.
Carr, W. & Kemmis, S. (1988).Teora crtica de la enseanza: la investigacin-accin en la formacin del profesorado.
Cohen, L. & Manion, L. (1990). Mtodos de Investigacin Educativa.
Dendaluce, I. (coord.)(1986). Aspectos metodolgicos de la investigacin educativa.
Elliot, J. et al. (1986). Investigacin en la aula.
(1990). Investigacin-accin en educacin.
Erasmie,T. & Lima, L. (1989). Investigao e projectos de desenvolvimento em Educao: uma introduo.
Estrela, A. (1994).Teoria e prtica de observao de classes: uma estratgia de formao de professores.
Fox, D. (1981). El Processo de investigacin en educacin.
Tuckman (2000). Manual de investigao em educao.
CU - CONTEMPORARY ARTISTIC MOVEMENTS SYLLABUS:
Appoint/ Identify/ Classify/ Locate styles-vanguards of the CU syllabus at the level of artistic concepts, historical and social contexts and technologies inherent to
modernist, avant-garde, postmodernist works
Deepen contents of 1st semester CUs of the AH area, especially in the field of architecture and other fields of design.
Understanding historical accumulation, in the design act, as a seek for cultural and expressive references in design practice
Understand design issues, related to historical-social changes, in the transition to industrial postmodernism and socio-cultural issues in the design practice
reflection, as an act of project
Adopt individual research methods using established parameters and several resources for information
Communicate correctly writing research results / elaborated reflections, respecting scientific methodology
Syllabus:
1st UNIT - MOVEMENTS OF XIX CENTURY: Neoclassicism; Romanticism; Pre-Raphaelite Brotherhood; Impressionism; Pointillism; Symbolism; Nave Art; Art
Nouveau
2nd UNIT - CURRENTS AND VANGUARDS OF THE FIRST PART OF THE XX CENTURY: Fauvism (1905-1908); Cubism (1907-1914); Orphism, Futurism
(1909-1914); Expressionism (1905-1933); Rayonism 1911; Suprematism 1915; Neo-Plasticism 1917, Russian Constructivism -1919; New objectivity
1923, Bauhaus (1919-1933), Art Deco (1925-1939); Dadaism (1916-1922); Surrealism (1924)
3rd UNIT - SECOND HALF OF XX CENTURY: Abstract expressionism (USA); German Neo-Expressionism; American Neo-expressionism; Co.Br.A. group, OpArt, Kinetic Art, Hyperrealism and Photorealism, New Figuration, Arte Povera, Pattern and Decoration, Conceptual Art, Minimalism, Fluxus, Performance Art and
Happening; Installation and Video Art, Land Art, Pop Art & Transvanguardia; Public Art
The student should prepare two theoretical research essays (historical and descriptive): 1st - a movement (of the CU syllabus) 50%; 2nd - An artist/ designer/
architect/ filmmaker (necessarily different from the movement approached in the 1st work) - 50%.
(images of works and kinaesthetic / multisensory ways of didactic communication PowerPoint, documentaries, etc.) with verbal/written communication using
the proper codes of multiple disciplines (including art history), in an interdisciplinary context;
b) Analysis and discussion of artistic concepts (addressing fundamental issues of modernist and postmodernist art, design and architecture), historical and
social-cultural contexts, conceptual correlations between works of different movements/authors.
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Main Bibliography:
Argan, G.C. (1991). El arte moderno. Del iluminismo a los movimientos contemporneos. Madrid.
Argan, G. C. & Fagilio, M. (1994). Guia de Histria da Arte. Lisboa: Ed. Estampa.
Barral i Altet, X. (2003). Histria da Arte. Lisboa: Edies 70.
Bonito Oliva, A. (1984). Transvanguardia. Barcelona-Madrid: La Caixa,
(1992). El arte moderno. El arte hacia el 2000. Madrid: Akal,
Denis, R. C. (2000). Uma Introduo Histria do Design. So Paulo: Editora Edard Blcher Lda.
Gombrich, E.H. (2008).The Story of Art. New York: Phaidon,
Heskett, J. (2004). Industrial Design. London: Thames and Hudson
Pevsner, N. (1991), Pioneers of Modern Design. London: Penguin Books
CU - ACTUAL ART MOVEMENTS SYLLABUS:
- Identify and locate (in space and time) periods and striking movements of contemporary art, reflecting critically on the role of image as ubiquitous and
hegemonic phenomenon in contemporary societies considering breaking boundaries in current artistic practices and the call of the senses;
- Work / speculate about the issues that mark the plasticity of contemporary art;
- Correlate conceptually (similarity/ differentiation) periods, movements, authors, works and multimedia design of the XXI century;
- Capitalize historical accumulation (cultural and expressive arts references) in multimedia design act;
- Identify working hypotheses for project / dissertation;
- Adopt individual research methods using established parameters for research and various resources for obtaining information;
- Report correctly, writing, research results / elaborated reflections, respecting scientific methodology;
Syllabus:
I - ADRESSED ISSUES IN CURRENT ART PRACTICES:
- From object to concept;
- Abstraction and conceptuality;
- New art 'places';
- From interactivity to immersion;
- The virtual and augmented reality;
- Multisensory perception;
- Political Art.
II - MOVEMENTS OF CONTEMPORARY AND TODAY ART:
- Dada, Conceptual Art, Minimalism (the primacy of the idea-project, the "manufacturing instructions" - authorship becomes independent of the final object
production; devaluation of the final art object in face of the mental idea; objets trouves and ready-mades; modularity and diversification)
- Op-Art, Kinetic Art and kinetic revolution in art robotic art
- Fluxus, Body-Art, Happening and Performance Art from the ephemeral to the deferred Installation art, Video Art and video installation to immersive and
interactive environments;
- Land Art, Urban Art, Public Art and the public and political sphere;
Analyzing and discussing concepts and artistic issues, also through conceptual correlations between works of different movements / authors and various arts,
visual culture, and empower assimilation and reformulation of these influences on his own work as a multimedia designer or as candidate for a master's degree
in multimedia design, through the development of a project, dissertation or work placement. At the same time the student develops the ability to, also in writing,
present their research results / elaborated reflections, respecting scientific methodology, increasing their vocabulary, analysis / synthesis capacity and
conceptual critical approach of the works of others and informed justification (arguments) developing research skills that will be useful both in the act of design,
as in the act of substantiation and description of their own productions
The student should prepare two theoretical research essays (historical and descriptive) in which he speculates about one or more addressed issues in current
art practices: 1st - a movement (of the CU syllabus) 50%; 2nd - An artist/ designer/ architect/ filmmaker (necessarily different from the movement approached in
the 1st work) - 50%.
empowerment as an innovative multimedia designer and as a master degree student who must prove in project, dissertation or work placement the required
professional-academic profile, contributes:
(images of works and kinesthetic/ multisensory ways of didactic communication PowerPoint, documentaries, etc.) with verbal/written communication using the
proper codes of multiple disciplines (including art history), in an interdisciplinary context;
b) Analysis and discussion of artistic concepts (addressing fundamental issues of todays art), historical and social-cultural contexts, conceptual correlations
between works of different movements/authors.
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1st RESEARCH ESSAY - AN ART MOVEMENT:
- Identify one/ or more of the problems (issues) of todays art in this movement or works of artists and reasoned speculate on it.
references are the reference; APPENDIX ( All documents that complement the main text (eg, the biography of artists) and can break the reading of it).
Main Bibliography:
Bonet, E. (1995). La instalacin como Hipermedio (una aproximacin), en Media Culture. Barcelona: L' Angelot
Boden, M. (1996). The Philosophy of Artificial Life. (NY): Oxford Univ. Press.
Felshin, N. (Ed.) (1995). But is it Art? London: Bay Press.
Grau, O. (2003). Virtual Art, from Illusion to Immersion. (MA): The MIT Press.
Aukstakalnis,S. & Blatner, D. (1992). The Art and Science of Virtual Reality. Sillicon Mirage, Berkeley (CA): Peachpit Press, INC.
Guasch, A.M. 82003). El Arte ltimo del siglo XX. Del Posminimalismo a lo Multicultural. Madrid: Alianza Editorial.
Stiles, K. & Selz, P. (Ed.) (1996). Theories and documents of Contemporary Art. (CA): Univ. of California Press.
Marchn Fiz, S. (2001). Del Arte Objetual al Arte de Concepto. Madrid: Ed. AKAL.
Popper, F. (1968). Origins and development of Kinetic Art. (NY): New York Graphic Society.
Sim, A. (2006). Realidad Virtual y Creacin Artstica. Covilh: UBI.
CU - VISUAL ARTS WORKSHOP SYLLABUS:
Insure technical/artistic T/L basis in order to be able to develop-execute professional/teaching projects in the VA; Articulate practical-theoretical-professional
(teaching and liberal) work; Deconstruct heritage-conceptual-technological contexts and reference artists-works in regard of plasticity/expression/functionality of
VA work; Develop presentation methodologies for Idea-Project-Final Product; Develop communication skills; Create a process-folio and a portfolio; Deepenrecreate concepts-processes-materials-techniques of VA work suiting it to the teaching levels-subjects in which will teach; Elaborate projects attending diverse
VA; Organize support space-composition to explore semantic-syntax-formal qualities; Relate project methodologies to workshop practices; Construct small
structures-prototypes; Explore relations between project-techniques in an environment of technological constraints; Inventory-select suitable activities for the
following subjects: Visual Edu.; Drawing A; Arts Workshop.
Syllabus:
Visual Arts works (practice of drawing as project/drawing as work of art/viewing of graphic diary books/travel books of known professionals in the field of visual
arts);Analyses of produced objects-works in the Fine Arts/VA/Design and Architecture domains as motivation for programmed activities; Resolution of project
methodologies - Motivation; Idea; Research; Project; Materials and process of work choices; execution of programmed activities (process-folio and portfolio):
cadavre-exquis; stop-motion; self-portrait mind-map; personal tree; visual poetry; book of drawings; images archive; Archive of planned activities for 3 rd cycle
(middle school) and secondary school on the following Visual Arts subjects: Visual Education; Drawing A; Arts Workshop
Art Works analysis as motivation for resolution of planned activities; Drawing as VA Foundation to foster skills (technical-process-graphic) of draft-Drawing as
Project or Drawing as Work of Art - realistic-expressive-creative skills that are trained in the Book of Drawings and in Cadavre-exquis (character
creation/illustration). Stop-motion (with drawing/ photography/ images) to explore kinaesthesia and multisensory skills and software manipulation. Self-portrait
mind-map - uses one of creativity stimulation techniques useful in problem resolution-project methods. Personal Tree Works volume in
structural/formal/poetic terms. Visual Poetry rethinks-recreates plasticity potential of typography-word in its semantic-syntax values. Images Archive gathers
images that might be significant by is plastic-expressive-informative value (projects raw material). Activities Archive reflexion upon suitable activities to
propose on the several education levels/subjects (in VAD I will analyse subjects syllabus)
MANDATORY WORKS/ACTIVITIES: 1. CADAVRE-EXQUIS trough drawing - NARRATIVES with CADAVRE-EXQUIS -a) Draw each character profile/front
view/back view and in locomotion in the Book of Drawings; b) drawing of storyboard in Book of Drawings; 2. THREE MINUTES STOP-MOTION; 3. MIND-MAP
SELF-PORTRAIT; 4. PERSONAL TREE - 3D; 5. VISUAL POETRY; 6. BOOK OF DRAWINGS (all semester); 7. IMAGES ARCHIVE (digital or analogical)
(Muse Imaginaire - Andr Malraux or "bote--valise" - surrealists) - all semester; 8. VA ACTIVITIES PLANNINGS FOR MIDDLE AND SECONDARY SCHOOL
ARCHIVE (all semester)/ ASSESSMENT METHODS AND CRITERIA: 70% of contact hours assistance for non-working students; BOOK OF DRAWINGS
minimum 60 entries - drawings with expressive-graphic-creative qualities; IMAGES ARCHIVE minimum 50 entries - reveals aesthetic personal options; VA
ACTIVITIES PLANS FOR MIDDLE/SECONDARY SCHOOL ARCHIVE minimum 13 entries suitable to syllabus subjects
Art Works analysis, produced in the domains of Fine Arts-Design-Architecture, as motivation for resolution of planned activities, trough project methodologies,
using Drawing as Visual Arts Foundation to foster skills (technical-process-graphic) of draft-Drawing as Project or Drawing as Work of Art - realisticexpressive-creative skills that are trained in the Book of Drawings (where projects are also sketched and where the student copies drawings, draws from
nature-observation and imagination drawing) and in Cadavre-exquis (character creation/illustration). Stop-motion (with drawing/photography/images) to
explore kinaesthesia and multisensory skills and software manipulation. Self-portrait mind-map-uses one of creativity stimulation techniques (mind-map) useful
in problem resolution-project methods used in T/L school activities. Personal Tree works volume in structural/formal/poetic terms. Visual Poetry rethinksrecreates plasticity potential of typography-word in its semantic-syntax values. Images Archive gathers images that might be significant, to the student,
because of its plastic-expressive-informative value (projects raw material).Visual Arts activities Archive for Middle and Secondary School allows
previous reflexion upon suitable activities to propose on the several education levels/subjects complementary to the work done in Visual Art Didactics I, where
student will analyse the following subjects syllabus: Visual Education (3rd Cycle Middle School 3 years) and all VA subjects of Scientific-humanistic Secondary
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Visual Arts Course: History & Culture of Arts (biannual); Drawing A (triennial) ; Descriptive Geometry A (biannual); Arts Workshop (annual); Multimedia
Workshop B (annual) ; Materials and Technologies (annual)
Main Bibliography:
Martins, A. (Coord.) (2002), Didctica das expresses. Lisboa: Universidade Aberta.
Mayer, R. (2002). Manual do Artista. So Paulo, Martins Fontes.
AAVV (coord. Rocha de Sousa) (1995), Didctica da Educao Visual. Lisboa: Universidade Aberta.
Rocha, C. S. (2000). Plasticidade do Papel. Lisboa: Pltano Editora.
Shimizu, Y., Kojima, T., Tano, M. & Matsuda, S. (1991). Models and Prototipes, Tokio: Graphicdha.
CU - VISUAL ARTS DIDACTICS I SYLLABUS:
Knowledge of Visual Arts Teaching/Teaching throught Art, History and State of the Art; Knowledge/development interdisciplinary investigation/methodologies in
Teaching/Learning [T/L] Visual Arts [VA];Promotes the taxonomies of infant-teenage Arts; Knowledge of Art Therapy contributions for T/L in VA; Masters
interdisciplinary investigation techniques/methodologies in T/L; Knows contributions of T/L in cognitive development and trends of T/L:Education through Art;
Basic Design; Communication/Culture/Visual Intelligence; Mult.Int.; DBAE; oeuvre-d'art as pedagogical resource; Creativity Developing Methods vs. Project
Methodologies; Dominates concepts-Creativity/Imagination/Visual Literacy/Emotional Intelligence; Knows international curricula/syllabus proposals and quality
standards by Arts Education Organizations: INSEA; NAEA; USSE; CSTAE; Australian Nat. Affiliation of AE; Canadian Society for Edu. through A.; Getty Edu.
Inst. for the Arts;Nat. Endowment for the A.;AaAe; NTIEVA; The Kennedy Center ArtsEdge
Syllabus:
1.Drawing evolution 5-14 years old (Piaget; Luquet; Stern) vs. connections with adult artists plastic expression and Art Brut; 2.Art Teaching [AT]/Teaching
Through Art [TTA] History of AT/TTA based on Eflands 4 trends in the encounter between professional artists education traditions + behavioural and
development theories/psychoanalysis/Cognitive Psychology: Mimetic-behaviourist / Pragmatic-reconstructionist (Dewey)/ Expressive-psychoanalytic
(Free Expression Movement and Education through Art, 40s-50s Lowenfeld and Herbert Read; Formalist-cognitive (Arnheim Smith -Bruner vs. Bauhaus
role model/Basic Design-gestalt and structuralism); Oeuvre-d'art as pedagogical resource-DBAE(Eisner);triangular proposition (Barbosa); VTS...;3.TheoriesConcepts that justify contributions of AT/TTA in cognitive development-MI (GardnerArts Propel-Project Zero); Creativity; Visual Literacy; Emotional Intelligence
(Damsio);4.National and International Ministery of Education/Culture Syllabus for VA teaching.
On the following frontlines of research-intervention of - Roteiro para a Educao Artstica. Desenvolver as Capacidades Criativas para o Sculo XXI
(Comisso Nacional da UNESCO,2006) can be found the coherence between them: Descriptions-evaluations (of the social and individual surplus value) about
type-extension of Art Education programs-methods and politics (and their follow-up in accordance with involved contexts-variables, including student learning
evaluation); Relations between AE and creativity/AE and social skills [multiple intelligences-emotional (Damsio) & social (Goleman);inter- & intrapersonal
(Gardner)], citizenship [ethics-social responsibility; heritage preservation-valorisation; eco-intelligence (Goleman)] and skilfulness [professional profile and exits
/several teaching levels and curricula); Development-application of standards of teacher preparation; AE Research Agenda Enrichment and Interdisciplinary
cooperation promotion about AE research methodologies.
Combination of: Expositive classes; Guide discovery learning; Inquiry-based learning; Case study-based learning; Problem Based Learning/ PLANNED
ACTIVITIES-EVALUATION ELEMENTS: Investigation about a syllabus theme (70%) and it's oral presentation (20%) VA Teaching Analysis in 3rd cycle of
Ensino Bsico (middle school) and Ensino Secundrio (secondary teaching)(10%)TO MASTER RESEARCH METHODOLOGIES: Research on Databases in
order to identify: important questions; relevant conclusions needing actualization; data recollection-analysis methods; historical-descriptive-qualitativequantitative-empiric investigation; presentation-communication of investigation process/ASSESSMENT CRITERIA: Profound Knowledge of relevant
Bibliography/Justified Interpretation/Correct-structured-expressive written-oral communication/Coherent-balanced Argumentation/Intellectual quality of
investigation contributions/Critical Reflection of adopted methodology/Examples deeply analysed.
The theme-research plan proposal-development for Pedagogical Practice report starts in CUs VAD I & II. Regarding Teaching Master Degrees of UBI
Regulations - DESPACHO N.38/R/2013 (Art. 11nd - Pedagogical Report - Working Plan), its conception involves: a) Delimitation of an object of study
(identification-characterization of theme-problematic(s)-question(s)-hypotheses) regarding scientific-didactic, aspects/problematic(s) of VA; b)Justified selectiondescription of adequate methodologies for its approach; c)An operational definition of concepts grounded in reference authors; d)Recollection of
fundamental information-bibliography (brief history main paradigms, grounded in state of the art); e)The conception of work hypotheses-solution(s)case scenarios for those problem(s); f)Starting to think about the plan-implementation of theoretical/laboratorial/experimental or simulation work, in
teaching practice on the supposed subjects in which the student might make is pedagogical internship (student only knows for sure in the beginning of 2nd year
Master Degree) what implies, by now, studding-knowing all ministerial subjects syllabus. Conducted/or Being conducted by learning through guided
discovery (Problem definition + hypotheses; Design and experimentation; Data observation-recollection-analysis-interpretation; Results application; Previewing,
based on obtained results).Teacher through exposition method introduces new information, contextualizes problematics and stimulates motivations-interests
by thematics that belong to a contemporary Research Agenda in VA pedagogy-didactics. Student actively deduce conclusions and poses questions that will
foster his curiosity and will take him to further is research in the theme-problem- that will be significant to him, which will be, initiated by a profound research
period - learning through personal/ conducted research (operational concepts; history and state of the art). Case Study apprenticeship (learning)
appears not only in expositive classes but also in personal student research in trying to find research replicas of themes-problems related to his ones.
Inevitably teaching-learning methodologies of VA are immersed in Project methodologies and creative methods (on the bottom line, problem resolution
methods) what will imply, also, testing - learning through problem resolution - from the action-research point-of-view that he will implement in Supervised
Teaching Practice, where he will be obliged to reflect upon teaching and learning methods as: Active Learning questions and answers; Integrated Learning
posing problems, whose solution involves knowledge of several areas; Cumulative Learning-posing problems that, gradually augment its complexity;
Learning to understanding-reflecting, feedback and the opportunity to apply what was learned.
Main Bibliography:
Addison, N. & Burgess, L.: Learning to teach Art and Design in Secondary School. A Companion to School Experience.
Efland, A. (2002). Una historia de la educacin del arte. Tendencias intelectuales y sociales en la enseanza de las artes.
Efland, A. et al. (2003). La educacin en el arte posmoderno.
Fris, J.P. (2005). As Artes Visuais na Educao. Perspectiva Histrica. Tese de Doutoramento. Lisboa: Universidade de Lisboa
Eisner, E.W. (1995). The Role of Discipline-Based Art Education in America's Schools.
Gardner, H. (1994). Educacin Artstica y Desarrollo Humano.
:(1987). Arte, mente y cerebro. Una aproximacin cognitiva a la creatividad.
:(1995). Inteligencias mltiples. La teora en la prctica.
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Guilford, J.P. (1983). Creatividad y Educacin.

Lowenfeld, V. (1961). Desarrollo de la capacidad creadora.
Matthews, J. (2002). El arte de la Infancia y la Adolescencia. La construccin del significado.
Read, H. (1982). Educao pela Arte.
Wilson, B. (2006). Mudando conceitos da criao artstica: 500 anos de Arte/ Educao Contempornea: consonncias internacionais.
CU - VISUAL ARTS DIDACTICS II SYLLABUS:
Deepens history and state of the art of Art Teaching/Education through Art; Deepens-implements investigation, methodologies and interdisciplinary knowledge
in T/L of VA; Deepens infant-juvenile-teenage Art taxonomies; Knows-problematises contributions of Art Therapy for T/L in VA; Masters interdisciplinary
investigation techniques-methodologies in T/L in VA; Dominates the contributions of T/L in cognitive development; Masters trends in T/L in: Education through
Art-Basic Design-Visual Culture/Visual Literacy-Multiple Intelligence's-DBAE; other T/L methods that use the work of Art as pedagogical resource; Dominates
concepts worked in VAD I; Dominates Creativity Methods vs. Project Methodologies and other problem solving methods in the area of VA producing and T/L;
Problematises relevant curricula proposals and quality T/L standards of International Arts Education Organizations and Education/Cultural Ministries
demonstrating skills of adequacy-innovation in Portuguese context in search for social and individual added value.
Syllabus:
1.Visual Culture vs. Visual Literacy;2.VA vs multisensory aesthetic experience;2: Art Therapy and its benefits in teaching trough AE;3.Deepen study of
International curricula/syllabus proposals and quality standards by AE Organizations: International Society for Education through Art (InSEA); ICAF
(International Child Art Foundation);National Society for Education in Art & Design (NSEAD);London Association for Art and Design Education (LAADE);National
Art Education Association (NAEA);Caucus on Social Theory & Art Education (CSTAE); Australian National Affiliation of Art Education; Canadian Society for
Education through Art; Getty Education Institute for the Arts; National Endowment for the Arts; North Texas Institute for Educators on the Visual Arts (NTIEVA);
Smudgeflux; The Kennedy Center ArtsEdge...; 4.Case-study and classes-work unit plannings based on DBAE, Visual Thinking Strategies, Triangular
Proposal; Primeiro Olhar, adequated to VA subject syllabus of Portuguese Education Ministry.
Developing the frontlines of research-intervention of - Roteiro para a Educao Artstica - from UNESCO National Commission (2006) now deepen: in the
search of relations between AE, creativity, Art Therapy, holistic development, including social skills without disregarding professional profile and exits at the final
of secondary school; on reflecting upon multisensory character of aesthetic experience (observer-producer-work) and also if the object of AE is artefacts/art
production or/and Visual Culture/Visual Literacy acquisition and what this 4 vectors mean according with reference authors; Develop in practice the theoretical
investigation trough case-study-planning classes-work units in regard of Portuguese Ministry syllabus Visual Arts subjects (researched in VAD I) considering
activities proposals regarding DBAE, VTS; Triangular Proposal; Primeiro Olhar and others found in Art Education Associations worldwide
T/L MET.: Combination of: Expository classes; Guide discovery learning; Inquiry-based learning; Case study-based learning; Problem Based Learning/ PLAN.
ACT.: Deepen research started in VAD I(70%)+it's oral presentation (10%) Manifesto in defence of Art Education (20%) centred in VA that implies: Delimitation
or not of VA scope: Multimedia/Interactive/Fine Arts? Performance? Installation? Design? Architecture? Cinema?; Define Artistic Education vs Edu.
through Art; Delimitation or not of teaching levels/age scope/publics/contexts; Rethinking functions of art in education-produce artists-artisans...and/or
art appreciators;Allow holistic individual development; Improve life-surroundings quality; Value-preserve heritage-culture; Multisensory or Visual
Literacy//Culture; Delimitation of art-culture important to society; Edu. system role in its stimulus; Investigate rhetorics -expressive resources of Modern
art Manifestos; Gather arguments for Manifesto; Chose a multisensory medium/ CRIT-AVA.:=VAD I.
Regarding that students are, by now, in possession of concepts and problems central to Art Teaching/Edu. through Art (enriched in this sem. by Arte Therapy in
school context contributions; by the approaches to the question of multisensoriality in aesthetic experience point of view of the observer-producer-work; by the
approaches to the question whether the function of art in education might be centred in artefacts/art production and/or in acquisition of Visual Culture/Literacy);
Knows all VA subjects syllabus that he might be teaching in3th cycle basic education or in secondary education; Knows empirical and scientific arguments for
the pleading of Education through Art/Art Teaching two complementary planned activities will be forged: 1st Deepens the research work initiated in VAD I,
developing the implementation plan of theoretical/empirical/experimental and/or simulation work in the supposed subjects in which he might make is supervised
teaching practice (he will only knows in the end of 2nd year Master) what implies, by now, in VAD II, suit classes-work units to syllabus VA ministerial subjects of
600 recruitment group and conducting expository classes and the learning by guided discovery, done by the student, to concrete visual arts T/L, case study
analysis;2nd Produces a Manifesto in defence of Art Education, regarding VA scope (because that is the specialization area of this Master in Teaching) with the
main objective to make the student gather in one document all pleading arguments reasoned in reference authors/ bibliography
Main Bibliography:
Alfano, G. (2000). Lestetica della sinestesia, Tesi di Laurea in Estetica, Corso di Laurea in Materie Letterarie, Facolt di Magistero, relatore Mario Costa,
corelatore Francesco Nicolino, Universit degli studi di Salerno.
Alexander, K. & Day, M. (eds). Discipline-Based Art Education: A curriculum Sampler.
Bush, J. (1997). The handbook of school art therapy: Introducing art therapy into a school system.
Fris, J. P. (coord.) (2000). Educao Esttica e Artstica. Abordagens Transdisciplinares.
Hernndez, F. (2000). Cultura visual, mudana educativa e projetos de trabalho.
Kress, G. & Van Leeuwen, T. (2006). Reading Images; The Grammar of Visual Design.
Messaris, P. (1994). Visual "Literacy": Image, Mind & Reality.
Moore, D. & Dwyer, F. (eds) (1994). Visual Literacy: A Spectrum of Visual Learning.
Riley, S. (1999). Contemporary art therapy approaches with adolescents. London: Jessica Kingsley.
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Synthesis of the intended changes: According to DL 79/2014, May 14th: 1st In the area of General Education CUs: three CUs disappeared (History and
Theory of Education; Issues and Problems of Education; Educational Research); 2nd Two new CUs were created (Curriculum Development; Education,
Citizenship and ethics of Teaching Profession, the last one reinforces cultural, social and ethical area, also addressed in other CUs).
Responding to opportunities/ proposals identified in the SWOT analysis, of the self-evaluation report: 1st There is a new mandatory CU in the education area
of this master degree (Art & Design) ART THERAPY IN SCHOOL/ COMMUNITY that in conjunction with optional CUs will reinforce the dimension of cultural
community intervention of MEAV Masters; 2nd To strengthen the input of qualitative and quantitative research methodologies, common to several social
sciences and humanities, two new CUs appear - ART TEACHING/ EDUCATION TROUGH ART RESEARCH QUALITATIVE METHODS; ART TEACHING/ EDUCATION
x
TROUGH ART RESEARCH QUANTITATIVE METHODS.
New study Plan proposal: :

1st YEAR/ 1st SEMESTER:
Curricular Units (mandatory/ optional)
Scientific Area
Duration
Working hours
Contact hours
ECTS
25
WORKSHOP IN VISUAL ARTS (mandatory)

VISUAL ARTS DIDACTICS I (mandatory)
ART TEACHING/ EDUCATION TROUGH ART
RESEARCH
QUALITATIVE
METHODS
(mandatory)
CURRICULAR DEVELOPMENT (mandatory)
EDUCATION, CITIZENSHIP AND ETHICS OF
TEACHER PROFESSION (mandatory)
1st YEAR/ 2nd SEMESTER:
ART THERAPY IN SCHOOL/ COMMUNITY (mandatory)
VISUAL ARTS DIDACTICS II (mandatory)
ART TEACHING/ EDUCATION TROUGH ART
QUANTITATIVE METHODS (mandatory)
EDUCATIONAL PSYCHOLOGY (mandatory)
2nd YEAR (annual)
PEDAGOGIC INTERNSHIP (mandatory)
Art & Design (AD)

Art 6 Design didactics (D-AD)
D-AD
Semester
Semester
Semester
160
240
134
PL (16 h) + TP (16 h) = 32 h
PL (15 h) + TP (45 h) = 60 h
OT (15 h) + TP (30 h) = 45 h
6
9
5
Education (EDU)
EDU
Semester
Semester
134
134
30 TP
30 TP
5
5
Scientific Area
AD
D-AD
D-AD
Duration
Semester
Semester
Semester
Working hours
160
294
134
Contact hours
PL (16 h) + TP (16 h) = 32 h
PL (15 h) + TP (45 h) = 60 h
OT (15 h) + TP (30 h) = 45 h
ECTS
6
11
5
EDU
Semester
214
60 TP
Duration
annual
Working hours
1121
Contact hours
E (32h)+OT(32H) = 64 h
ECTS
42
Duration
semester
Working hours
134
Contact hours
TP(30H)+OT(15H)= 45 h
ECTS
6
semester
semester
80
80
45 TP
45 TP
3
3
Duration
semester
semester
Working hours
160
80
Contact hours
OT (4h) + S (39h) = 43 h
45 TP
ECTS
6
3
semester
semester
semester
80
80
80
45 TP
45 TP
45 TP
3
3
3
RESEARCH
Scientific Area
Art
&
Design
professional formation
(FP-AD)
2nd YEAR/ 1st SEMESTER:

Scientific Area
EDUCATIONAL POLICIES AND ORGANIZATION OF EDUCATION EDU
(mandatory)
CULTURAL AND CRIATIVE INDUSTRIES (optional)
AD
PHILOSOPHY OF CULTURE (optional)
AD
2nd YEAR/ 2nd SEMESTER:
Scientific Area
RESEARCH SEMINAR ON VISUAL ARTS (mandatory)
AD
PROGRAMMING AND ORGANIZATION OF CULTURAL EVENTS AD
(optional)
INTRODUCTION TO CULTURAL MANAGEMENT (optional)
AD
CULTURAL COMMUNICATION ADVISORY (optional)
AD
CYBERCULTURE
AD
CU - ART THERAPY IN SCHOOL / COMMUNITY SYLLABUS:

MEAV students will learn how to apply Art Therapy (AT) concepts in school/ non formal educations settings with children-adolescents-adults/ Those considering
AT as a career, will be initiated through readings-research-art making evaluation:
1. Learn about AT and benefits for several populations: understanding the developmental-psychological-neurological theory; develop a repertoire of approaches
for the application of expressive arts - underlying their use in counselling and therapeutic contexts;
2. Participate in AT process;
3. Increase Knowledge of AT materials-techniques, gaining understanding of/ experience with multiple expressive media, determining which one fits better
practitioner and targeted populations;
4. Increase self-awareness on personal art processes and products;
5. Establish a personal (individual) learning objective, and demonstrate how the objective was met;
6. Encourage R&D in AT field vs. Education in/ through Visual Arts;
Syllabus:
All Thematic Units (TU) Art experiential exercise + oral presentation/ discussion of a Reading (R.): 1. AT theories, history & practice: Lecture Elements of an
effective therapeutic style with children-adolescents (C-A)/ 2. R.(see UT 8); Group approach with C-A / 3. Assessment of the practice of AT: Rubin chapter 1+2,
APA Audiotape Working with Resistant Children; Identifying childrens strengths-resources / 4. R. (see UT 3); Video Expressive Therapies with Children;
Media Dimensions Variables / 5. Therapeutic use of Art Materials; R.: Rubin Chap. 3; Riley Chap. 1 Stages of child development and graphic
development, integrating developmental theories with art expression/ 6. Special Topics: AT Issues R. Wix-article; Attachment chapter handout; Attachment
styles; Use of AT to enhance/repair attachment / 7. Using personal symbols (S); interpretation of S R.: Riley Chap.2; Rubin Chap. 4, 7, 13; A picture of the
therapeutic process; Decoding symbolic messages / 8. R.: Riley Chap. 3+6; Issues of culture-context-diversity; Ethical issues to work with C-A.
Individual Chapter readings/ analysis serves to acquire fundamental knowledge, encompasses the lectures/ AT practical action, gaining a reading rhythm, along
with participation in public presentation-Open Discussion intended to share insights-findings of other individual interpretation of same texts and provide a
platform for presentation/ arguing competences defined as the following: a) Asking a thoughtful question that will allow a peer to extend his or hers thinking
about a subject, b) Providing useful information to expand our understanding of a topic; c) Making a comment to a peer when someone notices that peer seems
to be receiving fewer comments than some others in the class; d) Positive encouragement or support; e) Helping another classmate by sharing general
information that would be helpful to him. Comments do not necessarily have to be made to another person, they can be to the class, as a general comment.
Comments that enhance the quality of discussion will be looked upon highly.
ASSIGNMENTS: 1. Weekly assignments (60%): individual chapter readings/ analysis; Art experiential/ 2. Research Paper or Research Project (25%): a) Paper
topic of personal interest vs. AT write a paper (10-15 pages); b) Project propose a project related to an individual learning objective write a paper (10-15
pages). Examples of papers: for art teachers some aspect of AT that might be used in school context OR a unit designed on art therapy with lesson plans,
possibly with examples of student work; identifying art work as a series of self-portraits reflective of working through an issue or in depth exploration of
media/technique such as mandalas; A service/social action project individually/ community relevant.
EVALUATION CRITERIA: Research evidence of the topic with related references APA style (5%); Quality of writing (10%); Normal research structure
components Introduction; Main theses; summary of content, etc. (5%); Public Presentation and open discussion (5%); Class attendance (15%).
xii
26

Theories of AT History and Practice provide an overview of the history/development of the major approaches in AT; Strong emphasis on developmental
theory across the life span (cognitive-emotional-graphic), the Expressive Therapies Continuum and Media Dimensions Variables, and how these theories
interface with clinical issues including performance indicators in managed care; other significant personality theories in the field are explored (psychoanalytic;
psycho-educational; humanistic, behavioural; cognitive); all theories investigated in relation to ethical-cultural issues in therapy/ assessment for the practice of
AT; comprehensive understanding of art-based assessments for the art therapist, development and use of projective techniques and diagnostic tools examined,
methods of administration-interpretation of the assessment techniques presented; strengths and weaknesses of techniques explored; psychopathology and
behaviour disorders studied in terms of diagnostic criteria and etiology; psychological frameworks for treatment examined and AT treatment strategies for
specific diagnosis studied through case study material (used to illuminate diagnostic material and illustrate treatment objectives)/ Using personal symbols/
Interpretation of symbols: non verbal and verbal communications addressed by examining symbolic representation; use of art in the process of therapy
discussed; capacity to gain self-awareness and understanding of others explored and related to the students professional development, use of visual symbols
and metaphors to facilitate communication-problem-solving- the therapeutic process explored; uniqueness or artistic symbols in therapy examined trough
experiential-theoretical modes; implications for practical applications discussed for various special populations; universal-cultural-manifest-talent-personal
aspects of symbols examined as a pathway to understanding self and others; use of symbols in therapy also explored through psychological frameworks
social contexts etiological-developmental references; study of defence mechanisms (or coping styles) and ethical issues related to symbolic art expression
inform interpretation and practice related to client art / Special topics AT issues: study of specific issues relevant for the practice of AT like: treating sexual
abuse; confronting substance abuse; coping with loss; utilizing family system and addressing multicultural issues/ therapeutic use of art materials: fundamentals
of using art materials therapeutically in educational-community-clinical settings are addressed; assessment of art materials for growth and discovery drawing,
painting, clay, collage, photography, electronic media,...; practices as communication, critical thinking, human development and learning-therapeutic
environments & treatment planning are addressed in relationship to both art and therapeutic processes / Participation in art experiential: provides students,
opportunities to learn first-hand about AT process.
Main Bibliography:
Books & Articles:
Bush, J. (1997). The handbook of school art therapy: Introducing art therapy into a school system. Springfield, IL: Charles C Thomas.
Linesch, D. G. (1988). Adolescent art therapy. N.Y.: Brunner/Mazel.
Malchiodi, C. (1998). Understanding children's drawings. New York: Guilford.
Pleasant-Metcalf, A. & Rosal, M. (1997). The use of art therapy to improve academic performance. Art Therapy, 14 (1), 23-29.
Prasad, S. (2008). Creative expression: Say it with art [art education and art therapy in schools in India]. Virginia, US: Author.
Riley, .S.(1999). Contemporary art therapy with adolescents. London: Jessica Kingsley Publishers.
Rubin, J. A. (2005). Child art therapy. New Jersey. John Wiley & Sons, Inc.
(Ed.). 2001. Approaches to art therapy. Theory and Technique. New York: Brunner/ Mazel, Inc.
Safran, D. (2002). Art therapy and ADHD: Diagnostic and therapeutic approaches. London: Jessica Kingsley.
Silver, R. (2000). Developing cognitive and creative skills through art: Programs for children with communication disorders or learning disabilities (3rd Ed.). New
York: Albin Press.
Stepney, S. (2001). Art therapy with students at risk: Introducing art therapy into an alternative learning environment for adolescents. Springfield, IL: Charles C
Thomas.
Websites:
School Art Therapy in the US [Janet Bush website], visit: http:// www.schoolarttherapy.com/school_art_therapy.htm
xiii
CU - RESEARCH IN ARTISTIC TEACHING/ ART IN EDUCATION QUALITATIVE METHODS SYLLABUS:

- Develop students knowledge about qualitative methodologies, enabling them to plan and apply a qualitative research in the VA Supervised teaching practice;
- Research and use scientific information in a proficient way;
- Communicate accurately research results,
- Identify the contribution of qualitative research to educational research;
- Develop a qualitative research project;
- Apply the main qualitative techniques of data collection;
- Analyse and interpret qualitative data;
Syllabus:
1. Qualitative research in education: conceptual problems regarding qualitative methods;
2. Qualitative based design;
3. Field work and documental support: main techniques of data collection (documental analysis; observation; interviews; focus group);
4. Qualitative data analysis and interpretation; questions pertaining fidelity and validity;
5. Writing a qualitative research report.
The deepening of qualitative research methodologies and its testing in the approach to the research in the arts education/ education trough art/ education in
visual arts will help the student choose, in consciousness, such methods when developing/ implementing his research project.
In the theoretical-practical sessions, presentation of contents by the teacher using expositive, interrogative and demonstrative methodologies followed by, the
realization of exercises to solve problems (in group), results presentation and debate.
The work done at this sessions and the final research project are followed by the teacher.
As the design of the pedagogical report also involves the selection of methodologies and reasoned approach to its description, this UC deepens qualitative
methodologies that will help the student to make an informed choice appropriate to his Research Plan/ Implementation Research in Supervised Teaching
Practice, strengthening the chances of obtaining scientific useful evidences and results to be shared in peer review publications or communications in
recognized International Conferences of Visual Arts Knowledge area.
Main Bibliography:
Afonso, N, (2008). Investigao naturalista em educao: Um guia prtico e crtico. Porto: Edies Asa.
Albarello, L. et. al. (1997). Prticas e mtodos de investigao em cincias sociais. Lisboa: Gradiva.
Bericat, E. (1998). La integracin de los mtodos cuantitativo y cualitativo en la investigacin social. Barcelona: Editorial Ariel, S.A.
27
Bogdan, R. & Biklen, S. (1994). Investigao qualitativa em educao: Uma introduo teoria e aos mtodos. Porto: Porto Editora.
Cohen & Manion (1990). Mtodos de investigacin educativa. Madrid: Editorial La Muralla.
Denzin, N. K. (2003). Collecting and interpreting qualitative materials. Thousand Oaks: Sage.
Denzin, N. K. & Lincoln, Y. (Eds.) (2005). Handbook of qualitative research. Nova York: Sage Publications.
Erzy, D. (2002). Qualitative analysis: Practice and innovation. Londres: Routdlege.
Jurgenson, J.L. (2004). Cmo hacer investigacin cualitativa Fundamentos y metodologa. Barcelona: Paids Educador.
Stake, R. (2007). A Arte da investigao com Estudos de Caso. Lisboa: Fundao Calouste Gulbenkian.
xiv
CU - RESEARCH IN ARTISTIC TEACHING/ ART IN EDUCATION QUANTITATIVE METHODS - SYLLABUS:

- Develop students knowledge of quantitative methodologies, enabling them to plan and apply a quantitative research in Visual Arts Supervised Teaching
Practice;
- Recognize the contribution of different methodological lines to educational research;
- Understand the nature, characteristics and stages of research;
- Be acquainted with the main quantitative techniques of data collection and their suitability for specific research questions;
- Identify the major ethical issues involved in educational research;
- Develop a quantitative research project;
- Use SPSS;
- Analyse, in a critical way, research articles.
Syllabus:
1. Introduction to educational research;
2. Problems hypothesis and variables;
3. Plans and samples;
4. Data collection: instruments and procedures;
5. Results, analysis and discussion;
6. Writing of articles and research reports;
7. Ethical concerns;
8. Use of SPSS statistical software;
The deepening of quantitative research methodologies and its testing in the approach to research in arts education/ through art/ in visual arts will help the
student choose, in consciousness, such methods when developing/implementing his research project.
In theoretical-practical sessions, presentation of contents, by the teacher, using expositive, demonstrative and interrogative methodologies with PPT/ Prezzi
(other) support. Realization of activities related to various aspects of the syllabus program (in groups or individually). This activities will be followed, individually,
by the teacher.
As the design of the Pedagogical Report also involves the selection of methodologies and reasoned approach to its description, this CU deepens quantitative
research methodologies that will help students to make an informed choice appropriate to his Research Plan/ Implementation in Supervised Teaching Practice,
strengthening the chances of obtaining scientific useful evidences and results to be shared in peer review publications or Communications in recognized
international conferences of Visual Arts area of Knowledge.
Main Bibliography:
Almeida, L.S. & Freire, T. (2003). Metodologia de Investigao em Psicologia e Educao. (3rd. Ed.). Braga: Psiqulibrios.
Almeida, J.F & Pinto, J. M. (1990). A Investigao nas Cincias Sociais. Lisboa: Presena
Bryman, A. & Cremer, D. (2003). Anlise de dados em Cincias Sociais. Oeiras: Celta.
Combessie, J-C. (2001). La mthode em sociologie. Paris: La Dcoverte.
Fink, A. (2003). How to ask survey questions. Londres. Sage.
(2003). How to manage, analyse and interpret survey data. Londres: Sage.
Foddy, W. (1996). Como Perguntar: teoria e prtica da construo de perguntas em entrevistas e questionrios. Oeiras: Celta.
Javeau, C. (1988). Lnquete par questionnaire: mannuel lusage du practicien. Brussels: Editions de LUniversit de Bruxelles.
Marconi, M.A. & Laktos, E.M. (1988). Tcnicas de pesquisa. So Paulo: Atral.
Ragin, C.C. (1994). Constructing Social Research. Thousand Oaks: Pine Forge Press.
Sampieri, R.H., Collado, C.F. & Lucio, P.B. (2006). Metodologia de pesquisa (3rd ed.). So Paulo. McGraw-Hill.
CU CONCEPT ART FOR DIGITAL GAMES - SYLLABUS:
Dominium of: Concept Art stages in game design, comics, animated movies, science fiction movies, video-clips, illustration and advertising; Representational
Drawing and(re-) creation of characters, props, scenarios, atmospheres, matte painting, objects, vehicles, costumes (clothing)
Syllabus:
1.Diagnostic of student level;
2.Concept Art universe trough visioning of reference work and artists and tutorials about the several production stages of concept Art;
3. Oriented Exercises in order to master several obliged stages of Concept Art using observational Life Drawing, copying master drawings and from images,
drawing tools (monochromatic and colour) and Sketchbook as election tool for training;
3.1. Observational Drawing of: a) characters (human figure/ animals/ humanoids/ creatures/ clothing/ extension objects of the body/ hairstyling); b) Interaction
scenes between characters; c) scenarios, architectures, props, mechanical objects, vehicles; d) kinetic signs and graphical onomatopoeias; e) Character
integration and interaction in scenarios and with objects boards and key frames execution; f) storyboards execution
Syllabus content and Key learning outcomes gather in knowledges, competences and skills of mastering technical and procedural demands to concept artists in
the several professional outcomes considered. This justifies the following:
a) Visioning of reference concept arts work and artists (in game design, animated movies, comics, science-fiction movies, illustration, advertising) including
technical and procedural tutorials about several stages and referents of concept art;
xv
28
b) Oriented exercises to master several stages/ referents of concept art:

- Using observational drawing (from life, copying master drawings and images), its tools (monochromatic graphite soft to hard pencils, art pens, fountain pens,
and colour aquarelle and oil pastels) and the choice of the Sketchbook as election support (for researching through copy of drawings and images, looking for
inspiration in the universe of concept artists and their works, art history, arts and crafts, decorative arts, architecture, fashion, theatre, science-fiction movies
and video-games)
- Using the following compulsory referents:
- NAKED HUMAN FIGURE, static/locomotion; woman; men; child; teenager; adult; elderly; human physical abnormalities; facial expressions; human
muscles and skeleton (drawing the structure in movement); front, , profile, back views; angles takes view from above, from down-under,
foreshortenings, hairstylings; hands and feet
- COSTUMES body accessories (recollection using sketches - clothing; war armours, war body paintings including tattoos and scarification, african
masks; clothing, protection or intimidation helmets; body extension tools (armoury, working, etc.);
- DRESSED HUMAN FIGURE static and in locomotion in order to master representation of movement of dressing materials with wind/ body
movement, giving the needed sensations of real weight and texture
- ANIMALS (horses; elephants; felines; marine fauna, etc.);
- CREATURES AN IMAGINARY BEINGS (recollection using sketches Greco-Roman mythology, other mythologies, popular mythologies, medieval
bestiaries)
- SCENARIOS, ARCHITECTURES, PROPS, MECHANICAL OBJECTS, WEAPONS, VEHICLES;
- KINETIC SIGNS AND GRAPHICAL ONOMATOPOEIAS;
- INDIVIDUAL CHARACTERS RE-CREATION psychologically, physically, spatially and timely characterized
c) Culminating in boards and storyboards drawings, with interaction scenes between characters and their integration in scenarios
Initial diagnosis of students level in drawing and their cultural background in concept art professional areas.
Lectures with resource to audiovisual materials of renowned experts (artists) in the concept art area in order to acknowledge and acquire the needed technical,
procedural and cultural competencies.
Tutorial orientation in order to obviate students progression and stimulate their graphical individuality.
Students intensive individual practice in naked/dressed body (human; animal; humanoid) drawing (from life, other artists drawings or images) bibliographic
research to recollect and train in the personal sketchbook all the compulsory referents of concept art
Collective presentation of final projects (exhibit and expose)
Initial diagnoses of student level in drawing and history of art background allows to determine and suit all the contents, exercises and teaching-learning methods
(including evaluation standards) to each student level, and if it justifies, planning an individual support teaching plan; diagnosis of movies gender, comics,
interests and practice in video and digital games allows to potentiate preferences and detect if they arent to narrowed (fixed) in some specific styles in order to
be able to the needed transgression; diagnosis of students practice in digital games allows to understand the interactivity and freedom of intervention of the
player, rather in the narrative, re-creation of characters, scenarios, etc. needed to conceive the concept art according to a specific briefing.
Lectures showing recognized artists and work in concept art area, with contrasting aesthetical proposals, also at the target audience level (different ages;
distinct cultures oriental/occidental) and betting on tutorials visioning excellent ones on the net allows, not only to motivate students, but also to make them
sensible to mannerisms and styles and to re-create over the existing and rich material and, at last, fundamentally, generate their own universe.
Using the sketchbook as research tool of intensive training in drawing, it allows evolution arisen not only from constant oriented practice by the teacher, but also
from the challenges that the student poses to himself as, in the end, allows student-teacher to understand de evolution undertaken, above all, in the individual
contributions of each student, and also to detect fragilities and ways to surpass them in order to progress, investing time, practice and critical capacity.
Compulsory exercises around fundamental referents to concept art, allows to master each one in order to be able to respond to any concept art briefing.
Physical exhibition and oral exposition of the final projects and their collective discussion, allows the student to acquire oral and argumentation capacities,
dominium of the conceptual code of the area and of the aesthetical criteria associated to it, and also detect territories and strategies to improve the quality of his
works and projects, giving the teacher a self-evaluation of his own work. Qualitative evaluation of periodical compulsory exercises will be translated in alphabetic
letters from A to F (failed), in which: A (20); B (18-19); C (16-17); D (14-15); E (10-13)
Compulsory exercises will allow the student to work in game design, illustration/comics, animated and science-fiction movies, advertising, armed with knowledge
in art history, etc. acquired trough practice over individual research (learning by doing)
Main Bibliography:
AA.VV.(2006)D'artiste: Concept Art Ballistic Media
AA.VV(2013)Matte Painting 3 Ballistic Publishing
EAGLE, E.(2013)Pastel Painting Atelier: Essential Lessons in Techniques, Practices, and Materials Watson-Guptill
GHERTNER, Ed(2010)Layout and Composition for Animation Focal Press
HAMPTON, M.(2009)Figure Drawing Design & Invention Michael Hampton
HOGARTH, B.(2003)Dynamic Anatomy/(1991) Dynamic Light and Shade/(1989) Drawing the Human Head/(1996) Dynamic Figure Drawing/ (Ed.)
Watson-Guptill
MATTESI, N.D.(2006)Force: Dynamic Life Drawing For Animators;(2011)Force: Animal Drawing: Animal locomotion and design concepts for
animators. Focal Press
MCVITTIE, A., DAVIS, P.(2013)The Art of Watch Dogs Titan Books
NICOLAIDES, K.(1969)The Natural Way to Draw: A Working Plan For Art Study Houghton Mifflin Company
STONEHAM, B.(2010)How to Create Fantasy Art for Video Games: A Complete Guide to Creating Concepts, Characters, and Worlds Barron's
Educational Series
29

Fátima Oliveira Caiado - English Academic and Professional Curriculum Vitae - 2015

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ENGLISH CURRICULUM VITAE

NAME AND SURNAMES: FTIMA MARIA GOMES DE OLIVEIRA CAIADO

FINAL CLASSIFICATION(S)/ CREDITS/ SCORE

Equivalence obtainedDoctor degree (PhD) in

Gives the right to work in Portugal on an equal footing to a

PhD in Fine Arts Doctoral

Doctor degree (PhD) in

Excellent Cum Laude by Unanimity2 (Sobresaliente Cum

Official Spanish Transcript of PhD in Fine Arts Subjects

FINAL CLASSIFICATION(S)/ CREDITS/ SCORE

Gives the right to work in Spain on an equal footing to a

1991 (end date)

Bachelor Degree Diploma Graduation Degree (1st

Bachelor Degree Graduation Degree in

School of Fine Arts

Official Portuguese Transcript

School of Fine Arts

Official Portuguese Transcript of Bachelor in Fine Arts

ERASMUS6 in the Norwich

ERASMUS in the Norwich Institute of Art and Design,

Ministerio de Educacin y Ciencia (Madrid, Espaa).

FINAL CLASSIFICATION(S)/ CREDITS/ SCORE

European Union Students Exchange Program.

I.2.1. SCIENTIFIC PRODUCTION

- AUDIO/VISUAL AND ELECTRONIC/DIGITAL MATERIALS:

I.2.1.1. EDUCATIONAL SCOPE TEXTS.

I.2.1.2. TECHNICAL PUBLICATIONS OF SCIENTIFIC AND TECHNOLOGICAL DIVULGATION.

I.2.2. ARTISTIC PRODUCTION PORTFOLIUM

I.2.2. EXHIBITION PARTICIPATION AS AN AUTHOR.

1.2.2.2. COLECTIVE SHOWS

I.3. RECOGNITION BY THE SCIENTIFIC COMMUNITY.

2014 In accordance with

I.3.2. RESEARCH SCHOLARSHIPS / GRANTS

Regulamento de Avaliao Docente da UBI.

I.4. SCIENTIFIC ORIENTATION/ CO-ORIENTATION OF MASTER DEGREE (2nd CYCLE) STUDENTS.

1.4.1.1. SCIENTIFIC ORIENTATION ACADEMIC YEAR 2013/2014

1.4.1.2. SCIENTIFIC CO-ORIENTATION ACADEMIC YEAR 2013/2014

1.4.2. SCIENTIFIC ORIENTATION ACADEMIC YEAR 2012/2013

1.4.2.1. SCIENTIFIC CO-ORIENTATION ACADEMIC YEAR 2012/2013

1.4.3. SCIENTIFIC ORIENTATION ACADEMIC YEAR 2011/2012

1.4.3.1. SCIENTIFIC CO-ORIENTATION - ACADEMIC YEAR 2010/2011

1.4.4. SCIENTIFIC ORIENTATION - ACADEMIC 2009/2010

I.5. PARTICIPATION IN MASTER DEGREE PUBLIC DEFENCE JURY.

I.5.2. AS ARGUER BEIRA INTERIOR UNIVERSITY (Covilh, Portugal) - 2010/2011.

I.6. SCIENTIFIC EVENTS ORGANIZATION/ PARTICIPATION

II. TEACHING SKILLS.

- BEIRA INTERIOR UNIVERSITY (Public University):

- BEIRA INTERIOR UNIVERSITY (Public University):

AUTNOMA DE LISBOA (Portuguese).

III. OTHER RELEVANT ACTIVITIES.

III.2. OTHER PROFISSIONAL ACTIVITIES GRAPHIC (COMMUNICATION) DESIGNER.

III.3. FOREIGN LANGUAGES SKILLS.

URL for portuguese version: https://www.ubi.pt/Curso.aspx?CodigoCurso=913;

Diploma Superior de Espanhol como Lngua Estrangeira (Portuguese).

IV: END NOTES:

Guilford, J.P. (1983). Creatividad y Educacin.

TROUGH ART RESEARCH QUANTITATIVE METHODS.

New study Plan proposal: :

WORKSHOP IN VISUAL ARTS (mandatory)

Art & Design (AD)

2nd YEAR/ 1st SEMESTER:

CU - ART THERAPY IN SCHOOL / COMMUNITY SYLLABUS:

Demonstration of the consistency of teaching methodologies with learning outcomes: