O Programa de Doutoramento em Ciência e tecnologia das Artes consiste numa proposta inovadora onde os criadores no domínio das Artes Sonoras e Interactivas com experiência e conhecimentos nas diferentes áreas das ciências e tecnologias das artes poderão desenvolver as suas competências de investigação em áreas integrantes dos seus contextos profissionais. O programa prevê uma componente curricular em Ciência e Tecnologia das Artes e a possibilidade de duas áreas de Especialização na elaboração da Tese de Doutoramento:

• Informática Musical (Computer Music)
• Arte Interactiva (Interactive Art)

Para além da contribuição e do impacto académico - regional e nacional - a que este programa de estudos se propõe, existe associado a esta proposta a aspiração em criar uma alternativa à oferta internacional e simultaneamente de preencher um espaço no âmbito europeu, onde a actividade de investigação e o desenvolvimento, situados na fronteira entre a Ciência, a Tecnologia e as Artes são ainda emergentes. O Perfil do Corpo Docente é de nível internacional contemplando Investigadores e Artistas de Vanguarda que apresentam o seu trabalho em seminários semanais, acompanham e estabelecem redes com os investigadores e alunos de Doutoramento
Este programa de Doutoramento está associado á actividade do Centro de Investigação em Ciência e Tecnologia das Artes (CITAR), o primeiro Centro de investigação do sistema Científico Nacional centrado no cruzamento entre Arte, Ciência e tecnologia.

Planos de Estudos

1º Ano (60 ECTS)
Aulas em regime pós-laboral (Sextas-feiras a partir das 19:00 e Sábados)

2º Ano (60 ECTS)

3º Ano (60 ECTS)

Docentes

Coordenador Ciêntífico do Programa de Doutoramento
Paulo Ferreira Lopes, PhD – Researcher CITAR, Professor EA-SI

Corpo Docente
Álvaro Barbosa, PhD – Researcher CITAR, Professor EA-SI
António Sousa Dias, PhD – Researcher CITAR, CICM Paris VIII
Carlos Miguel Caires, PhD – Researcher CITAR, Professor ESML
Carlos Sena Caires, PhD – Researcher CITAR, Professor EA-SI
Cristina Sá, PhD – Researcher CITAR, Professor EA-SI
Luis Gustavo Martins, PhD – Researcher CITAR, Professor EA-SI
Paulo Ferreira Lopes, PhD – Researcher CITAR, Professor EA-SI

Docentes Convidados 2010/11
Aeron Willamon – Professor of Performance Science at the Royal College of Music
Ajay Kapur – Director of the program in Music Technology (MTIID) at the California Institute of the Arts (Calarts)and lecturer of Sonic Arts at the New Zealand School of Music
Andy Farnell – Computer Scientist from the UK with many years experience of digital sound and author of the book "Designing Sound"
Antonio Camurri – Associate Professor at DIST-University of Genova (Faculty of Engineering), founder and scientific director of the InfoMus Lab at DIST-University of Genova, scientific director of the Casa Paganini International Centre of Excellence on science and multimedia technologies for music and performing art
António Ramires - Professor de Computação Gráfica do Departamento de Informática da Universidade do Minho, Braga, Portugal
Arturo Castro – Computer Engineer, core developer of Open Frameworks
Beatriz Santos - Associate Professor at University of Aveiro
Bill Verplank – Interaction designer, human-factors engineer and visiting scholar at Stanford University, USA
Christa Sommerer –Professor at the Interface Culture Lab, Institute for Media, Univesity of Art and Design, Linz, Austria
Daniel Tércio - Professor at Faculdade de Motricidade Humana / TU Lisbon
Daniela Coimbra, PhD – Researcher CITAR, Professor ESMAE
David Rokeby - Installation artist based in Toronto, Canada
Douglas Edric Stanley - Professor of Digital Arts at the Aix-en-Provence School of Art
Isabel Galhano - Assistant Professor at University of Porto-FLUP, Director of Applied Languages degree at FLUP
Ivan Franco - R&D Director for YDreams in the fields of interactive and ubiquitous computing
Konic Thtr - Artistic platform based in Barcelona dedicated to contemporary creation at the confluence between arts, new technologies and science
Lus Filipe Teixeira - Assistant Professor at Universidade do Porto - FEUP
Martin Kaltenbrunner – Professor at the Interface Culture Lab, University of Art and Industrial Design in Linz UFG-Austia, co-founder of Reactable Systems he had been mainly working on the interaction design of the Reactable, is author of the open source tangible interaction framework reacTIVision and the related TUIO protoco
Marcelo Wanderley -Director of IDMIL Electronics Laboratory, McGill University, Canada
Xavier Serra – Associate Professor of the Department of Information and Communication Technologies and Director of the Music Technology Group (MTG-UPF) at the Universitat Pompeu Fabra in Barcelona
Yann Orlarey –Composer, Researcher and Scientific Director of Grame

Docentes Convidados 2008/09/10
Aeron Willamon – Professor of Performance Science at the Royal College of Music
Andy Farnell – Computer Scientist from the UK with many years experience of digital sound and author of the book "Designing Sound"
Atau Tanaka – Chair of Digital Media at Newcastle University, Director of Culture Lab
Daniel Teruggi – Director at Groupe de Recherches Musicales (GRM)
Daniela Coimbra, PhD – Researcher CITAR, Professor ESMAE
Carlos Guedes – Composer, researcher in the Telecommunications and Multimedia Unit and co-leader of the Sound and Music Computing Group at INESC Port, and Professor at ESMAE
Curtis Roads – Professor and Chair Media Arts and Technology, joint appointment in Music,  University of California, Santa Barbara, and researcher at CREATE
Davide Rocchesso – Professor at Venice University
Erik Oña – Composer and Director at Electronic Music Studio at the Basel Musik-Akademie
Fabien Gouyon – Senior research scientist in the Telecommunications and Multimedia Unit and co-leader of the Sound and Music Computing Group at INESC-Porto
George Tzanetakis –Professor at Computer Science Department of University of U. Victora, CA, Creator of the Marsyas opensource software framework for Music Analysis, Retrieval and Synthesis for Audio Signals
Horacio Vaggione – Professor at U. Paris VIII, FR
Jean-Claude Risset – Composer, Scientist and Director at Laboratoire de Mécanique et d'Acoustique, CNRS à Marseille
Jordi Janer – Post-Doctoral Researcher at the Music Technology Group  (MTG) of the Universitat Pompeu Fabra (UPF) in Barcelona (MTG-UPF)
Ludger Brümmer – Researcher and Director of the Institute for Music and Acoustics at the Centre for Arts and Media Karlsruheat ZKM
Lus Filipe Teixeira - Assistant Professor at Universidade do Porto - FEUP
Marc Leman – Research-Professor in Systematic Musicology, Director of IPEM Ghent University
Martin Kaltenbrunner – Professor at the Interface Culture Lab, University of Art and Industrial Design in Linz UFG-Austia, co-founder of Reactable Systems he had been mainly working on the interaction design of the Reactable, is author of the open source tangible interaction framework reacTIVision and the related TUIO protocol
Mikael Laurson – Professor at Helsinki University of Technology
Myriam Desainte-Catherine – Professor at EINSERB
Pedro Rebelo – Director of Education at the School of Music and Sonic Arts (SARC), Queen’s University Belfast, composer/digital artist working in electroacoustic music, digital media and installation
Suguru Goto – Composer/performer, an inventor and a multimedia artist and he is considered one of the most innovative and the mouthpiece of a new generation of Japanese artists. Researcher at IRCAM
Xavier Serra – Associate Professor of the Department of Information and Communication Technologies and Director of the Music Technology Group (MTG-UPF) at the Universitat Pompeu Fabra in Barcelona

Propinas e Taxas (2010/2011)

Taxa de Candidatura: 100,00 €

Taxa única de Matricula: 305,00 €

Propina Mensal (1º ano - componente curricular): 410,00 € (10 Meses por Ano)

Propina Mensal (anos subsequentes): 305,00 € (10 Meses por Ano)

Nota: Estes valores serão ajustados para o ano lectivo 2011/2012

Bolsas de Estudos

Anualmente a Fundação para Ciência e Tecnologia abre concursos para Bolsas de Doutoramento (BD) em duas épocas de candidatura (normalmente Junho e Setembro).

Unidades Curriculares

Research Methods
by Luis Gustavo Martins

This module provides a forum within which students plan, execute and reflect upon a programme of skill acquisition tailored to their personal research needs. Students identify and propose a series of research activities that address gaps in their existing experience. It is expected that students conduct a literature review of a topic chosen in consultation with their supervisor and design an empirical study to advance knowledge in that area. Students will develop a set of research questions or hypotheses for investigation, and design a method for addressing them. Assessment is by means of a detailed dissertation proposal to be presented at the end of the semester.

Computer Music: Interactive Composition
by Paulo Ferreira Lopes

The most important musical trends in the second half of the XX century result from from the interaction between different forms of Artistic expression and from the metamorphosis that emerging technologies and new social-economic contexts imposed in creative practices. The notion of of interaction in music is strongly connected to the use of Electronic and Digital Technologies, not only in the context of creation and composition of music, but also in its interpretation. The generalization of electronic audio devices in household and office appliances (radio, television, tape-recorder, turntable, etc...) in the 60's an 70's was the starting point for the massive production of electronic music instruments. Departing from an approach in which these new instruments were used by composers and instrumental performers in an attempt to mimic the traditional music instruments, booth in its interface modalities as in its sonic outcome, digital technology and the advent of computers introduced a new mindset fostering emerging practices in music interpretation, instrumental techniques and new conceptions and content for music composition.

Sound Synthesis and Processing
by Luis Gustavo Martins

The exponential evolution of the computing power in the last 20 years together with the scientific progresses in the area of digital signal processing has opened a variety of new opportunities and challenges in the field of sound processing and synthesis.
Digital sound processing is the area of study related to the processing of audio signals in a digital representation. Methods for the recording, transmission, storage, synthesis and manipulation of digital sound signals are nowadays available to anyone with a common personal computer, and the development and availability of powerful and easy to use software tools for sound processing and creation democratized its widespread use by new and growing communities of multimedia artists, composers and musicians.
This course will provide an overview of the most important research topics on Sound Processing and Synthesis, as well as on the necessary basics from the related disciplines (e.g. Acoustics, Psychoacoustics).
In particular, the course will survey the state-of-the-art techniques for digital audio recording, processing, storage and synthesis.
The course will explore the implementation and diverse uses of these techniques in digital sound signals, with a special emphasis to artistic applications.

Inetractive Art: Interactive Installations
by Carlos Sena Caires

Interactive Installations are intrinsically bounded to science and technology and therefore it’s development was considerable with the advent of computer science. Nevertheless, interaction in the arts follows within its social and political dimension, due to its active implication of the visitor/spectator. Interactive Arts, and Interactive Installations fall within the scope of cybernetic arts, electronic art and digital art. The participation and involvement of each visitor (or groups of visitors) is the “engine” of interactivity. In 10 sessions we will attempt to group forms of artistic expression that propose an intervention at the level of visuals, sound, literary or any other form perceived by the audience (spectator/reader/interactor).

History and Aesthetics of Interactivity
by Cristina Alves de Sá

Interacting demands permeability, involves affecting and being affected by an external entity. Interaction implies the establishment of dynamic connections between entities, weaving a fabric of plastic intensity – an interface.
The History and Aesthetics of Interactivity will be approached by its three basic elements: the subject, the interactive system (world) and the interface between them. Each element contributes to the evolution of the others. This tension implies that each element has the capacity to dictate the interactive possibilities and (by the same movement) expand them, resulting in an iterative evolution - a multifaceted History.
This course will start by analysing the interface diachronically, departing from the culture of calculation and reaching the culture of simulation. This analysis will provide a basis for understanding the complex of interactivity and its articulation with the subject and the world. It will then be possible to characterize the subjectivity in the actual digital culture, considering its changes in the individuality and sociability and determining the possible experience. The last element, the interactive system, will be analysed through the study of media art. The world will then be regarded as an interactive system and interactive art as the ultimate endophysic experience.

Perception and Cognition
by Paulo Ferreira Lopes

The aim of this module is to introduce students to psychological processes underlying musical and visual perception and cognition, The scope of the discipline ranges from understanding how musical and visual expression is picked up by sensory systems and understood (cognition and perception), through the acquisition of musical / visual expertise (development and education), to uses of musical and visual expression in the world (social psychology). It is expected that students gain an overview of research in music and visual psychology and then choose a particular topic, perhaps with a view to future doctoral research, to develop in their final essay. The course is built around a combination of lectures, providing the necessary background information, and student-led seminars, in which papers from the literature are discussed.