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In this issue of Cuadernos del Centro de Estudios en Diseño y Comunicación, we analyze the complex relationship between Design and crafts. For this, the contributions were grouped into two axes. On the one hand, the reflections that, from various aspects, gave account of the crosses, tensions, inequalities and overlaps between design and crafts. In the second axis, some of these reflections are replenished but crossed by the peculiarities of the production, creation, circulation, and consumption of indigenous peoples, as an ethnic and artisanal minority dual identity

The preface highlights this volume's pluralism both in terms of themes and approaches as well as the importance of its contributions both in themselves and in our historical context. The international and horizontal nature of the collaboration is also underlined.

The '50s greeted cinema as the king of entertainment. Also, throughout the last century, many voices rose up predicting his death. However, far from disappearing, the screens have multiplied exponentially: cinema, television, smart phones and tablets produce and re-produce the reality that surrounds us. Screens of all kinds: liquid crystal, flat, tactile, graphic, small and giant.It is the height of the "global screen", as Lipovetsky and Serroy (2009) say. We are undoubtedly immersed in the world of the image. Speed, change and fragmentation characterize our time. Satisfying the demand of the avid consumer of entertainment products has turned into the biggest challenge of the present. In this way, the series produced for television and the various streaming systems strive to become the undisputed emperors. We can affirm then, without fear of making mistakes, that the series are to the media spectator what once the cinema of the golden age was to its audience. In this way, actors, producers and film directors have been tempted to join this field that is in full expansion. From the Internet to the various platforms -Netflix, Qubit TV and the native Cine.ar, among others- through channels with premium packages, the offer is multiplied presenting us with products for the most demanding palates. We are witnessing a time of great changes: the feminist movements that help to reconsider the role of women, as well as the relations between the sexes in the past and the present, projecting them into the future. Globalization expands, through communications, the scope of these changes to all sectors of the planet; and, given the profusion of television products, it is not surprising that all these transformations are reflected in the media. Series, as well as other productions, are not left out. Each and every one of them presents themes that are disturbing: the relations between the sexes, the independence of the woman, the bodies -trans, cyber, post human-, to name but a few, nourish the different stories. This work aims to analyze the construction of the female image in the television series: Penny Dreadfull (2014-2016), created by John Logan. This American-British co-production has explored vampirism, the demonic, lycanthropy, artificial life and eternal youth. The first season of the series goes about the search for Mina, the missing daughter of Sir Malcom Murray. For this he will count on Vanessa Ives’ help, childhood friend of his offspring. Aided by Ethan Chandler, the faithful African servant Sembene, and Victor Frankenstein. The latter will give life -artificial- to a monstrous progeny: Proteus, of a short life; Caliban, who craving for love will demand a companion; and Lily -a luck of Lilith redived? -. The third season will have the presence of Dracula, who will try to crown Vanessa as the Mother of all evils. In this way, heroines and evil women give life to unsettling females. We are interested in analyzing the various female roles that embody a polarized balance of heroines and evil. We propose to walk the path they travel to reflect on their characteristics, how the character is constructed or deconstructed to find out whether the heroine and the evil one coexist within the same character or they are different characters. Above all, whether the vision about women as it appears on the series corresponds to that of the Victorian era in which the story is set, or it reflects elements of our present seen from a distance. It is like this that we are supposed to read our present from said series production.

It was economic necessity and the proximity with one of the state of Oaxaca’s most important archaeological sites that sparked awareness for the demand for innovative products amongst the men of the town of Arrazola, who were originally farmers. That spark led them to develop a handicraft tradition that has thrived for the past 80 years. The creation and sale of the carved copal-wood pieces made in Arrazola has led the artisans to develop innovative processes that have undergone transformations over time as needs changed. They taught themselves how to carve, and developed certain shapes over years of isolation, in complete secret, in family workshops in the creators’ houses. Ultimately, that led to clear, distinct styles that have been preserved up to this day. However, political and economic crises have recently forced them out of isolation, and they have instead formed organizations aimed at promoting their members’ pieces. The peculiarity of the Arrazola creations is that they nominally correspond to animals in nature but in actual fact, in terms of shape, colour, and composition, they represent a new reality that exists only in the fantasies of their creators’ minds. Through the power of their imagination, the creators visualize the animal’s form before carving it with a machete and regular kitchen knives and finally decorate it with acrylic paints. The carvers call themselves artisans, and although some of them feel they are the possessors of an art that is a natural gift that comes from divine inspiration, most of them describe the creative process as a complex combination of mental planning enriched by observation, experimentation, and constant effort aimed at coming up with innovation.

By creating a series of audiovisual elements for their subsequent projection as architectural projection mapping in a Purépecha community, here we present a case study in which anthropology and participative design interact to seek a different kind of dialogue than what commonly arises between artisan and designers in Mexico. The nature of the research is qualitative and the results are primarily from work with and for children, although other sectors of the population participated directly or indirectly in the process. We conclude that long term fieldwork is a key factor in generating projects that seek horizontality in decision-making; and participatory design produces anthropological knowledge that can not be accessed by any other way.

Globalization is a systemic world process, that emphasize two major guidelines, global communication systems and economic interactions, especially those related to the mobility of financial and commercial resources. In this world-system, a large number of branches and derivations that act as rhizomes –entropic linking processes of origins and destinies– that span and intertwine systemically, complicate the phenomena as a loop. In the transdisciplinary design process the relations of symbolic and material production of diverse creative areas are concurred. One of these is the craftsmanship, whose particular condition of being distinguished paradoxically and pejoratively because the ethnic origin of the producers, means low profitability in economic and cultural impairment and, in addition, a systemic abandonment by the artisans themselves –entropy–, a phenomenon observed at least in Mexico. This gives the opportunity to conceive of the craft problem as a complex system, whose interdefinite elements allow the study from disciplinary approaches integrated in a common rhizome –transdiscipline– in multidisciplinary devices, sharing common conceptual frameworks. It is necessary then, not only the analysis of the entropic condition of the craftsmanship, but the neguentropic possibility for the artisanal development from the transdisciplinary attributes of the Design.

This paper deals with the emergence of protagonists / heroines in the recent argentin comic, in particular the case of Dora, create by Ignacio Minaverry and that counts until 2018 with three volumes in circulation. In this paper, this saga will be analyzed as part of a constellation of protagonic appearances by sex-dissident women in the recent argentin comic, wich is different from the position occupied by female characters in other times in the comic. In that sense, the character of Dora could be seen as part of a production of heroines of the 21st century in the argentine comic industrie. Unlike female protagonists of the heterosexist male tradition, the Dora's comic is produced from a feminist sex-gender perspective. Dora is a character who constructs a different way for the traditional and heteropatriarchal argentin comic, she is a heroine of feminist times and whose adventures deals with gender issues. In this context, the comic crosses the reflection of a sex-gender perspective with the memory and iconic themes of the comic strip, such as the spy comic or the approach to the traumatic past. Dora is part of a generation that shows other possibilities for the argentine comic, so the appearance of characters like Dora could imply a change in the horizon of Argentine historical stories. Topics such as affection outside the heteronorm, sexual dissidence, abortion, identity, friendship, the place of women in history, among others, are part of the adventures of Dora in these three volumes.

The Indigenous Women's Movement for Good Living condenses the complexity of the current Latin American scenario, marked by the emergence of forms of resistance and expressions of otherness that are reconfigured in the heat of the transformations politics and economics of the region. This article aims to analyze the visibility and communication strategies developed by the Movement since its first appearance. public, investigating the way in which, from an alternative space, they express the claim of Plurinationality, the construction of female leaderships and the relationship with Local and national states against the advance of neo-extractivism.

In certain situations, the plastic arts, crafts and design have narrowed their activities to form relationships with different scopes; At the moment, the fading of its borders has gained strength to denote mixed phenomena in the conception of the value of use, the exchange value and the symbolic value of the resulting objects. This writing begins conceptualizing these disciplines in the current context and recognizes the plurality of the manifestations, to later base their tasks as elementary in the construction of the material and cultural life of their society. Reflections are made from a social perspective on the validity of their activities through the object expressions that actively participate in the daily life as proctors of identity in the life of human beings, being artifacts elaborated, identified, used, desired and interpreted; carriers of stories, agents builders of experiences in reality. Through a critical analysis of the interrelationships where craft and design participate, it reveals a subtle and complex correspondence to its social and cultural edge, which highlights the conceptual and practical scope of traditional knowledge of craftsmanship, in relation to to the procurement of design sense.

Since its inception the work of graphic design had the intention of reproducingand multiplying, being the editorial work and its various publications which under the principles of dissemination, generated increasingly higher editions, both in number and quality.However, in a context of postmodernity, where the contents, symbolic and material to namea few, have changed, it is argued that currently and perhaps in a return to the origin, there isa tendency to make unique design products, for artisanal that some also present as sustainable, with use and reuse of various materials seeking less waste, some innovation and thatclearly become unique and irreplaceable, where the post-Fordist economy happens to massproduction and has a different assimilation of objects cultural and symbolic despite technological advances. This text analyzes from different perspectives and interviews, the work ofdesigners who bet on handicraft work as an intervention for projects such as posters, booksand other design objects, allowing us to approach contemporary design, in an attempt toassimilate their assessment against an almost immaterial world