Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

This article objectives to analyze the Design teaching through decolonial studies. The intention is to demonstrate how the colonization of subjectivities interferes with the teaching of Design and its creative process. The theoretical base to the decolonial studies used in these researches are: Nora Merlin (2019), Victor Kon (2019), Ramón Cabrera (2019), Maria Rita Kell (2019); while, to support the teaching of Design it relies on the work of Ana Mae Barbosa (2008), Lina Bo Bardi (1994) and Adélia do Vale Araújo Cordeiro Almeida (2019). The analyses revealed that the colonization still interferes in the understanding of Brasilian Design andin the elaboration of design courses, causing a loss regarding autonomus creative process that allows the development of authorial languages.

This study aimed to understand how students’ school projects in a graphic design technical course in São Paulo in 2015 could reflect elements of the students’ visual repertoire. Through qualitative research, visual language components were mapped in the results of packaging projects in the Technical Course in Visual Communication at Senac-SP, seeking to identify and analyze visual culture aspects expressed in the projects. To this end, the corpus was sys­tematized and field observations analyzed, in addition to creating graphic and parametric analysis matrices. A relatively timid exploration of the full range of expressive design resources was noted, such as adoption of quite conventional vi­sual patterns. In semantic terms, a significant portion of the compositions evoked informality, reflecting the students’ personal experiences. Results of such exer­cises seem, then, to mirror students’ aesthetic preferences, repertoires and values, thus characterizing, even if only in part, the graphic memory of the Technical Course in Visual Communication at Senac-SP in 2015 and the idiosyncratic visual culture of that generation of students in that specific context.

In this paper artistic photography will be presented as a methodolog­ical approach to the visual concept of education mainly in two ways: first, we propose photography as an aesthetic value in documentary information within image-based educational research; second, through a visual essay, we will pro­pose different visual compositions about four key issues for the construction of the visual school concept. Artists interested in photography have approached the school and education creating an extensive visual archive since the late 19th century. Beyond the documentary value of these images, we hypothesize that these images can be important to our intuitions and ideas about school and ed­ucation. In the work that follows, we distinguish between art photography and documentary photography, basically to point out the predominance of aesthetic information above the use of referential realism that prefer documentary photog­raphy. On the other hand, our visual discourse is structured around five photo essays, organized each one with two photographs made by the author along with two visual quotations in the history of photography. These photo-essays have been organized by contrasting the four main topics that documentary and art photography has traditionally preferred: the school environment, the students, the teachers and the interactions between them. In the following photo-essays, we propose cross-readings between these four themes. The result of these visual interference and free associations offers some visual findings of our study.

This paper summarizes a part of the doctoral thesis entitled “The contri-bution of design thinking in the formation of the engineer: the Fab Lab space as a transversal experience” and presents as object of study a comparative analysis referring to the insertion of design teaching in higher engineering courses, in a national (in Brazil) and international (in other countries) panorama. An explor-atory and descriptive investigation was carried out divided into two stages. First, a survey was made of how Design is being inserted in undergraduate engineering courses and then it was researched how Design and Engineering are living in integrated courses; in both cases are being considered the national and interna-tional panoramas. The research had an important function for visualizing the current situation of engineering education and was fundamental to understand the existing gap and how many opportunities and spaces still exist to be explored.

The text in question brings a reflection about the illustration books for coloring and their role in education, considering that until recently they were aimed at children. The question that arises is in relation to the training in arts that this type of book can bring. Considering the graphic composition of this type of material, it was observed that they lack more elaborate aesthetic values, are coarse and do not bring learning, but repetitive activities. The intention when presenting a new proposal for this type of book through the Visual A/r/toogra­phy project, is to formulate materials that can actually contribute to the educa­tion of children in preschools.

 This article intends to discuss the process of defining pedagogical and curricular practices in the Art/Education field to enable students to expose, ex­amine and criticize the immutable and essential codes of mass-mediated systems and, for that, conceptualize visual culture as a spectacle. Understands the image as a product of social relations, which teach us what and how to see and think. The pedagogy of the visual culture spectacle is divided in the article first as an omnipresent form of representation and second as a democratic form of practice.

This essay reflects on the domain of the bureaucratization of university evaluations in the language used in art classes.

Lecture given by Luis Camnitzer at the Peruvian School of Fine Arts in 2019.

Can Virtual Reality and Augmented Reality technologies contribute as visualization and result verification resources in urban design projects, making them both accessible and affordable? This project, which is still in its initial stages, studies color as a means for expressing identity in public urban spaces and aims to identify, understand and apprehend the ways in which this element can intervene in the city’s modification processes so as to help in the resignificationand reappropriation of local identities. Focusing in public spaces of urban decayed areas, it includes the elaboration of an experimental chromatic project in a suburban community of the city of São Paulo, with the participation of its social actors, as well as of students and volunteers, and with the goal of determining a method for the elaboration of chromatic projects for urban intervention supported by technology.

Departing from a transdisciplinary cooperation between Architecture-Urbanism-Neuroscience, this research investigates the action of the central area of the city of Campinas (São Paulo - Brazil) on the spatial perception and affective memories of its inhabitants / user. To this purpouse, it carries out a field procedure with 266 volunteers, aimed at evoking the participants’ semantic declarative memories about this space / place, and registering them as statements and authorial drawings. The main results declare the modulation of these memories by emotions and feelings and they discuss: a) the lack of identification and the aversion of the inhabitants / users to the central area of the city; b) the feeling of insecurity triggered by the urban space in its citizens; c) as well as these factors threaten the homeostatic balance of these subjects. As the main contribution, the role and responsibility of public policies and the professionals in the fields of Architecture, Urbanism and Design stand out in the ways of citizens feeling, perceiving and occupying the urban space.