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

This article aims to analyze the graphic project called LULULUX (2014), realized by the Brazilian graphic designer Gustavo Piqueira. LULULUX is a narrative on a dinner set where the Piqueira uses as support napkins, cup holders and placemats as a book’s proposition. The project points to the limits of the printed book, both in its materiality as well as its visual compositions and functions, generating a parallel and a questioning about the conventionality of contemporary editorial design, exposing new perspectives and strengths for the printed book in a possibility of an object material of great narrative and conceptual value.

This paper results from the reflection on the construction of the artwork “(en)CANTO ESCONDIDO”, a sculpture / installation that intervenes in situ capturing the dynamic relationships between materials, landscape and habitats of Coruche, in Portugal. The project calls for intertwined relations between nature and culture. The flow of presence / absence of animals that visited the sculpture was an integral part of the installation’s logic. The work intended to enhance dynamic observation relationships in which the observer became observed, noting its evident part in nature. “(en)CANTO ESCONDIDO”is simultaneously a model of urban observatory of migrations (insects and birds) and an architectural construction that invokes dialogical connections of coexistence and inter-species / inter-generational sharing that incite interaction and the discovery of new relationships. The installation intended to take observers to an immersion space, where the reality of the surrounding nature merges into the memories and fictions of each visitor. It was an experience of sharing and an aesthetic exercise and a reflection on sustainability in our practice, that became a community experience of sharing with immense narrative and reflective potential.

Project Sideral was developed by artists Marcela Armas and Gilberto Esparza, as another addition to a series of extraordinary electrophonic sculptures they exhibited since Esparza’s award-winning Golden Nica piece of 2015. In its basic outline, the Conception-Adargas, which is the title of the work emanating out of Project Sideral, uses a 3.3 tons meteor, which impacted the state of Chihuahua, Mexico, and was found in 1786 and then preserved at the ‘Astronomy Institute’ of the National Autonomous University of Mexico. The magnetic field on the surface of the meteorite is detected and translated into sounds which recreate the far out harmonies of Buchla’s dream easel, in modes similar to Stockhausen’s Licht, or Pauline Oliveros’s contemplative chants, but which more importantly, Armas and Esparza’s companion Daniel Llermaly transform in terms of the indigenous Tarahumara music, a similar frequency known to peoples of the region on which the meteorite impacted.

The text discusses the updating of the role of randomness in creative processes (poiesis and praxis), both in specific fields and in the collapsed and shifting boundaries between art, design and technology. It presents a device / code_Cubo Branco_example of creative coding, an artwork created using random parameters and finally investigates artistic, logical and technological examples as possibilities to parameterize chance as a creative process.

Isabelle Arvers is a french art and video games curator who embarked in 2019 for a one year art and games world tour to celebrate her 20 years of curatorship. In every country she visits, she meets and interview artists and game makers and focus on female, queer, feminist and decolonial practices. Her aim is to promote diversity in video games making through art/games exhibitions, machinima workshops and art and games lectures. This text is about her visit in Brazil.

DATJournal aims to socialize research results in design, art and technology for theacademic and scientific community. [...]

This article presents part of the doctoral thesis by Zimmermann (2016) and presents an analysis of scenarios of teaching drawing both in Brazil and the United Kingdom. A proposal is also presented for teaching drawing based on the design process and an interdisciplinary approach in Graphic Design. The method of the study is qualitative, exploratory, with an inductive approach, including a field study in the scenarios. Data were categorised and analysed through content analysis, thereby establishing the foundation for a proposal of teaching draw-ing. The proposal includes curricular changes and drawing activities, addressing the design process and relationships between disciplines. Finally, the reflections generated from this study have indicated the possibility of expanding research in design applied to design training in Brazil, as well as the importance of inter-disciplinary studies.

This work addresses social responsibility in dialogue with design education as a possible way for the student to develop the necessary autonomy to solve the complex problems that emerge from contemporary times. Skills necessary for the designer who understands his action and his active role as a subject in thiscontext are examined, through bibliographic review. The ability to deal with the uncertainties and complexity of the world is emphasized, observing the subjectivity involved in the design process, the dynamics of open systems, the dialogic and polysemic process in collaborative design processes in the context of social innovation, exercising empathy and affectivity. It is understood that social responsibility, assumed by the design student, brings with it personal transformation, openness to the different and the ability to listen actively in any environment. The inevitability of transdisciplinarity in design education is a finding and the encouragement for students to occupy decision-making positions in pedagogical processes is seen as a catalyst for these learnings.

The design of museum education resources is a mediation process, and as such, its main considerations involves the visitors. How can we connect with our audiences? How to decode their reasons for meaning-making? How to integrate the users’ participation and presence in the development of such mediation? The twenty-first-century museum is built on resilient links within its visitors and community. And in the expansion of its exercise, it does not only consider its discipline. By setting research, empathy, and mutual support, as a habit, we can develop approaches to reach the museum communications goal and the users’ needs in a meaningful way. In this text, the human-centered design is meant as a strategy to share the table with the visitors, to know their thoughts, feelings, and doings, hence, to set up collaborative processes in the museum-making. At this table we are all able to apprehend and contribute, therefore, it takes responsibil­ity to re-learn and build.

This article presents part of the results of the research developed in the doctoral studies and expanded in the post-doctoral investigations regarding teaching in design and its history constituted through the relations established between groups, movements and actions that influenced or had repercussions in the formation of schools of free or formal education, either foreign and Brazilian. The objective is to establish a chronological path bringing together several man­ifestations that allow new reflections and analyzes, dispelling myths and models and allowing critical appraisals with the intention of collaborating with the area of teaching in design and with the development of new pedagogical political proj­ects. The adopted method is of qualitative character constituted by literature review, documentary and field research. The theoretical framework is based on historians, educators, critics and design professionals, such as Meggs and Purvis (2009), Bürdek (2006), Archer (2004), Wollner (2002), Ferlauto (2002), Fiell (2000), Denis (2000), Heskett (1997), Souza (1997), Niemeyer (1997), Lima (1997), Droste (1994), Pevsner (1994), Wick (1989), Zanini (1993) and, also, in studies by the phi­losopher Agamben (2009).