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

This article presents the studies developed by the Design, Information and Interaction (DII) research line at the Postgraduate Program in Design (PPG Design) at the University of Brasília (UnB) and involves its contributions to the advancement in the field in Brazil and abroad. The developed researches seek to investigate the contexts that involve information at life in society through analysis of different types of systems that mediate human action and involves critical and aesthetic approaches in contemporary design. In addition to the critical dimensions of design, the research seeks to understand the relationships between technologies, media and places and also their implications, promoting a debate about the theoretical and practical resources related to mediation and interaction in communicative processes and their possible crossings with other areas of knowledge in the design process.

It is intended in the present study, stemming from the methodology created by Armando Silva (2006) for the symbolic composition of “Cities Imagined”, to investigate the similarities and differences between the city portrayed in media and the city as it is lived and perceived by its residents. The research is focused on urban space from the citizen’s perspective, where the imaginary is imposed, at first, as a set of images and signs, of thought objects and everyday life, whose reach and coherence may vary and whose limits do not cease to be redefined. We begin from this point of view for understanding it is essential to think about the logics of communication, city and citizenship using parameters other than the distributive and efficient paradigm or traditional approaches, and so define an agenda and lines of research development and social intervention based on the language of its citizens and the demand for the common.

The protests triggered by the murder of the African American George Floyd once again denounce the structural racism that characterizes Western societies from all quarters, the violence that hit has been promoted by the State and is the same that everyday annihilate in the suburbs of the whole world the livesof female and male blacks, notably the youngest, and confirms that inequality is an indelible mark not only of societies subjected to the colonialist yoke but also of those who promote it. This has suggested, or rather, demanded the construction of new pedagogical strategies and ethical protocols that make it possible to consolidate and make visible divergent narratives that contemplate the symbolic production of historically excluded groups for the benefit of more democratic and plural social scenarios. Therefore, the role that the arts play in the construction of anti and/or non-racist and anti-colonial imaginary is central, which making essential the construction and diffusion of a story that contemplates this option.

The research area Design, Space and Mediations, linked to the Postgraduate Program in Design of the University of Brasilia, proposes reflections on daily life and the configuration of space understanding its cultural aspects. The field of design is considered in friction with territories, with lifestyles and political actions. Aspects of cultural and ecological systems are the basis for studies on design as language. The city is thought on its multiplicity of territories, also as a constructed and imagined space, place of crystallization, old models and habits, in which lies the availability for dream, innovation, utopia, addressed in the research area by frictions between poetics, design and urban space. The educational role of such language mould is considered, as well as the different possibilities of information available in the city, that can be enhanced by artifacts. Thus, cities are viewed with its design artifacts, as a systemic, signaling and formal structure, seeking the process of emancipation and educational co-Participation

When a master dies he takes a multitude of experiences and knowledge with him, that’s how we felt when we lost Mr. Feliciano Lana, an indigenous of the Desana people that Covid-19 took in this world health crisis. The text I share here is a claim to what Mr Feliciano Lana represents to contemporary indigenous artists and also an attempt to take his memory beyond the indian-village boundaries. It is necessary to understand Lana’s production as an important geography in which we can rethink Brazilian art, or original art. The legacy that Lana leaves us is a database, magical and everyday knowledge that connect the worlds, which need to be studied, preserved and shared with everyone, especially those who are yet to be born. As an indian artist, I need to take care of memory so that it is present in living thoughts, because understanding the past is taking care to make the future a good experience for those who will come. It is necessary as an artist to think about an art-pussanga and a maloca-museum to expand the meaning of art.

Since its beginnings, cinema has included scenography, or scenographic design, as an auxiliary device in the construction of the film narrative. Museums, on the other hand, have developed different approaches to scenography, according to their typology. In the case of the Museu da Imagem e do Som of São Paulo, MIS-SP, which houses an eminently audiovisual collection, the scenography is often used as a factor to attract the public, transforming its exhibitions into shows. Assuming this, the present article is made up of three parts. The first comprises notes on the relationship between cinema and scenography. The second lists the affinities of scenographic design in museums. The final part, formats the case study of the exhibition about the filmmaker Tim Burton, comprising the use of scenography in the museum environment. The references will be borrowed from Urssi (2006), Cohen (2015), Gonçalves (2004) and others.

The Festival of Art, Science and Technology updates its curatorship and its exhibition project for the seventh edition, this time online. In view of the pandemic caused by Covid-19, artistic exhibitions are being adapted or even innovated in different programs, applications and platforms to be made available on network. In the case of works of art and digital technology there is a complicating element, interaction. In view of the limitations of the exhibition of interactive works in loco this year, it is proposed to think of the space-time distance as an online exhibition strategy. Both to discuss and design an exhibition that meets the specifics of FACTORS and the demands of the networks, as well as to question and propose ways of showing the Festival, resized to the public as an event, more instigating and complex in the context of culture.

This article makes an exhibition about the line of research Design, Culture and Materiality, in the area of concentration Design, Technology and Society, of the Postgraduate Program in Design, of the University of Brasília. It presents the line, by means of a brief historical report plus the theoretical reference that constitutes its base and correlates the research projects. In addition, it highlights some issues that direct thinking and making design from a reflection on materiality in the production and dynamics of the culture of contemporary society. Finally, it exposes the results achieved, the research advances and future possibilities.

Report of the research project on art and internet that has been developed since 2005, in order to understand the transformations that the penetration of the internet in contemporary society has caused in artistic practices and in the art system. The social distance imposed by the control of Covid-19 triggered an intense process of using the internet in the field of visual arts that was, in many ways and until very recently, quite resistant to the penetration of this medium. Thus, this research report, by highlighting a reflective production on the use of the internet by the visual arts, which points out aspects of the path that has been taken in the occupation of cyberspace as an art place, brings contributions to reflect on the current situation.

Neo-biopolitics, post-synopticon, the future is now from facial recognition to artificial intelligence: masked selfies under visualization (@maskvide), intermittent surveillance and control of Big Data, gazes, echolocation (echo ranging) and voice frequencies are captured through the non-mobilities to Batcaves (#datamask)… In this “new normal”, without an “artist’s house”, the Big Brother Brasil styles triumph: COVID-19 ‘will be solved’ only after each inhabitant, of the nations in the world, is properly “registered, stamped, evaluated, labeled” to be able to fly - “dead or alive”. Even though the survivors here in the Brazilian land are -during the current period of ‘magic balloon’s gang’- experiencing the everyday narcissistic live mirrors via multiple screens in real time as well as the LGPD (the law recently approved, generating innovations to the app terms to “I Agree”) -and here I come to the heart of the matter-, we are inserted into the living social contexts stood vis-a-vis the conditions of production of its time (GAFAM). Through YouTube we are vulnerable to the viral danger also in digital. Thus, the 21st century demonstrates how webTV is a (un)material trend of our days - the tip of the revolutionary iceberg put forwarded by Guattari in the 1970s or -there are always two sides to every story- the thin membrane of the society of the spectacle that walks in full swing crowning the representation f a supposed freedom of expression in home confinement... How to play with such concepts - (non)visible and ‘painless’ - when applied, nowadays, beyond the urban space? Therefore, the ongoing essay is designed in harmony to the mission of the intellectual (and / or educator) whose, in the face of the current (audio) visual paradigms, is not to report but to struggle; and again, like the learner, not anymore to play the spectator but as a participant to intervene actively in the artistic and technological operativities which ones appropriate of us; i.e. we must be truly the interactants in this game of imperfection full of glitches and transmission’s noise (of memory)! Discovery and use of the gestures [gestus] - methods of montage / editing / composition - in order to transform that procedure (often merely fashion to a human pseudo-virtualization) to a necessary discord between those remote environments on ubique dataveillance. As Benjamin had written against fascism in a letter addressed to Adorno : “[the] tendency alone is not enough”.