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

Considering learning as a continuum, based on experience, context and individual background, which is acquired and manifested in multiple spaces, it is necessary to assume that most of what we learn does not happen in traditionally educational spaces. This scenario imposes the need to discuss and reveal more of a hidden learning that happens informally. This study seeks to address strategiesfor tracking and recognizing informal learning, which manifests itself in multiple moments and spaces. From the perspective of learning ecosystems, analyze different strategies, especially the TLA xAPI as an alternative for capturing or tracking, analyzing and inform learning. In this way, we discuss the challenges and oportunities to add more elements to the individuals’ learning biography.

Beyond the importance of design as one of the decisive variables of business effectiveness, it is observed that it is more than just a process, since some companies adopt design management as a competitive strategy and a tool for building the corporate image. In this sense, this study seeks to identify the expectations of professors of Digital Design courses regarding the discipline of design management, promoting different thinking, that is, innovating, however, without forgetting the practice. Among the results, it is evident that thinking about practice is the reflection that should enable alternatives to face problem situations in the promotion of learning. Reflection is knowledge that has theoretical strength, transforming practice and that goes beyond mere doing.

In this issue of the DATJournal, in addition to the texts selected regularly by the journal, we have 2 dossiers. The first of them, with invited editors Mirtes Marins de Oliveira and Priscila Arantes, the theme presented is curatorship, exhibition design and museum. The second dossier has guest editors Daniela Garrossini and Tiago Pontes e Silva and the theme is research in design in theCenter-West Region of Brazil , focusing on the Postgraduate Program in Design at the University of Brasília. This second dossier also marks the beginning of the DATJournal special series on Postgraduate Programs in Design in Brazil, which will be invited to present their trajectories, characteristics and lines of thoughts. With this initiative, we intend, more than mapping and celebrating the strength and diversity of these Programs, to stimulate the exchange between Postgraduate Programs in Design in Brazil.

This text deals with a perception of change regarding the concept of design in its essence and its forms of application today, especially with regard to the term product design. From the history of the word “design” that mixes with the history of “design” as an area of knowledge, passing through the analysis of design as a practical activity, going from industrial design to product design, until arriving at the product as a result of the design process, it’s observed that its meaning has changed significantly. Product design, which we originally knew, is no longer restricted to the product as an object but rather covers the product as a result of the design process, be it physical or digital, just as the product is the result of multiplication, within the scope of mathematics. This diversified knowledge multiplication aimed at innovation and the development of new solutions to problems that are becoming increasingly complex.

This paper presents the academic and professional paths taken by the author, together with the results and reflections concerning the research he carried out. Starting from the studies which began with the Project and Collection “Olhar, Olhares” (“Look, Looks”) in 2002 and continuing until the present moment, other inquiries on the education and role of the designer in society take place; all the stages that led to the SEE BEYOND method (2016), created during his doctorate, are described. This method has also triggered and oriented other views on undergraduate education and product development in the field of fashion, in a dialogue between Design and Neuroscience.

This article understands that the design activity builds and participates in the relationships between the individual, society, and the natural and artificial environments. Such understanding leads to the issues of autonomy and heteronomy, and how the design activity deals with these issues. To this end, the different perspectives on the formation of socialization processes in Durkheim and Simmel are observed, as well as the differences in the understanding of what is a project in an essay by Tomás Maldonado.

The article focus on social movement cultures (specifically autonomous social movements, which have been the dominant global movement form of organisation in the last two decades) and the interest of some institutions in exhibiting them. Especially, is analysed the show curated by the author at the Victoria & Albert Museum (2014)– Disobedient Objects –its research and developments. By DisobedientObjects the author understands the objects of art and design produced by grassroots activist social movements. The context of movements, their theory and practice, is the primary context for a grounded understanding of activist art, so often misframed purely by more abstract, internal artworld debates in theory and aesthetics. For this, the perspective adopted is that of Social Art History.

This article investigates some characteristics of contemporary design problems. We argue that the complexity of these problems has grown to the point of jeopardizing traditional design methods, mainly due to instability of the solution landscapes as the mobility of the systems in which they are immerse. As a main contribution, we recommend the creation of designers and users mixed communities and suggest that newer methodological processes be conceived, prototyped and tested to cope with high complexity design problems.

From the homeodynamics’ perspective (ROSE, 1998), the life regulation processes, and the resulting balance achieved, are elaborated in a dynamic flow and in continuous transformation. That differs from the possible idea of a fixed and immutable balance. In line with this perspective, stands out the concept of “Homeodynamic Environments and Products”, coined by the co-founders of the DASMind [Design, Art, Space and Mind] - UNICAMP Transdisciplinary and Cooperative Research and Innovation network, also authors of this article. This concept is based in the fields of arts, architecture, urban design/planning, and visual/product design. Always in a transdisciplinary and complex approach, this concept seeks to understand the conception, design, planning, development and implantation of architectural and urban environments, as well as physical and/ or digital products, in deep synergy with the individuals’ body-mind-spirituality sphere. Environments and objects become important actors in the body’s continuous and dynamic internal adjustment process. As preventive and restorative for health and well-being, the homeodynamic environments and products are not designed merely as passive elements, but otherwise to act consistently and dynamically on the human organism.

This work is part of a preliminary result from my master’s research on the Yuba Community collection, developed by a fashion designer called Fernandab Yamamoto. We built a cartography that included bibliographic research, documentary, interviews and fieldwork. Having said it, the aim of this paper is to critically discuss the concept of ancestry and its presence in Fernanda Yamamoto’s work. Therefore, we seek to address briefly the historical context in which the Yuba Community is found, as well as the process of creating the collection, the idea of ancestry for psychoanalysis and the African cosmovision. Finally, we aim to connect the concepts and the history that each piece of the collection may bring