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

This paper, develops from a critical analysis the main reflections extracted from the article "La técnica en Alemania vista por un chileno", authored by the intellectual Humberto Díaz-Casanueva, published in the journal Técnica y cultura nº 6, in the month of July 1937. Díaz's text, which refers to his impression on the problem of technique perceived in the European country, is possible to subject it to an analytical operation that allows to identify philosophical, artistic and cultural references in the installation in Chile of the technical and culture relationship, building a map of influences that provide the context in which the thinking of Díaz-Casanueva develops. As main conclusions, aspects related to this relationship can be noticed that establish a discussion about industrial production and productive spaces, possible to be thought of as prolegomena of an idea of modern project, which can be seen in its conceptual aspects.

This article analyses the results obtained in Latin American countries, particularly in Chile, which use innovation methods such as Design Thinking and Double Diamond. To understand the advantages and disadvantages of these methods originated in developed countries, but now also established in developing ones, texts by Andrés Oppenheimer and the Organization for Economic Cooperation and Development (oecd), and cases from Laboratorio de Gobierno in Chile were reviewed. In light of this, it was concluded that context is a relevant factor in the success or failure of projects; thus, texts by Joseph Voros, John Petersen, Alex Blanch, the 'index': award were studied and projects that include scenarios were reviewed. This revealed that these methods have positively contributed to the implementation of participative projects and have created valuable progress in terms of learning; however, they tend to fail in integrating local and/or global agendas, resulting in efforts that do not necessarily deal with relevant problems in the country/region, in contrast to those that incorporate them and/or use tools and techniques presented in this article. In conclusion, it is necessary to review these methods to innovate in local scenarios in order to improve the results in projects of the region/country.

This article is the result of a research project entitled "Print and printing in the National Library of Colombia: Graphic, Historical, Patrimonial and Aesthetic Analysis of the Collection of Clichés of the National Library of Colombia and the Publications in which They Circulated (1930 - 1960)", developed between the Jorge Tadeo Lozano University and the National Library of Colombia. In 2015, some metallic printing plates were found in the National Library of Colombia. Since then, great interest has been generated around a series of images, shields, photogravures, texts and signatures (279 in total), which account for a part of the history of the institution and the country. These findings are due to the fact that the National Printing House of Colombia operated in the Library building, whose workshops were in the basement. That is to say that from there several publications were produced that enriched our bibliographic heritage. Print clichés are objects susceptible of historical research, which expands the possibilities of working with documentary sources, which at the same time are historical documents, to reconstruct the past and present of Colombian society, the history of design and publications periodic, among others.

In the thirties, the liberal government and the church, of conservative filiation, disputed control in the formation of citizens. In the quest to find ways to influence, vary the social order and transform reality, both instrumentalized education as an appropriate means to model thought from childhood. Chanchito, an illustrated magazine for children (1933-1934), exhibited the Conservative Idea and Rin Rin, a children’s magazine (1935-1939) together with El país de Lilac (1938), a children’s storybook, supported modernizing liberal ideologies. The publications were produced with the purpose of influencing the civic formation from childhood and for the construction of the social role of the child; each knew how to respond to instrumentalist purposes of the discourse promoted by its ideological drivers. From the perspective of S. Jäger (2003), the three publications acquired the character of a device.

This work analyzes the visual turn that occurred in the Papel Periódico Ilustrado with the inclusion of engravings related to the social representation of death, especially the post mortem portraits, stripped of all the symbolism to offer us a "natural portrait" in what is important is not the character, but the mortuary features and the testimony of a good death, in order to make solemn and eternalize the memento mori, within the collective life of the colombian society. It is about understanding how these images were visual texts, in charge of informing the recent events of the time, which, if today can be alien to our visual tastes, should be understood within the cultural context that had the death in the XIX century. As a man of his time, Alberto Urdaneta, founder and editor of the newspaper, became aware of the role played by the issue of death within mass communication, where the uses and functions of post-mortem portrait appeared as a result of a gradual adaptation of the practices in the private sphere to the public, within a clearly defined editorial policy.

More than thirty years around schools, libraries, book stores and households, turn the collection Torre de Papel into a publishing phenomenon renowned by several generations, because of its continuity at the schools reading plan. This publication focuses specifically on the Torre de Papel Verde series, a section of the Torre de Papel collection aimed at “young adults”, which belonged to the first delivery of the collection back in 1989, but ended in 1997, unlike other series like Torre Amarilla and Torre Roja which remain nowadays. What causes prompted the disappearence of the Torre Verde series? Which was the view about youth that the series announced? Which relationship is there between young adult target audience and Torre Verde series outcome and the subsequent creation of the series Zona Libre, where some of their works landed. By adressing these questions, we will try to prove the hypothesis that the series Torre de Papel Verde sets up as a cornerstone in the appearance of the young public segmented publishing in Colombia.

This article intends to trace over the course of time some of the fundamental coordinates in the evolution of the page, as a constituent element of the book. It seeks to describe some of the developments that have responded to the transformation of the book as a text transmitter, as well as to the practical needs of its producers and users, the readers. This evolution is a continuous process that feeds on previous experiences and traditions, setting into motion a persistent will to organize the information on the page, understanding it as a device to transmit knowledge.

The present text follows the tradition of thinkers who place the body as problematic in the aesthetic field and force us to concentrate on its different dimensions and manifestations, where corporeity implies experience of doing as well as feeling and thinking. Under this perspective we propose to approach the potentialities of the tattoo as a story with which we represent our interiority graphically on our same surface, in order to establish analogies with the concept of editing. This kind of living graphic will be analyzed through a phenomenological approach of the designed bodies, which is directed to establish relationships between the drawn flesh and the edition of a book, in order to enable poetically the idea of body as a book, where meaning and significant are part of the same tissue, where the story of lived experience offers a kind of presence on the skin.

Editorial production has historically transformed the cultural and social aspects of humanity, this has happened in various forms and through multiple formats, which leads us to ask ourselves about how is the current state of the industry and the processes that have been transformed by the technological advances, likewise the transformation of the readers. Faced with these changes, we question how the materiality of the texts becomes effective and transformative in scenarios such as the public environment and its institutions, a subject that has spoken little in the sense of forming increasingly assertive processes, and this is where they intervene two main factors, the work of a professionalized editor and the designer as mediators to make the voice of the state visible.

The following research aims to assess and weigh the role of graphic design and illustration in the creation of the collections of an institutional publishing house with such an important trajectory as the Fernando el Católico Institution of Zaragoza. Likewise, it will be studied the creation of two of the artists who have most closely collaborated with said publishing house, Francisco Meléndez and José Luis Cano.