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

The goal of the text is discussing the possibility of symbiosis, interaction between species such as biological systems and machines, which may occur inproposals involving research in art, design and technology. In this bias, it is suggested that the computational condition induces a way of experiencing the world that is undetermined and fragmentary, proposing a kind of collapse of the traditional boundaries between art, design and nature; between artificial and natural.

The video Impalavrável participated in the exposition Eppur Si Muove, 2018, under the thematic of art and erotism, for registering how popular language much before the advent of the internet and social media already was prejudiced, racist and obscene.

The text aims to present the notion of aesthetic experience establishing relationships with the act of walking in the context of a project that outlines an individual artistic process. The expansion of experience through the aesthetic dimension is what makes it possible to perceive the world in another way, whether in life or in art.

The bottle gourd (Lagenaria siceraria) is a fruit that after drying becomes hollow and similar to the wood. It has spread all over the continents and is used by different peoples in the handmade confection of containers, musical instruments and buoys. With an annual productive cycle and high productivity, is an alternative renewable source. Its use in the design of new products depends on the definition of the main properties. The characterization was done through thermogravimetric analysis, determination of moisture content, basic and apparent density and water absorption test. In thermogravimetric graphs, the similar behavior of bottle gourd and wood species on exposure to heat confirms that the chemical composition of both has many aspects in common. It has a very low heterogeneous density, on average 0.124 g / cm³, similar to the polymer foams. As for the water absorption, the samples had a mass increase of about 150% untilsaturation, being configured as a hydrophilic material.

This paper presents, from the point of view of Information Design, a comparative analysis from the graphic representation of a research project through the mapping of information by Robert Horn (1993) and the graphic tools of Yvonne Hansen (1999). The objective of this paper is to compare the representation of a research project from the study of the tools proposed by these authors. The methodology adopted is based on bibliographical research as the main technical procedure and from this practice it is proposed to analyze comparatively the two tools. As results, it was noted that Horn’s information mapping is not efficient in the initial phase of problem study but it is useful when it is necessary to organize information; and that Hansen’s graphic tools can be used in the initial process of specifying a problem because they are efficient in clarifying ideas and understanding concepts.

It is with great pleasure that we present this edition of the DATJournal - Design, Art, and Technology which brings, in a special format, the scientific articles from the 13th Brazilian Congress on Research and Development in Design (P&D), held at the University of the Region of Joinville - Univille, in 2018. P&D, the main national event in the Design area, has maintained the tradition in scientific dissemination and in this edition has the characteristic of the extension of this communication,including in its proceedings scientific papers, welcoming action of the stricto sensu professional programs specificities. In this way, P&D expands its characteristic of a reflective space, critical and overall a space to construct meanings, which is the inherent characteristic of science. We believe that encouraging and maintaining the space created at the P&D Design, with the support of the DATJournal, are fundamental actions to advance the production of qualified knowledge in the field of Design. The interest in spreading and reading is maintained, which are indispensable elements in the improvement and transformation of the science itself. The function of scientific dissemination, caused by the uneasiness of ideas and the proposed readings, the generation of possibilities, analysis, and contributions to the objects of study and their results, as well as the development of the teaching and learning environment and the emergence of new networks of search. According to that objective, the P&D organization selected these 12 relevant articles to be published in a special edition of the DATJournal, since they are scientific productions that approach several subjects in depth; investigations carried out by different researchers from different institutions that stood out for the potential impact and interest of the scientificcommunity of Design and related areas. We hope you have good reading and that everyone’s effort is rewarded.

This article presents a brief historical, conceptual and practical overview of design acting in the solidarity economy, bringing its contributions and challenges. From the experience of the Rede Design Possível during its thirteen years of operation, updated design issues are presented in the context of the solidarity economy, both in terms of design as agent, as well as design as the object of solidarity economy actions. The Rede Design Possível, its history, its internal organization and its production are presented here as a case study for the understandingof how political engagement generates changes in methodologies and in the organization of work itself. It is understood the design as agent and object ofthis interaction, which aims at social transformation for the common good.

One of the characteristics of creations intellectual is their immaterial character. They are contents articulated in the plane of the ideas of its creator that freely builds and reconstructs an imaginary universe. The motivations range from daily necessities to some artistic manifestation. Through their exteriorization, other people become aware of the creative content through its contours or limits manifested or fixed in a kind of “photographic” moment of the idea. In the design activity, these values-generating contents are fixed in everyday objects that seek to meet the most diverse demands. This characteristic of the creative object, the result of intellectual work, has given rise to the need for norms, such as Intellectual Property, for its protection. It has as one of its basic principles the repression to the slavish exploitation of creative work of others. And understanding how creative content in Design fits into Intellectual Property makes thisprotection more effective.

The criticism of modernist European/North American historical projects has led, since the 1960s, to a revision of its assumptions and results from the countercultural perspectives and as a reconfiguration of the political force field from the new configurations of Western capitalism. With the processes of globalization and geopolitical adjustments, the flow of permanent displacements since the end of the Cold War, new possibilities of reading and operating in and on art and design have emerged privileging the critique and transformation of established reality. Within this scope, researchers, designers, artists, activists who, inside and outside the university, produce and reflect in the vast territory of art, design and activism. Their reports offer a dense and also panoramic design of possibilities in approaching theproposed theme and, above all, allow the reader an approximation to, something planned by the dossier publishers: point out to transformative and committed roles that design and art can take in social reality. The proposals of authors and researches that deal with or dialogue with American, Latin American and Brazilian contexts and practices were privileged, as well as the contributions that incorporate the educational debate in conjunction with the thematicfields indicated in the dossier.

Expediente.