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

This article discusses the production of the double, ovo, composed by Luciana Martins and Gerson de Oliveira for 28 years from the concept out of series. Out of series we mean a production that is dissociated from the industry and does not follow traditional projective methods, that is, guided by pre-defined materials and manufacturing systems, following design, ideation, validation, among others, aiming at solving a problem. On the contrary, in the out of series design the proposition of an artifact often derives from the daily observation, of a restlessness or enchantment. The production of the ,ovo lies on the border between art and design, establishing dialogues between the areas and enabling the generation of products that invite reflection through the unusual of object proposals, going beyond the functionalist and consumer issues. The circulation and insertion of the production of the ,ovo was initially done in galleries and shows, as well as design awards, demonstrating its approximation and hybridization with the artistic universe. On theother hand, their production often occurs in limited editions or on a small scale. Within this context we divided the present article into three topics. In the first, an out of serie design, we make an explanation about the concept and its characteristics. In the second, Indeterminacy, we discuss the non-objectivity of the out of serie artifacts and, finally, Freedom as a methodology, we approach the methodology of creating the projects of the double.

Este artículo se centra en el proyecto Escuelab, un programa avanzado de residencias e iniciativas en torno a proyectos que giraban en torno a las relaciones entre el arte, la tecnología y la sociedad que se llevó a cabo en Lima entre 2009 y 2013 y que fue pionero en la región, con especial énfasis en las zonas andinas y centroamericanas de América Latina. El modelo de Escuelab buscaba establecer prácticas transdisciplinares en el uso de nuevas tecnologías que permitan generar sinergías en áreas que por lo general suelen desarrollarse aisladamente, vinculando los campos como el arte, la cultura, la educación y la ciudadanía. Aportaremos algunas reflexiones sobre las posibles formas de generar un modelos transdisciplinarios regionales y los aprendizajes generados en Escuelab considerando que la proliferación de tecnologías por sí sola no es suficiente para dar cuenta de un fenómeno quetiene implicaciones sociales profundas. Finalmente reflexionaremos de cara a proyectos y laboratorios transdisciplinares que se vienen desarrollandohoy mediante la participación activa y local fomentando una postura sociocultural que refuerce el desarrollo y la práctica ciudadana y comunitaria.

Pirandello parece opor o prazer da arte e o prazer da vida: o primeiro seria ilusório e fictício, tal como o teatro ou a imagem, o segundo estaria em perigo pois, segundo o dramaturgo, quem compreende a ficcionalidade da arte, descobre imediatamente aquela da vida: o disparate da vida, devido à ausência de sentido, à impossibilidade de responder as questões “Por quê?, “Como? e “Que vida?, uma vez que a vida não é única, mas própria a cada indivíduo — A Cada Um a Sua Verdade, título de uma peça de Pirandello — e, sobretudo, criada espontaneamente na inquietação específica própria a cada um dos seres humanos. De onde alguns extraem o prazer! Prazerfundado numa ilusão — para Corneille, ilusão cômica, para muitos outros, ilusão barroca2: daí o descrédito do prazer para Pirandello, prazer que nunca remete à uma realidade fixa, e sim à uma imagem e a um imaginário em transformação. Daí, na linha de L’Ecclésiaste, a desconstrução do prazer da imagem, “vaidade das vaidades’’. “Que vaidade a da pintura — dizia Pascal —, que suscita nossa admiração devido a uma semelhança de coisas cujos originais nós desprezamos!”. 

El presente texto reseña el libro de Paula Siganevich y María Laura Nieto titulado Activismo Gráfico. Conversaciones sobre diseño, arte y política (Buenos Aires, Wolkowicz Editores, 2017, 200 páginas).

As time passes and digital technologies become obsolete, more and more new media artworks face the possibility of being lost forever. As many new media artworks depend on certain technologies, when these technologies are replaced with other or are not available any more, steps should be taken to make older artworks compatible with newer technologies that replace them. Using Jon Ippolito’s concepts of storage, emulation, migration and reinterpretation, this text attempts to provide a basic framework to understand each different concept and the advantages and disadvantages to their implementation. This is all done using Gilbertto Prado’s restoration of Desertesejo (2000/2014/2018) to illustrate the process. 

This year 2019, on August 26-28, PPGDesign/UAM held the 1st Symposium on Design, Art and Technology (1 DAT Symposium), alongside the 1st RETINA.International SP Colloquium, proposed in conjunction with Université Paris 8 | Vincennes-Saint Denis.

This article discusses the aesthetics of fascination, characterized here as an aesthetic modality. The text is divided into four parts, seeking to explain the senses of fascination, the philosophical question, the characteristics of an aesthetic of fascination and with an epilogue focused on some reflections on fascination in the field of art.

In this communication, artist Regina Silveira selects among her specific works that may have deliberately sought to cause in the public effects of pleasure,surprise or enjoyment, and which are certainly linked to the functions of art, those capable of transforming the perception and experience of reality. 

Starting with a critique of the terms “independent” and “alternative” in the field of editorial graphic design, the article instead advocates the use of theterm “auto” (as in auto/self-publishing). Using examples of different projects created by the designer/author the articles seeks an understanding of the autonomous action of the designer as an expansion of the strategies and political/social importance of graphic design as a field.

The human being goes through the cyborgization process, that has been intensified with digital technology. Several parts of the body are likely to be replaced by artificial organs that are getting closer and closer to the original ones. At the same time, this knowledge is expanding the technological extensions of our body, making androids closer to human. In this context, vision as one of the main sensory systems for our survival in the environment, has been gaining potential to be changed with technological apparatuses, enabling visually impaired to have part of their visuality recovered, and expanding visual potential in the near future. The universe of the human eye is presente here, in the dialogue between art, science and technology.